Cultural diffusion: a formative

process in creative
entrepreneurship?
David Rae

Abstract: Cultural diffusion is a distinctive approach to running a

creative enterprise through applied creativity, shared discourse and social
construction, going beyond the conventional understanding of cultural
production and consumption. The concept is used to explore the social
and creative processes of interaction between the creative enterprise and
the audience. A framework for the analysis of creative enterprises and a
set of questions based on the five processes of cultural diffusion are
proposed for use by practitioners.
Keywords: entrepreneurship; enterprise; culture; creative industries
The author is with the Centre for Entrepreneurial Management, Derbyshire Business School,
University of Derby, Kedleston Road, Derby DE22 1GB, UK. E-mail: d.rae@derby.ac.uk.
Tel: +44 1332 591420.

So how do you go about turning your creative ideas into a

business? Its not as if youre just making a product, is it? How
do you attract people to creativity and make some money out
of it? (Val, nascent creative entrepreneur)

* * *
How to transform ideas into enterprises is a distinctive
challenge for entrepreneurs in the creative and cultural
industries. This article explores the role of cultural
diffusion in creative entrepreneurship. The concept of
cultural production and consumption is an established
position in the literature on creative enterprise (Du Gay,
1997). However, the phenomenon of creative entrepreneurship is more complex than is suggested by this
industrial metaphor, and a conceptual understanding of
cultural diffusion, which may be applied in education
and by practitioners, is proposed.
The article first outlines the historical development of
the creative economy and the emergence of enterprise in
the creative industries. The need to move from talking
in terms of cultural production and consumption to a
conceptualization of how the creative enterprise works
through social interaction is then proposed. The concept
of cultural diffusion in creative enterprises and its five

ENTREPRENEURSHIP AND INNOVATION August 2005

key processes are outlined, and the following section

summarizes the methodology used to develop the four
cases of creative enterprises included in the study. A
framework is used to analyse and compare these, and
the section on using the cultural diffusion model
features illustrative material and questions based on the
five processes of cultural diffusion. These are offered for
use by educators and practitioners working with students and early-stage businesses. In conclusion, the
enaction and management of cultural diffusion is
proposed as a significant and critical factor in the
survival and success of creative enterprises.

The emergence of enterprise in the creative

industries
It has been argued that the creative industries are of
growing social and economic significance within the
UK (Leadbeater and Oakley, 1999). The Department for
Culture, Media and Sport estimated that they generated
a revenue of 112.5 billion in 2000, and employed
almost 1.9 million people in 2003 (Creative Industries
Task Force, 2001; DCMS, 2004). Although the DCMS

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emphasizes measurement of the employment and

economic contribution of the creative industries, there is
a counter-argument that they represent only around 5%
of the working population, and that the great expectations invested by government in the creative industries
are exaggerated (Heartfield, 2000). It is therefore
necessary to prcis the role of enterprise in developing
the creative economy.
The development of a publicly funded arts and media
sector in the UK after 1945 created the Arts Council and
regional bodies to support national and regional cultural
activities, whilst the BBC expanded from a radio
broadcaster into a global multimedia organization.
Previously, artistic and cultural activity had been
privately sponsored or self-funded, hence state funding
transformed a hand-to-mouth petit entrepreneur culture
of creative businesses into increasing government
dependence. However, state sponsorship of the arts and
media was often contentious, privileging high culture
and fine arts, whilst support for popular art forms was
partial or non-existent (Hall, 1997). Yet the long
tradition of cultural enterprises performing popular
entertainment for commercial risk with music, theatre
and dance emerged from popular folk culture and
collective social creativity (Bruner, 1990).
Independent creative activity flourished alongside
publicly sponsored arts in post-1945 Britain. Commercial films, book publishing and popular music grew
mainly through private sector enterprise. The BBC
tolerated popular music until competitive pressure from
continental and pirate radio compelled acceptance of the
youth-music Radio 1. The explosion in electronic media
following the mass adoption of colour TV in the late
1960s was exploited largely by private sector entertainment businesses. Increasing leisure time and disposable
incomes saw the growth of independent television and
local radio, the popularization of audio and video tape,
and then the impact of digital media, from the compact
disc in the 1980s and within 20 years including digital
video, cable and satellite media.
These creative industries are defined more broadly
than the arts with their connotations of high-brow
culture, embracing activities from fine and applied art,
design, dance, entertainment, to advertising, publishing
and media. Creative entrepreneurs are diverse, from selfemployed artists to owners of global businesses
(Bjrkegren, 1996). The growth of the sector beyond
state-subsidized arts is largely a result of the
phenomenon of creative entrepreneurship, which can be
defined as the creation or identification of an
opportunity to provide a cultural product, service or
experience, and of bringing together the resources to
exploit this as an enterprise (Leadbeater and Oakley,
1999).

