A Taste of Indie: Taking a Closer Look into The Identity of an Indie Head

A Taste of Indie: Taking a Closer Look into The Identity of an Indie Head

Hannah LePage Popular Music & Identity Professor Avant-Mier May 8, 2010

A Taste of Indie: Taking a Closer Look into The Identity of an Indie Head

Separating Them From The Bunch Long messy brown hair falls down her back, wayfarers covering her eyes, and a vintage housedress she picked up at the thrift store hangs on her all organic-vegan-fed frame. She parks her fixed-gear bike in front of the local coffee shop in Williamsburg, Brooklyn, NYC. She reaches into her basket and grabs a stack of hand-drawn posters advertising a local bands upcoming concert. On the weekends she supports local talent and frequents the record store scavenging for treasures. Her shelves are packed with books on art and philosophy and her closet is filled with vintage rags. She surrounds herself with like-minded individuals who discuss openly their strong liberal views, and her only Republican friend she refers to as just that. Some band you have probably never heard of is playing in her ear, and by the time you have heard of it, she is on to the next no-namer. She is an indie head. The foundation of indie music dates back to Britains Mod era during the 1960s with the birth of rock bands such as The Who and The Clash. What separated these bands from others was their rebellious attitude and outspoken nature. These bands would later come to influence many indie bands of the 1980s and 1990s. Later came the emergence of indie music in the U.S. during the 1980s. Most recently during the 2000s, the indie scene has had a revival with bands like Bloc Party, Arctic Monkeys, Kasabian and Franz Ferdinand. In addition, indie music presents an obsession with authenticity and archivalism, most specifically adopting traits of the 1960s hippie counterculture. Acclaimed artists from the 1960s like The Zombies, The Velvet

A Taste of Indie: Taking a Closer Look into The Identity of an Indie Head Underground, Janis Joplin, Jimi Hendrix remain popular classic indie bands today. Today the heart of indie life throbs in young urban areas like Williamsburg, Brooklyn and Los Angeles.

Indie can literally be translated as independent. The independent culture is an avant-garde lifestyle in which one consciously deviates from commercialism and mainstream life. Replacing these ideals is the Do-It-Yourself approach that lies at the heart of independent thought. This unique culture allows individuals to discover purer qualities of art, whether it is music, visual art or film. In indie music, this independence of artists in different cases may be real or perceived. A perceived independence places emphasis on retaining a creative independence rather than literal separation from major labels. Songs of this genre will also often include unconventional instruments, such as the accordion or banjo. With this being said, rarely will you find a band that falls solely under the genre of indie. Most commonly one band may fall under various overlapping genres. Some examples would be Black Kids, a band out of Jacksonville Florida, fitting under the labels of indie pop, indie rock, synthpop, dance punk and alternative dance. Cat Power, a popular indie band falls under four genres of indie rock, indie pop, folk rock and sadcore. Similarly if you were to look The Shins up on Wikipedia you would find that they are categorized as indie rock, alternative rock and even indie pop. Naturally this desire to be independent often extends beyond the music industry. This trend of uniqueness and individuality follows into indie fashion trends as well. A rejection of brand names and an appreciation for all things vintage and second-hand embody the indie fashion mindset. Fetishizing the authentic, the indie fashion head borrows previous styles to date to create an iconic carefully sculpted just-out-of-bed vintage look. Stores like TopShop and Miss Selfridge, both originally out of London, have capitalized on Indie fashion trends such as these.

A Taste of Indie: Taking a Closer Look into The Identity of an Indie Head Like all other styles, indie fashion has developed its own stereotypical look. As a male indie head, only shaggy to shoulder-length hair will do, complimented of course by a beard and or mustache. He wears tight pants, and classic black Chuck Taylor on his feet. Under his plaid button-down he lets his washed out 80s screen print tee peek through so onlookers can read his all-too-witty humor. Similarly the female indie head plays with her gender with a 1940s hairstyle, and a cocktail of flirty floral prints, Oxford shoes and possibly even a pair of suspenders. In following this look, he or she may often mistakenly be labeled as a hipster. This word is most often used in a derogatory sense to describe people who follow indie fashion trends. This term often refers much more to appearances of cool rather than an independent way of life.

