Rapid online copying now kills new music scenes before they mature

Evidence

I used to go Raves when I was younger, went through that whole explosion in electronic music from 1987 to around 1992-93 when it seemed like there was a new genre every single week. It was an amazing time in music to hear so many things happening and so many new possibilities opening up and to see and feel the energy of new music exploding on dancefloors and in clubs. I think The Death Of Rave is about the loss in that spirit and a total loss of energy in most electronic musics across the board. … Of course new things pop up but the difference now really is that if something explodes then before it can grow naturally people have strangled it to death with parodies online and often a scene or new style is dead before it even surfaces. House and Techno for instance took a long time to mature in Chicago and Detroit, now there is no time, once an idea is out of the rabbit’s hat it’s copied ad infinitum until the energy is gone. — Mark Fisher, Ghosts of My Life, 250

Categorization

• QUESTION: Is Kirby’s claim — that 80s-90s genres matured because no internet existed to strangle them — empirically checkable, or partly nostalgia? Worth contrasting with the Detroit/Chicago histories.
• XREF: connects to: The past is a target of systematic underestimation by PR. — Mark Fisher, Ghosts of My Life: Writings on…, 67; Media acceleration is a convention of time-equals-money, not necessity — Mark Fisher, Ghosts of My Life: Writings on…, 420; Perfect digital archivisation kills the evanescence that made media culturally fertile — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 370 (+1 more)

Broader Connections

• Perfect digital archivisation kills the evanescence that made media culturally fertile #contradicts (0.75) — Mark Fisher (edited by Darren Ambrose), K-Punk, 370
• Free downloading can benefit the music industry through sampling effects #qualifies (0.72) — Andrew deWaard, Derivative Media, 1373