"Every Home Is Wired": 1 -- Endnotes

If you followed a link from the thesis text, the yellow arrows will lead you back to the bite you came from.

1	The importance of music on the Internet mirrors other, more traditional media like radio and television: TV programmes without musical accompaniment are today virtually unthinkable, and there are shows and even stations dedicated solely to music. For radio, the case is even more obvious, as the vast majority of stations are almost entirely devoted to providing a continuous soundtrack to their listeners' lives. Even the print-based media regularly concern themselves with the extensive coverage of events in the music business.
2	The number and the names of these organisations may vary with the formation and termination of strategic partnerships between them, and with the particular research focus either on the music production industry or on the entertainment or media industry in general; the overall oligopoly remains, however.
3	In 1992 Laing noted that the "commercial success by producers and singers from Continental Europe seems to suggest that the 1990s may see a global shift of power in popular music away from the Anglo-American axis whose domination reached its zenith in July 1985 when the Live Aid concerts reached an estimated billion television viewers with music from artists drawn exclusively from Britain and North America" (127).
4	Wallis & Malm relate an anecdote from Wales to point out this paradox: "shortly after Decca was bought up by Polygram in 1979, their Welsh catalogue was discontinued as part of a rationalisation drive. At the same time in Wales, however, there was an expanding number of small producers documenting and spreading more Welsh culture via sound recordings than ever before" (xiii).

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© 1998 Axel Bruns