19
“Business models that rely heavily on public performance and personal appearances by artists, and which are unlikely to produce revenue on a large scale from the sale of physical units, provide limited opportunities for international labels hoping to break into the Chinese market.”

20
“Live performances, advertising and personal appearances have emerged as important revenue sources for the domestic [music] industry.”

21
“Relying on personal appearance by artists limits scalability. Neither advertising nor personal appearance fit well with the ‘long tail’ approach, which, in other markets, allows back-catalogues to continue generating revenue for labels and artists long after the artist has been eclipsed by the latest trend.”

22f
“This paper began with an examination of the legal case for radical reformation of the copyright system. We then moved to consider the current economic theory for this case before exploring this specifically in the case of creative industries, from which we extracted three further arguments: global markets, re-use and value creation, and business model adaptation. We think these three factors have been widely overlooked, and that there (!) re-inclusion into the intellectual property value debate may be of value.”

22
strong IP encourages creation -> weak IP encourages re-use (remix?) -> they claim the benefits of re-use are way bigger than the benefits of creation (is that true?) -> weak IP is to be preferred
business models adapt to IP (not the other way round) -> businesses will always find a way to make money (which makes the economy grow which benefits the entire population) -> weak IP is to be preferred

Also see:
O’Reilly, T ~ Piracy is Progressive Taxation
The Register ~ Music in China