His two main culprits are the Internet—which has decimated the recording industry, the bricks-and-mortar outlet, and newspaper publishing—and rising economic inequality, which has depleted the public coffers and reduced public spending on cultural projects of all sorts, from the construction of museums and concert halls to the sustenance of orchestras and the financing of arts education in schools. But he adds some peripheral villains to the scene, including the rise in academia of cultural studies that renounce established cultural distinctions; literary theories that dethrone the humanistic and aesthetic approach to literature; longstanding American suspicion of intellectuals; and even the enduring romanticism regarding artists, who are, in this view, “either soaring deities or accursed gutter-dwellers”—thus helping to rationalize a culture that leaves artists no option but to succeed as celebrities or sink as obscurities.