The creative economy embraces this entire process,

from creating the artefact to its marketing, retailing and
consumption, as the DCMS recognizes in its production
chain concept (DCMS, 2004). This creative economy is
synergistic, requiring the involvement of many agents,
some large and capital-intensive, some small and skillexpert, in its productive processes. Individual creative
workers have generally been self-employed independents, for whom staying in work is a major concern
(Baines and Robson, 2001). Any cultural production, be
it a music or video recording, computer game or
theatrical play, requires the involvement of a group of
independent enterprises acting interdependently in
complex and specialized ways. The self-employed
person selling his or her ideas, talent and skills has to
join forces with production and distribution companies
in a shared enterprise. The existence of these complex
and tightly wrought networks of workers and enterprises
in the cultural economy is essential, giving rise to the
concept of the cultural cluster (Scott, 1999).
The term creative industries denotes that creative
activity is economically significant. Creative production
in itself is insufficient, for it must find a market and
support viable enterprises to be sustainable. Industry
traditionally referred to manufacturing and mechanized
processes, yet it originally meant diligence and the
intelligent application of skill, terms appropriate to
cultural production. However, the term creative
industries has a postmodern ring, suggesting the decline
of traditional forms of wealth creation and their replacement by industrialized culture (Lash and Urry, 1994).
This has been manifested physically in many postindustrial cityscapes, where multiplex cinemas have
replaced steelworks and mills, or where cultural
quarters have emerged. The Lace Market area of
Nottingham, for example, has been rejuvenated by
artists, designers, independent retailers and cinema,
developing a distinct creative ecology based on
informal collaborative networks (Shorthose, 2000).
Entrepreneurial activity is at work here, creating new
value from discarded assets of the old economy, yet
risks being displaced by a bar culture of consumption
as districts become fashionable destinations and
property values increase.
Creative businesses often exist in an environment
characterized by rapid technological and social change,
extreme competition and transient relationships with
customers. Given this environmental complexity and the
distinctive nature of cultural enterprise, the learning
process involved in starting and running such businesses
has yet to be extensively researched (Raffo et al, 2000).
Leadbeater and Oakley (1999) refer to the missing
middle in public policy, in which the characteristics of
this new generation of entrepreneurs are little under-

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Cultural diffusion

stood by policy makers, and education is failing to

prepare people for entrepreneurial activity, whilst the
Creative Industries Task Force (2001) recommended that
creative and business skills were necessary for people to
succeed. Recognizing this, a model of emergent entrepreneurial learning in the sector has been developed,
comprising themes of personal and social emergence,
contextual learning and negotiated enterprise (Rae,
2003; 2004).

From production and consumption to

cultural diffusion
In writing about the creative industries, the distinction is
frequently made between production and
consumption (Lash and Urry, 1994; Hall, 1997; Du
Gay, 1997). This producer-centric perspective has been
reified in policy (DCMS, 2004). But this distinction
oversimplifies the intermediary roles that enterprises in
areas such as media, entertainment and advertising play,
in which their activity is neither simply producing nor
facilitating cultural consumption. Dewey, in Art as
experience, long ago rejected the notion of the artist as
active creator, and audience as passive recipient of art,
proposing that the appreciator actively engages with the
work (Dewey, 1934). As Leadbeater and Oakley (1999)
argue, cultural entrepreneurs blur the demarcation lines
between consumption and production, work and nonwork, individualism and collaboration. Membership of
creative communities is central to their working, and
many cultural businesses engage their audience with the
cultural product or experience in creative ways. The arthouse cinema, such as The Broadway in Nottingham,
does not simply screen films to allow a public to
consume them. It designs a themed programme of films,
which are selected to appeal to a particular niche market,
both meeting and leading their expectations, then
provides an ambience of caf culture in which they are
experienced and given life by the audience. Culture is a
live social experience, actively constructed with the
audience as an interactive symbolic exchange, and not
just consumed by them.
So cultural diffusion occurs where the primary
activity is not simply the production of creativity, but
rather the distribution and sharing of cultural discourse
with an audience. Cultural diffusion advances from the
static and limited notions of cultural production and
consumption by exploring the social and creative
processes in which symbolic and commercial value is
created through interaction between the audience and
the creative enterprise. Cultural diffusion is a creative
process applied to a business activity, communicated
discursively with its audience. The business performs a
narrative and often visual act, telling a good story or