A Reflection On Those Who Have Come Before: In his article, Loaded: indie guitar rock, canonism, white masculinities, Mathew Bannister discusses the canon of the indie culture. He also emphasizes the masculinity of indie music through the rock tradition. Bannister argues that the historical, social and cultural context of indie music cannot be overlooked when studying the genre. Specifically, Bannister focuses his study on indie guitar rock. He argues that the genre projects an underlying masculinity through the primary presence of the guitar. Canon, a term that would seem foreign to indie, Bannister suggests is an inherent trait of it. He states, the prevalence of guitars is a preliminary indication of indies canonical nature (Bannister 2006, 78). He is arguing that while it seems like the indie culture was born out of a defiance of tradition, it actually holds a great deal of canonism in its roots. Bannister defines canon as an authoritative list of those works and authors whom the

A Taste of Indie: Taking a Closer Look into The Identity of an Indie Head establishment considers major (Childers and Hentzi, 37) (Bannister 2006, 80). He argues that this canon of indie music is both formulated by and represents white men. Bannister also touches upon a theme close to the indie culture, archivalism. He argues that archivalism holds more importance than simply a means of subversion. As he states, Canon-related practices such as archivalism are not simply cataloguing of the past- they are political and selective there is an assumption here that independence is always a form of negotiation with the dominant culture, a much more complex and ambiguous notion than simple resistance. (Bannister 2006, 78)

This notion of negotiation is what most often gets over looked within the independent culture. In this way we can relate it to communication as political. The culture draws back on previous decades to send a message to present day mainstream society. Indie is in a way a classic movement. Through this backward-looking approach, it births a new authenticity. In relation to this notion of authenticity, Bannister examines the role of purity within the indie culture. Whenever the issue of purity is brought up, an opposite of impurity is implied. There then becomes the question of what constitutes pure or impure music of a certain genre. As Bannister states, ideas about separating, purifying, demarcating and punishing transgressions have as their main function to impose system on an inherently untidy experience. It is only by exaggerating the difference between within and without that a semblance of order is created (Bannister 2006, 87). This purity creates a unity of experience, however it also creates what Bannister refers to as an otherness. In indies case, this otherness is mainstream culture. Lastly, Bannister argues that indie was created in reaction to a sexist and hypersexualized mainstream society. He labels indie as a pre-sexual or asexual purity that broke away from traditional rock. He concludes, this asexuality was not only a reaction to the hyper sexuality of 1980s mainstream, but also an attempt to accommodate feminist critiques of rock as

A Taste of Indie: Taking a Closer Look into The Identity of an Indie Head

sexist (Bannister 2006, 92). This relates back to Bannisters previous point that indies purpose is much deeper than a mere form of resistance. Instead it rejects certain ideals in mainstream society in order to create ones deemed more pure. In a second study, Wendy Fonarow writes on the identity of indie music in her book, Empire of Dirt: The Aesthetics and Rituals of British Indie Music. In her book, Fonarow explores the identity of indie music and attempts to uncover the particular type of music this genre exudes. In a review of the book, Allan Moore reflects, she appears much more interested in the idea of indie, rather than its aural trace (Moore 2008, 293). This may be because it is more of the idea of indie rather than an obsession with a particular sound that distinguishes the culture. In her study, Fonarow recognizes the foundation of the indie community and the class, racial and gender layers of its identity. Indie fans come from a cross-section of classes, from unemployed youth on government relief to affluent private school students. However, much of the indie fan base comes from a middle-class background. In Britain, two-thirds of the indie community is male, one-third female. Indie is also primarily a white phenomenon that has very little participation from other ethnic communities, which compromise on average only between 1 and 3 percent of an audience on any given night. (Fonarow 2006, 12)

With this being said, Fonarow proceeds to acknowledge female indie artists such as The Pixies, a Boston band considered to be a major influence on indie music, that features Kim Deal on bass. She continues to note more recognizable female figures as well as other minorities that have been creeping up on the indie scene. Also with recognizing this tradition of masculinity in indie music, Fonarow stresses the common reference to indie music as feminine and wimpy. It seems a self-contradiction that such a traditionally masculine genre could evoke such emotions.

