To what extent do indie masculinities challenge the historical construction of rock music as patriarchal?
THEY DON'T
indie guitar rock in the 1980s as the culturally and historically specific production of white men
THAT'S WHY IT'S SHIT
By re-situating indie in a historical/cultural context of art rock, he shows how masculine power can be rearticulated through high, avant-garde, bohemian culture and aesthetic theory: canonism, negation (Adorno), passivity, voyeurism and camp (Andy Warhol and the Velvet Underground), and primitivism and infantilism (Lester Bangs, Simon Reynolds).
YUCK
Drawing on his own experience as an indie musician
AARGHHH
the Smiths, the Jesus and Mary Chain, My Bloody Valentine and the Go-Betweens; from the US, R.E.M., the Replacements, Dinosaur Jr, Hüsker Dü, Nirvana and hardcore; and from NZ, Flying Nun acts, including the Chills, the Clean, the Verlaines, Chris Knox, Bailter Space, and the Bats
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timeasmymeasure
no subject
Date: 2006-06-02 03:21 pm (UTC)THEY DON'T
indie guitar rock in the 1980s as the culturally and historically specific production of white men
THAT'S WHY IT'S SHIT
By re-situating indie in a historical/cultural context of art rock, he shows how masculine power can be rearticulated through high, avant-garde, bohemian culture and aesthetic theory: canonism, negation (Adorno), passivity, voyeurism and camp (Andy Warhol and the Velvet Underground), and primitivism and infantilism (Lester Bangs, Simon Reynolds).
YUCK
Drawing on his own experience as an indie musician
AARGHHH
the Smiths, the Jesus and Mary Chain, My Bloody Valentine and the Go-Betweens; from the US, R.E.M., the Replacements, Dinosaur Jr, Hüsker Dü, Nirvana and hardcore; and from NZ, Flying Nun acts, including the Chills, the Clean, the Verlaines, Chris Knox, Bailter Space, and the Bats
ALL BEYOND AWFUL
TAKE THIS AWAY FROM ME