ENTREPRENEURSHIP AND INNOVATION August 2005

putting on a good show. Forming such a business is

therefore not only an economic but also a creative act,
involving shaping a complex cultural web of identity,
relationships, communication, language and technology.
Communications media, such as design and print, audio
and video broadcasting and the Internet, engage the
audience creatively with the cultural message. The
reflexivity of cultural diffusion with the audience,
gaining their attention through the deployment of
cultural symbols and discourse, and enabling their
expectations to shape the story, is essential in managing
the creative enterprise. The development of interactive
media and the Internet is enabling this reflexive diffusion of culture to take place rapidly and in new ways.

The five processes of creative diffusion

Cultural diffusion distributes and shares a discourse of
symbols, ideas, language and artefacts with an audience
by means of diverse communications technologies,
enabling a viable commercial enterprise to be developed
and managed (Bjrkegren, 1996; Spinosa et al, 1997;
Rae, 2002). The five generic processes of cultural
diffusion are proposed below and illustrated in Figure 1:
(1) creating a unique identity invested with a personality or branding, which appeals to individuals and
networks of intended customers, and with which
they can identify;
(2) a culturally based product, service or experience
that meets a recognized market need or creates an
opportunity, attracting a specific audience who
interact with it in acts of symbolic exchange;
(3) a business process that generates and captures
commercial value in the symbolic and economic
interaction between the business and customer;
(4) innovative use of technology in engaging, communicating and interacting in creative discourse with
the customer; and
(5) managing the creative enterprise as a social organization in which distinctive culture, language,
behaviour and work style interact in support of the
identity, product and process.

Methodology
The approach used in this study was social
constructionist, interpretive and narrative (Gergen, 1999;
Hjorth and Steyaert, 2004). Four creative enterprises
were followed over a two-year period by contact with
their lead entrepreneurs. These were identified through
exploratory fieldwork and networking within the
creative industries, and four criteria were developed for
their selection:

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observation of meetings and other interactions, conversations with business partners, managers, employees
and customers, and sampling the creative and commercial output of each enterprise, such as advertising and
promotional material, publications, programming,
Websites and premises.

Figure 1.

Cultural diffusion in the creative enterprise.

(1) engagement in an aspect of the diffusion of culture

through the use of creative media, and distinctive in
business activity from the others selected;
(2) readiness to participate fully in the study;
(3) already operating in business; and
(4) actively growing and developing their business.

Comparison of creative enterprises using cultural

diffusion
The four cases of creative enterprises vary from the
micro-business to the major international corporation
and illustrate the processes of cultural diffusion, since
all depend on their ability to engage their audience as
active participants in cultural diffusion. The analysis in
this section includes each of the five processes of
cultural diffusion illustrated in Figure 1. In this context,
Table 1 presents a comparison of the following companies (the names have been invented to conceal the
identity of the actual organizations):

The participants were invited to make a series of taped

life-story interviews, which were transcribed. The
transcripts were analysed through generating and
coding discursive categories (Riessman, 1993). Narrative case studies were prepared and cross-case
comparison took place using the coding structure to
generate the conceptual model of cultural diffusion.
Other material related to the cases was gathered for
supplementary detail within the cases. This included

Sawari Culture, a small mail-order retailer of Indian

cultural media products;
Shires FM, an independent regional group of music
radio stations;
Blue Fish Design, a corporate, product and marketing design business; and
Games Workshop plc, an international producer of
fantasy war games and published media.

Using the cultural diffusion model

This section includes illustrative examples of the five
processes of cultural diffusion selected from the case

Table 1. Comparison of creative enterprises using cultural diffusion.

