Back in 2006 tech entrepreneur Andrew Keen wrote an article for The Weekly Standard entitled “Web 2.0” that criticized the increasing rise of democratized media and growing ability for anyone to publish books, make movies, or record an album with newly inexpensive technologies. Keen argued that traditional curators of content, the “media and culture industries,” perform a valuable service by making sure that the best works of art and the best artists find their audiences:
The purpose of our media and culture industries—beyond the obvious need to make money and entertain people—is to discover, nurture, and reward elite talent. Our traditional mainstream media has done this with great success over the last century. Consider Alfred Hitchcock’s masterpiece, Vertigo and a couple of other brilliantly talented works of the same name Vertigo: the 1999 book called Vertigo, by Anglo-German writer W.G. Sebald, and the 2004 song “Vertigo,” by Irish rock star Bono. Hitchcock could never have made his expensive, complex movies outside the Hollywood studio system. Bono would never have become Bono without the music industry’s super-heavyweight marketing muscle. And W.G. Sebald, the most obscure of this trinity of talent, would have remained an unknown university professor had a high-end publishing house not had the good taste to discover and distribute his work. Elite artists and an elite media industry are symbiotic.
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