510 new media & society 13(3) the simplistic view often presented by the music industry, that the only way an artist can earn money is through CD sales and, furthermore, that this model ensures sufficient compensation for a musician’s creative labour. David highlights what many have long suspected: that ’what is bad for the established music business model may, in fact, turn out to be good for musicians’ (p. 142). Chapter 9 elaborates upon this theme, and examines some emergent systems of monetizing creative labour. It picks out some specific case-studies – such as Radiohead’s release of In Rainbows, and Madonna’s decision to sign for Live Nation – to show how, rather than dig in their heels in the face of ‘piracy’, many artists are ’seeking to adapt to, use and modify the free circulation of music on the Internet’ (p. 154). What we end up with is an argument that, even if file-sharing is a highly disruptive technology for the music industry, there is an enormous difference between disruption and decimation. It seems likely that peer to peer will not kill the music industry (indeed, it may have increased the popularity of live performance), but merely kill its current modus operandi. At the very start of the book, David frames the phenomenon in particularly apt terms: as ‘“perestroika” and “glasnost” from below: an economic restructuring and an informational opening up that challenge capitalist relations of intellectual property’ (p. 9). While the book is wide in scope, there are times when David sometimes struggles under the weight of expectation, and cannot give full weight to all the competing perspectives that demand his attention. At one stage (p. 38) the discussion of file-sharing notes the related role of social networking, which is an interesting and relevant dovetail of two different technologies, but is barely given any emphasis at all. It is telling that the strongest part of the book is the second half, with its more grounded concern for examples and arguments. One gets the sense then that the book might have been even better had it been focused around some original primary research. However, David should be commended for attempting such an ambitious, meta-level analysis. So, in spite of these flaws, which are minor to be sure, this book really must be seen as a key text for anyone interested in digital media and what it means for us as a society. Its broad, three-dimensional analysis of the phenomenon is superb, showing so clearly just what a radical challenge peer to peer file-sharing presents to the music industry, and the various changes it may have to undergo in order to survive. Jaron Lanier, You Are Not a Gadget: A Manifesto. New York: Alfred Knopf, 2010. ix + 224 pp. $24.95 (hbk) ISBN 9780307269645 Reviewed by: Adam Fish, University of California, Los Angeles, USA Scholarship on cultural production within digital worlds is often less than critical and tends to celebrate the inventiveness and opportunities provided by new media corporations. Within the more optimistic camp, Benkler (2006) has argued that digital commons present a more inclusive, post-scarcity driven economics of ‘peer production.’ Kelty (2008) suggests these tools may facilitate the rise of ‘recursive publics’ or technologically mediated public spheres. Jenkins (2006) claims that this online ‘participatory culture’ is transforming the consumer into a producer. Shirky (2009, 2010)