Process

Sawari Culture

Shires FM

Blue Fish Design

Games Workshop plc

1. Unique identity appeals Aimed at Asian

Group of FM radio stations Identity based on being
to intended customers
middle class seeking with local identities
innovative and different,
Indian culture and
aimed at wide listener
aimed at long-term
media products
spectrum
corporate clients

Hobby business aimed at

youth market, wargaming clubs

2. Cultural product meets

market need or
opportunity

Indian film, music and Local news and pop music Design and identity for
books, personal and
radio with advertising
organizations and
family gifts
products

Fantasy war-games,
books and magazines

3. Business process
generates and captures
commercial value

Mail-order catalogue
with basic Website,
fulfilment by
wholesaler

Advertisers pay to reach

audited audience
numbers

Clients buy design ideas,

studio time and media
services

Product sales by retail

and resellers, mailorder via call centre
and Website

4. Innovative use of
technology to
communicate with
customers

Failed to innovate;
CRM and Website
not developed
effectively

Use of digital studio

technology and DAB,
basic Websites

Regular client mailshots

and projects on Website,
training in Website
updating

Website, online
community, war-gaming;
computer games
project terminated

5. Distinctive business
culture, management
and work style

Operated as mail-order Culture of fun to keep

retailer without
staff motivated and
audience interaction
retain audience

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Buzz factor to retain

Staff selected to be part
staff and clients, values
of the club, promote
of fun, ethics and integrity belonging and
membership for
customers

ENTREPRENEURSHIP AND INNOVATION August 2005

Cultural diffusion

studies. Questions on each process are provided for

creative entrepreneurs, educators working with students,
and business advisers with early-stage businesses to use
in developing creative business concepts. These questions were derived from the themes identified in the
discourse analysis of the cases and reflect decisions and
problems that became apparent in the case analysis and
in conversations with creative entrepreneurs.
1. Unique identity appeals to intended
customers. Blue Fish communicates its identity to its
target market of corporate and public sector clients in
ways that suggest its own creative and communications
skills:
We recognised early on that there are a few people who
become key recommenders. We concentrate on them. We
encourage young brand managers who are involved in design
to come here. We involve them in helping to grow our business,
make them feel special and they get rewarded for it. . . . We
only work with clients who want to listen and engage their
expertise of their industry. Working as a team we can create
something thats fantastic between us.

Who are the target customers of the business?

What perception or message are they intended to
form of the business?
What is the personality of the business? How will
the business make itself memorable?
How will the customer identify with the business
(join the fan club) by relating to its values and
personality?
What will motivate the customer to maintain his or
her identification with the business?

Identity attracts target customers to the enterprise and

they express their affinity and loyalty by identifying
with it. This notion of building a fan base around the
business can be seen in the emotional and symbolic
connections that people form with creative enterprises,
from the Rolling Stones to Harry Potter. This identity is
jointly enacted and the business therefore needs to
create ways that enable customers to identify symbolically with it (wear the T-shirt).
2. Culturally based product meets market need or
opportunity. Sawari Culture saw demand emerging for
Indian media products such as Bollywood films and
music crossing over from a specialist to a multicultural
audience in the UK. Within three years, Broadband and
digital broadcasting had eroded the CD and DVD
market, leading the business to refocus its product:
The Asian entertainment market grew so fast because Indian
culture is changing, with artists visiting to give concerts and
shows. You go to a concert and see 10,000 people buying
entertainment; we can capture a percentage of that.
Asian families and young people see the movies and hear the

ENTREPRENEURSHIP AND INNOVATION August 2005

music on TV and radio. People now have disposable income

and want to buy them but cant get to the Asian shops easily or
they are swamped for choice with pirate copies. We make it
easy to choose and you know it will be genuine.
I talked to people to get a feel for the type of films to include.
What the market here wants is not hits for the masses in
India, but quality art movies which succeed abroad.
We want to take world music coming out of India to the
mainstream audience. Music and movies are low-margin,
where we make most money is in hand-crafted stationery,
software and books. Those give us the right product mix.

What is the existing need or emerging opportunity

that the business will fulfil?
What experience, service or product will be offered
to meet this?
Why will the target customers want to experience,
consume or buy this product?
How can the customer experience and interact with
the product?
What is the symbolic or cultural value to the
customer?
What makes the product unique and different from
alternatives?
How will you keep in touch with customers
changing tastes and demands?
What new product innovations can be introduced to
maintain customers interest?

