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1  1 The rise of these three sets of players and their impact on the world of Anglo-American trade publishing are analysed in more detail in John B. Thompson, Merchants of Culture: The Publishing Business in the Twenty-First Century, Second Edition (Cambridge: Polity; New York: Penguin, 2012).

2  2 On the history of how, from the 1960s on, literary writers shifted increasingly to the use of word-processing technologies, see Matthew G. Kirschenbaum, Track Changes: A Literary History of Word Processing (Cambridge, Mass.: Harvard University Press, 2016).

3  3 See John B. Thompson, Books in the Digital Age: The Transformation of Academic and Higher Education Publishing in Britain and the United States (Cambridge: Polity, 2005), ch. 15.

4  4 See Chris Anderson, The Long Tail: Why the Future of Business is Selling Less of More (New York: Hyperion, 2006).

5  5 RIAA, US Sales Database, at www.riaa.com/u-s-sales-database.

6  6 Ibid.

7  7 RIAA. There were additional sources of revenue during this period, such as vinyl and music videos and, from 2005 on, ringtones and ringbacks, subscriptions, etc., but they don’t alter materially the overall pattern of revenue decline.

8  8 David Goldman, ‘Music’s lost decade: Sales cut in half’, CNN Money (3 February 2010), at http://money.cnn.com/2010/02/02/news/companies/napster_music_industry.