"Every Home Is Wired": 1 -- The Net in Relation to Music Subcultures

"Every Home Is Wired":
1 -- The Net in Relation to Music Subcultures

The networks "make possible a denser, more intense interaction between members of communities who share common cultural characteristics, notably language; and this fact enables us to understand why in recent years we have been witnessing the re-emergence of submerged ethnic communities" (A. Smith 175), as well as that of communities founded on shared tastes and other factors. We see, thus, the move from a local based merely on the accidents of geography to a virtual local; "the symbolic construction of community through space remains as strong as ever, but the symbol of that space or, more precisely, the meanings invested in that space, is what changes" (Guilbault 37). This is a natural effect of global electronic media, and one envisaged by McLuhan & Powers -- "culture becomes organised like an electric circuit: each point in the net is as central as the next" (92).	Bit 18
Again, this limits the global industry players' influence -- as a direct result of globalisation, cultural production for specific virtually 'local' subcultures is now also commercially viable: in the case of music "the simplification of customs procedures and the transfer of goods and currency could be of greater benefit to smaller music business organisations, notably those whose audiences are scattered across the continent rather than centred on one linguistic or cultural group" (Laing 132), and are more than ever ready to buy music from abroad. Thus, "the transnational corporations of the world, in creating a fragmented global consumership, have also created a transnational population that shares globalised cultures while at the same time celebrating cultural uniqueness" (Campbell Robinson et al. 276).	Bit 19

The networks "make possible a denser, more intense interaction between members of communities who share common cultural characteristics, notably language; and this fact enables us to understand why in recent years we have been witnessing the re-emergence of submerged ethnic communities" (A. Smith 175), as well as that of communities founded on shared tastes and other factors. We see, thus, the move from a local based merely on the accidents of geography to a virtual local; "the symbolic construction of community through space remains as strong as ever, but the symbol of that space or, more precisely, the meanings invested in that space, is what changes" (Guilbault 37). This is a natural effect of global electronic media, and one envisaged by McLuhan & Powers -- "culture becomes organised like an electric circuit: each point in the net is as central as the next" (92).

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Again, this limits the global industry players' influence -- as a direct result of globalisation, cultural production for specific virtually 'local' subcultures is now also commercially viable: in the case of music "the simplification of customs procedures and the transfer of goods and currency could be of greater benefit to smaller music business organisations, notably those whose audiences are scattered across the continent rather than centred on one linguistic or cultural group" (Laing 132), and are more than ever ready to buy music from abroad. Thus, "the transnational corporations of the world, in creating a fragmented global consumership, have also created a transnational population that shares globalised cultures while at the same time celebrating cultural uniqueness" (Campbell Robinson et al. 276).

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Section 1 -- Go on to Bite:

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