The acquisition, consumption or experience of the

product by the customer is a symbolic act that expresses
a cultural or emotional need. However, the enterprise
must find ways to innovate and to engage the customer
with new product ideas that retain their interest and
loyalty.
3. Business process generates and captures commercial
value. Shires FM has grown by gaining radio licences
from the Radio Authority for new radio stations. A
commercial radio station competes to attract and retain
listeners, so it must offer distinctive programming to the
intended audience:
People listen to us because we play music that people want to
listen to with the right level of local news and information. We
provide a community service and provide what people want,
otherwise we cant get advertisers.
Our smallest radio station covers 50,000 people, that would be
too small if it wasnt for the very strong local identity that
people have, they listen to the local radio station and many
independent businesses advertise locally.
Local advertisers think everybody listens. A business owner
will ask his staff whether they listen to Shires FM, and if they
do hell sign on the bottom line, if it works, hell buy again. Its
easy to sell radio when you bring a new radio station to the
area, to local advertisers who previously never advertised on

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radio and who give it a try. Radio works because of repetition,
our audience is changing all the time, so youve got to put
sufficient money behind it to work. We need advertisers who
become committed to us, year-round.
You have to get the listeners first. A small standalone radio
station would book zero national revenue. We sell it as part of a
group to national advertisers who buy for the audited audience
figures and pay per 1,000 audience hours, so this is a style of
radio service with the same approach and programming to
produce similar audience profiles.

How will the business generate and capture financial value from interacting with the customer?
What is the business process or model? Can you
draw a simple diagram of this?
What factors lead to risk, uncertainty or volatility in
the business? (eg competition, customer taste,
variable demand, seasonality, technological change)
How can these risks be reduced, managed or
prevented?
What gross and net profit margins and break-even
sales figures need to be achieved?
What are the key success measures for the business?
(eg sales per customer, sales and profit per month)
How can performance be measured and improved?

The business process is essential to generate commercial

value and revenue from the customer interaction. Many
creative enterprises, including radio, TV, galleries and
Websites, provide their product free to customers so,
unless they are subsidized, must generate revenue from
advertising or from selling affinity products.
4. Using technology innovation to communicate with
the customer. Games Workshop engages its hobbyist
war-gamers in a fantasy world of warring creatures and
armies, conflict scenarios and rules. Advanced technology is used to design, manufacture and distribute its
product range, enabling new figures and designs to be
continually introduced. The business has expanded its
product base from traditional products such as
Warhammer 40,000 to include other games as well as
modelling products, magazines and books:
The core hobbyist is a teenager, most are male. They are a
technologically sophisticated audience, many are habitual
Internet users. Games Workshop uses technology to make it
easy for players to interact and maintain their relationship with
the hobby. Our own website features the product range and
online store, and we have developed the Games Workshop
Gaming Club Network to enable players to communicate with
others, exchange ideas and form a virtual community online.
This reinforces their social affinity with the hobby and
overcomes isolation. It also makes it easy to update them with
news and product innovations.

190

How is communications technology used to create

relationships with potential and actual customers?

How is technology used to update customers, lead

their tastes, maintain their interest and exchange
information about their interests and needs?
How can customers access information about the
business and product via technology?
Can customers access the product itself via
technology?
How can you use innovative technology to improve
customer communications?

The advance of communications technology enables the

creative enterprise to engage with its audience and to
diffuse its message in increasingly sophisticated ways.
Rapid innovation provides new possibilities, but may
also threaten to make the enterprise or its product
redundant. Internet sites enable enterprises to provide
newsletters for customers and to update them on events
and new product offers as well as downloadable images,
video and audio files. The enterprise can reach an
international audience, strengthening customer
interaction and pervading their everyday life.
5. Distinctive business culture, management and work
style. The following comments came from individuals
at Blue Fish and Shires FM:
We wrote down five words which summarised the business
and became our values: creative, effective, fun, honesty and
integrity (Blue Fish).
Were making it harder for people to leave by little things we
do. We pay well, so how can we make it a more unusual place
to work? We work shorter hours, have more holidays, make
people feel theyve got a direct involvement in the business
(Blue Fish).
Theres a big commitment to staff and to listeners. Ask the
presenter who has to get up at 3am on a winters night to come
and broadcast, or the journalist whos on duty on Christmas
Day why they do it. They do it because they get a buzz, they
feel responsible for telling the truth to thousands of people. We
want to seem not new and inexperienced but not quite
accepted, just a little bit out. We keep the buzz by keeping
everybody excited with what were doing (Shires FM).

