"Every Home Is Wired": 4 -- Towards a Strategic Progressive Rock Community

"Every Home Is Wired":
4 -- Towards a Strategic Progressive Rock Community

This is strongly reminiscent, on the other hand, of the history of Progressive Rock after its first fall from (the music industry's) grace in the late 1970s: here, too, the genre could begin a new phase in its development without influence from 'big business' interests and eventually emerge from its underground existence, newly consolidated and with its own business institutions. Rather than limiting to the bands' and the genre's financial viability, the main effect of this lack of 'big business' interest can be liberating: for those willing and able to do so, being forced to control their fortunes themselves can be an opportunity.¹	Bit 4
Still, questions of viability remain important; even artists must earn a living. Being able to do so depends centrally on the availability (at reasonable cost) of the technologies used for music production and marketing, conditions which are met in today's technoscape: "the very accessibility of music industry technology ... has provided the pre-requisite for a counter-reaction against the transnationalisation of music" (Wallis & Malm 270); also, the Internet has helped small businesses to market globally to widely dispersed mass audiences.	Bit 5

This is strongly reminiscent, on the other hand, of the history of Progressive Rock after its first fall from (the music industry's) grace in the late 1970s: here, too, the genre could begin a new phase in its development without influence from 'big business' interests and eventually emerge from its underground existence, newly consolidated and with its own business institutions. Rather than limiting to the bands' and the genre's financial viability, the main effect of this lack of 'big business' interest can be liberating: for those willing and able to do so, being forced to control their fortunes themselves can be an opportunity.¹

Bit 4

Still, questions of viability remain important; even artists must earn a living. Being able to do so depends centrally on the availability (at reasonable cost) of the technologies used for music production and marketing, conditions which are met in today's technoscape: "the very accessibility of music industry technology ... has provided the pre-requisite for a counter-reaction against the transnationalisation of music" (Wallis & Malm 270); also, the Internet has helped small businesses to market globally to widely dispersed mass audiences.

Bit 5

Section 4 -- Go on to Bite:

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