"Every Home Is Wired":
1 -- The Net in Relation to Music Subcultures
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Localisation?
We may be witnessing, therefore, "the emergence of a multitude of new types of music arising out of new living conditions and new music technologies" (Wallis & Malm 324). This is the case not only for music, as Appadurai points out: "at least as rapidly as forces from various metropolises are brought into new societies they tend to become indigenised ... : this is true of music and housing styles as much as it is true of science and terrorism, spectacles and constitutions" (295). It is especially in the field of popular music, however, that such indigenised world influences can in turn be broadcast out of the local area again, too (using the same channels that allowed the influx of foreign elements), so that the changes become mutual. This is different from homogenisation: "while the popular culture industries may provide social actors with a common stock of cultural resources, the way such resources are culturally re-worked as collective sensibilities will in every instance depend upon the conditions of locality, that is, upon the particular social discourses and practices which inform the daily lives of individuals in the places where they live" (A. Bennett 98). Bit 12
Thus, the very process of globalisation "has at the same time enabled local, lower-class and marginal peoples to make their voices heard as never before" (Manuel 228).4 This outcome also shows that in the new, globalised environment the major players' oligarchic powers have become more and more difficult to enforce: "the transformation of the business side of the music industry into a number of giant concerns has not stopped small enterprises, often run by enthusiasts, from cropping up everywhere" (Wallis & Malm 270). Bit 13

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© 1998 Axel Bruns