What values are important to you in relation to the

business, which you hope staff and customers will
share?
How will these values be communicated and
enacted? (eg in design, language, processes,
behaviour)
What are the key roles in the business for creating
the customers experience?
How will you attract the staff who want to work for
the business?
How will you keep the buzz in the business by
innovating at a cultural and social level?

Culture is not simply a product of the creative enter-

ENTREPRENEURSHIP AND INNOVATION August 2005

Cultural diffusion

prise, but also a constant aspect of its life world. Each

enterprise develops distinctive social norms, behaviours,
practices and modes of communicating. Founders and
managers of successful creative enterprises understand
how to foster the values, norms and behaviours that
support creative production, effective customer
interaction and commercial activity.

Conclusion
The cases illustrate the intuitive nature of cultural
diffusion in a creative enterprise, in which what works
is a combination of the enacted values of innovation,
emotional engagement and responsibility to people,
together with the feel and approach that have been
learned through experience. In Shires FM, the success of
cultural diffusion depends on the outcome of the
continuous processes of negotiation between the Radio
Authority, the advertisers who provide revenue in return
for listeners, and the community of listeners who
provide the audience. Only by producing a cultural
product that meets the perceived needs of each of these
groups can the radio station be established and continue
to operate.
This harmonization between individual creative effort,
the management of creative activity within the business,
and channelling this into a commercial application, is
necessary for success in the creative enterprise; it is, as
Bjrkegren (1996) observed, a fusion of creative and
commercial strategies. For creative production alone has
no intrinsic value, and finding opportunities to exploit it
is essential. There may be tensions between creative
activity and commercial exploitation. None of the cases
pretends to be creating pure or high culture. Rather,
they apply a repertoire of creative ideas and discourse to
commercial needs and opportunities. The ability to do
this successfully, whilst retaining the attention of the
chosen audience, is a vital aspect of entrepreneurial
activity. These negotiated meanings, practices and
culture, enacted within the businesses, are socially
learned ways of entrepreneurial working that enable
creative and commercial activity to occur (Wenger,
1998).
There is often a quality of shared emotional engagement and energy in creative businesses which goes
beyond rationality, expressed in such words as buzz,
excitement, fun and passion. This is produced in the
language, practices and repertoire of creative enterprises, as people express their identities, channelling
their emotional energy and their creative abilities
through their work. This distinctive quality of creative
businesses is culturally diffused and shared with the
audience. The radio disc jockey, the copywriter, the
games designer, each share their creative production and

ENTREPRENEURSHIP AND INNOVATION August 2005

emotional engagement with the audience. Their performance needs to be consistent and consonant with the
ongoing expectations and values of the audience, aiming
to gain attention, to entertain, and in a marketing sense
to result in a decision to buy.
Cultural diffusion requires the customer to engage as
an active participant, not simply as a passive consumer.
Cultural diffusion offers the audience a narrative
conversation of ideas and language through creative
media, requiring new ideas to attract and maintain their
interest. Innovating working in new, distinctive ways
is a negotiated process that meets cultural needs in a
different way, drawing customers with it, and distinguishing the enterprise from others. Cultural value is
generated in the symbolic exchange between producer
and consumer, and just as the producer is giving something of him/herself, so the customer identifies with the
enterprise. The cultural identity of the enterprise is
formed and enacted through the interactions between it
and the groups with which it engages. Participating in
selected networks, influencing opinion-formers and
being talked about in the right way are significant and
learned aspects of entrepreneurial working in the
creative economy (Leadbeater and Oakley, 1999).
Although every creative enterprise is unique in some
aspects, they face similar challenges in forging a
business from cultural tastes and discretionary spending.
This transformation of creative discourse into economic
and social activity is more complex than simple production and consumption. Cultural diffusion provides a
practical and conceptual means of understanding the
negotiated, interactive, informal and relational aspects
through which the creative enterprise is enacted. Enterprises that are able to enact the processes of cultural
diffusion effectively are more likely to succeed, by
working in dynamic and socially connected ways in a
rapidly evolving environment, than those that persist
with static notions of production and consumption:
People give me ideas about what the business could offer them,
and they want it to work they tell their friends! I think my
business will meet their social need (Val).

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