By Matthew Bannister
To what volume do indie masculinities problem the ancient building of rock tune as patriarchal? This key query is addressed by way of Matthew Bannister, concerning an in-depth exam of indie guitar rock within the Nineteen Eighties because the culturally and traditionally particular creation of white males. via textual research of musical and important discourses, Bannister presents the 1st book-length examine of masculinity and ethnicity in the context of indie guitar track inside US, united kingdom and New Zealand 'scenes'. Bannister argues that earlier theorisations of (rock) masculinities have tended to establish sorts of working-class deviance and actual machismo as 'straw men', oversimplifying masculinities as 'men behaving badly'. Such methods disavow the ways in which masculine energy is articulated in tradition not just via illustration but in addition highbrow and theoretical discourse. by means of re-situating indie in a historical/cultural context of paintings rock, he exhibits how masculine strength might be rearticulated via excessive, avant-garde, bohemian tradition and aesthetic idea: canonism, negation (Adorno), passivity, voyeurism and camp (Andy Warhol and the Velvet Underground), and primitivism and infantilism (Lester Bangs, Simon Reynolds). In a similar vein, he additionally assesses the effect of Freud on cultural conception, arguing that reversing binary conceptions of gender through associating masculinities with an essentialised passive femininity perpetuates patriarchal dualism. Drawing on his personal adventure as an indie musician, Bannister surveys various indie artists, together with the Smiths, the Jesus and Mary Chain, My Bloody Valentine and the Go-Betweens; from the U.S., R.E.M., the Replacements, Dinosaur Jr, Husker Du, Nirvana and hardcore; and from NZ, Flying Nun acts, together with the Chills, the fresh, the Verlaines, Chris Knox, Bailter house, and the Bats, demonstrating huge continuities among those it appears disparate scenes, by way of gender, aesthetic idea and ways to renowned musical heritage. the result's a ebook which increases a few very important questions about how gender is studied in pop culture and the measure to which substitute cultures can critique dominant representations of gender.
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To what volume do indie masculinities problem the ancient development of rock track as patriarchal? This key query is addressed by way of Matthew Bannister, regarding an in-depth exam of indie guitar rock within the Nineteen Eighties because the culturally and traditionally particular construction of white males. via textual research of musical and demanding discourses, Bannister presents the 1st book-length examine of masculinity and ethnicity in the context of indie guitar song inside of US, united kingdom and New Zealand 'scenes'.
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Extra resources for White Boys, White Noise: Masculinities And 1980s Indie Guitar Rock (Ashgate Popular and Folk Music) (Ashgate Popular and Folk Music)
It complicates the notion of audience to breaking point. The subcultural approach can also tend to produce a top-down model of power, which overlooks how power works within subcultural groups: ‘comparatively little attention … has been paid to the hierarchies within popular culture’ (Thornton, 1995, p. 7). In summary, ethnographic and subcultural approaches tend to be dominated by middle-class academics observing working-class or otherwise marginal subjects (Morgan, 1992, p. 4). 2 The researchers remain invisible, while certain other groups or themes become objectiﬁed as masculine.
This explains why Frankfurt School theories of culture are generally viewed as allowing too little space for individual agency and subjectivity. Femininity, for example, is not theorised other than as a negation or inversion of masculinity – again demonstrating how rational dualisms lead to essentialisation of the other. Jessica Benjamin comments: The idea of rationalization forms a bridge between intellectual history and the history of social and economic relations. It describes the essence of modern social practice and thought.
Moreover, his concentration on leisure activities in the public domain, or, in rock parlance, ‘the street’, means the domestic sphere is excluded, along with the institutional sites of hegemony (school, work, home), opening the text to charges of being self-referential and apolitical (McRobbie, 1990, p. 69). The focus on the UK raises the question of how far these subcultures exist overseas – even in the British context the book was criticised as being Londoncentred (Clarke, 1990, p. 86; McRobbie, 1990, p.
White Boys, White Noise: Masculinities And 1980s Indie Guitar Rock (Ashgate Popular and Folk Music) (Ashgate Popular and Folk Music) by Matthew Bannister