Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"To what extent do indie masculinities challenge the historical construction of rock music as patriarchal? This key question is addressed by Matthew Bannister, involving an in-depth examination of indie guitar rock in the 1980s as the culturally and historically specific production of white men. Through textual analysis of musical and critical discourses, Bannister provides the first book-length study of masculinity and ethnicity within the context of indie guitar music within US, UK and New Zealand 'scenes'. Bannister argues that past theorisations of (rock) masculinities have tended to set up varieties of working-class deviance and physical machismo as 'straw men', oversimplifying masculinities as 'men behaving badly'. Such approaches disavow the ways that masculine power is articulated in culture not only through representation but also intellectual and theoretical discourse. 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). In a related vein, he also assesses the impact of Freud on cultural theory, arguing that reversing binary conceptions of gender by associating masculinities with an essentialised passive femininity perpetuates patriarchal dualism. Drawing on his own experience as an indie musician, Bannister surveys a range of indie artists, including The Smiths, The Jesus and Mary Chain, My Bloody Valentine and The Go-Betweens; from the US, R.E.M., The Replacements, Dinosaur Jr, HÃơsker DÃơ, Nirvana and hardcore; and from NZ, Flying Nun acts, including The Chills, The Clean, the Verlaines, Chris Knox, Bailter Space, and The Bats, demonstrating broad continuities between these apparently disparate scenes, in terms of gender, aesthetic theory and approaches to popular musical history. The result is a book which raises some important questions about how gender is studied in popular culture and the degree to which alternative cultures can critique dominant representations of gender."--Provided by publisher.

Alternative rock music --- Masculinity in music. --- History and criticism. --- Alternative music --- Alternative pop/rock music --- Indie music --- Music --- Rock music --- Masculinity in music --- History and criticism

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

In this book, music scholar David Ensminger offers a collection of compelling interviews with legendary roots rock and indie artists who bucked mainstream trends and have remained resilient in the face of enormous shifts in the music world. Ensminger brings to light the highways and byways trod by these music icons over the course of their careers.

Alternative rock musicians --- Alternative rock music --- Alternative music --- Alternative pop/rock music --- Indie music --- Rock music --- Rock musicians --- History and criticism.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Music in Range explores the history of Canadian campus radio, highlighting the factors that have shaped its close relationship with local music and culture. The book traces how campus radio practitioners have expanded stations from campus borders to sur-rounding musical and cultural communities by acquiring FM licenses and establishing community-based mandates. The culture of a campus station extends beyond its studio and into the wider community where it is connected to the local music scene within its broadcast range. The book examines campus stations and local music in Vancouver, Winnipeg, and Sackville, NB, and highlights the ways that campus stations-through music-based programming, their operational practices, and the culture under which they operate-produce alternative methods and values for circulating local and independent Canadian artists at a time when ubiquitous commercial media outlets do exactly the opposite. Music in Range sheds light on a radio sector that is an integral component of Canada's musical and cultural fabric and positions campus radio as a worthy site of attention at a time when connectivity and sharing between musicians, music fans, and cultural intermediaries are increasingly shaping our experience of music, radio, and sound.

Broadcasting policy --- Radio and music --- Community radio --- College radio stations --- Broadcasting --- Broadcasting and state --- Mass media policy --- Music and radio --- Music --- University radio stations --- College facilities --- Radio stations --- Association radio --- Community-access radio --- Free radio --- Local mass media --- Radio broadcasting --- Alternative radio broadcasting --- Ethnic radio broadcasting --- Government policy --- CHMA. --- CKLN. --- CKUW. --- CiTR. --- Discorder. --- Mint Records. --- Mount Allison University. --- Ryerson. --- Stylus. --- UBC. --- University of British Columbia. --- University of Winnipeg. --- alternative music. --- campus-community. --- college radio. --- educational radio. --- indie music. --- local music scene. --- mandate. --- policy. --- program grid. --- regulation. --- student radio. --- university radio.