"Every Home Is Wired": 2 -- The Progressive Rock Subculture and the Net

"Every Home Is Wired":
2 -- The Progressive Rock Subculture and the Net

Thus, as questions of the Prog canon (of what music is central or marginal to Prog and where genre or sub-genre boundaries lie) remain important, the fans also remain central to the subcultural community. Perpetually defining and redefining Prog's styles, fans are continually analysing the bands' offerings, and anticipate and comment on musical developments and band politics. Not only where self-declared non-Prog bands are drawn into the genre, thus, are tactics important in the relationships fans form with their artists.	Bit 27
The Importance of Heterogeneity
Thus, from the history of Prog Middleton's questions "Is progressive rock ... a single phenomenon at all? If so, what makes it such? Is the variety itself significant? Is it connected with the variety of radical movements actually making up the counterculture?" (28) can be answered. Central for Progressive Rock is that it arose "right in the middle of complex situational change, where the social formation and the musical culture are characterised precisely by heterogeneity and seemingly transient affiliations" (Middleton 27): namely, the 1960s counterculture. From this and its own ethos of progression, Prog has inherited its structure: the genre is open to new influences, and as a result is "a particularly heterogeneous genre (compared to, say, rock'n'roll, which is fairly tightly defined)", as Middleton points out (28). Indeed, Prog thrives on cultural heterogeneity; only a wide variety of outside styles can supply its raw materials -- this accounts for the genre's highs and lows: its stagnation when it became a leading genre itself, its demise at the height of the punk era, its recovery among the stylistic confusion of the early 80s, its difficulties under the renewed dominance of pop, and finally the revival in the fragmented musical environment of the 90s.	Bit 28

Section 2 -- Go on to Bite:

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