Boyfriends (and other friends) trying to call you got repeated busy signals on their end of the line if your siblings were tying up the house phone. The more siblings, the less chance you had to get any real phone time in. Smoke signals would have been easier.
Despite this generation's predilection for Internet contraband, we can easily be ushered back into the fold of legality. We have benefited from a reign of anarchy on the Internet because we are opportunistic, not delinquent.
How on earth did we get to a stage where paying £10 for unlimited amounts of music was seen as a rip-off? Artists saw little revenue from Spotify, and potentially had money taken away from their sales.
Years ago, the iTunes store was the only hope for the future of recorded music. Ten billion downloads later -- this laissez-faire attitude towards iTunes is the problem contributing to the devaluation of the album experience.
I hate to be Debbie Downer, but the Internet hasn't really changed anything for how we acquire and consume culture, at least not when it comes to how the business of art needs to work in order to sustain itself.
As in any ecosystem, a new and parasitic mutation is coming to fill the void, giving us the tunes that will become part of our lives, our history, our shared cultural identity. I speak, of course, of the jingle.