I'd just like to posit that, in the UK at least, rave and the beginnings of drum and bass were the last pre-digital youth/music based counter culture. Not that I'm trying to call him out as wrong, I wouldn't expect Gibson to be a massive rave aficionado.
I think this article also shows up something about youTube I've noticed within my social group. It's half a decade old and yet it's become pervasive and it feels almost like it's always been there. Friends have said that like me they feel like they've been using it since about the turn of the century.
In Australia where in many ways it felt like we were second-hand consumers of UK rave/dnb culture, the "digital" was a big part of that experience in the early 90s.
Think of all the newsgroups, mailing lists and blogs. Think hyperreal.org and the community around all that.
The music itself may not have spread digitally as we saw from the mid-90s onwards, but discussion of the music certainly did.
Hyperreal was an integral part of a lot of the local scenes in North America, too. Ishkur, who is something of an Internet rave culture celebrity, known for his guide to electronic music, guide to rave culture, and his rave captions project, once posted an essay to the nw-raves mailing list arguing that rave culture was inherently a geek culture. Which was arguably true for the PNW and northern California.
I think this article also shows up something about youTube I've noticed within my social group. It's half a decade old and yet it's become pervasive and it feels almost like it's always been there. Friends have said that like me they feel like they've been using it since about the turn of the century.