A Taste of Indie: Taking a Closer Look into The Identity of an Indie Head She also reminds us that the indie culture is one of relevance to the youth culture. Indie music requires an understanding of the youth community, why people enter it, why people leave it, and what it means when it has been left behind (Fonarow 2006, 2). This bond between indie music and youth culture is what keeps the genre changing with the times. In relation to this, Fonarow defines indie music to be a ritual process of communication. She explains, Rituals address cultural conflicts and contradictions. Indie music performance and ideology are an expression of cultural values regarding the role of art, emotion, the body, asceticism, youth and the nature of creativity in modern Western industrial society (Fonarow 2006, 2). As a ritual process, by its nature, the indie community is a reflection on all aspects of present culture. Fonarow argues that indie is an ethos, a way of life. With so many indie artists being a contradiction to their own genre, it seems there must be an alternate identity that transcends a distinctive sound, fashion, mode of production, and performance style (Fonarow 2006, 51). Indie is in itself a contradiction of sort, but one that we can still identify through a particular attitude.

A Call To Action If we study independent music similarly to how we study popular music, both as a category of music that includes various subgenres, and as a ritual process of communication, we can attempt to clarify the indie identity. There are few bands that fall solely under the category of indie music, one of which being Play Radio Play. However, what authority does a website such as Wikipedia have to decide whether or not a band is considered to be indie or pop? Furthermore,

A Taste of Indie: Taking a Closer Look into The Identity of an Indie Head what does it mean for a particular band to fall under the category of indie pop? I would argue that there must be some aspect other than a concrete contract with a major-label that distinguishes a band as popular or indie. This perceived independence is what I aim to examine and define more clearly. Within this notion of the perceived, we find most prevalently a concern for a purity of creativity in the indie genre. We must demand a culture such as this to encourage creative abilities and expressions of all forms. To be independent not only in the music industry but in all aspects of life means to be

responsible for pleasing one person, yourself. This independent mindset allows for an acceptance and ingenuity that surpasses any other genre of music. I plan to explore the question of whether or not indie music can be defined as a particular type of sound, and if so what that sound is. I will approach indie music under the ritual view of communication where it involves the participant listener and their reception of the music. In doing this, I hope to arrive at a better understanding of the relationship between music and the individual and the influences on both. First I will give a lyrical analysis by studying a selection of indie lyrics. Then I am going to do an ideological analysis of Indie music. By examining the culture of pop music, I will attempt to clarify indie music through comparisons and contrasts. Most often, indie music is studied in terms of its political significance and its significance as a method of subversion. However, less has been said about what exactly defines the ideals behind indie lyrics. Drawing similarities of such measures will help us clarify a better image of not only the indie sound but the indie thought as well. By sampling some lyrics of indie music, I aim to define the ideals, specifically of love and gender, that the indie culture speaks for.

A Taste of Indie: Taking a Closer Look into The Identity of an Indie Head Lets get away Many indie lyrics focus on the struggle to escape from the constraints of society. They

express a concern with the obstacle of conforming to something you are not. Trust your instincts, trust yourself. Dont be led astray by society or anyone else. In their song, Girl Inform Me, The Shins reflect on the insignificance of our daily lives. This new confection has left me wondering why I can't concern myself with ordinary trite. Like what's this morning's paper got to say, and which brand of coffee to make, this is no umbrella to take into the wind (The Shins 2001). These issues that people concern themselves with are not what is important. They distract us from leading a better experience. They suggest that we must concern ourselves with something greater, something beyond the horizon. This is a major commentary on our society and the unimportant activities that we consume our lives. In a similar light, Rilo Kiley speaks on our inactive state as individuals in society. In her song, The Good That Wont Come Out, Kiley talks about a common indie activity, that of conversation and reflection on the flaws of society. She remarks on the irony of this activity, in that by talking about it, we are not necessarily acting on anything. Let's get together and talk about the modern age. All of our friends were gathered there with their pets just talking shit about how we're all so upset about the disappearing ground. As we watch it melt.... It's all of the good that won't come out of us and how eventually our hands will just turn to dust, if we keep shaking them. (Kiley 2002)

The image of idol hands references our failure to act on our convictions. Kiley is mocking those who sit around and discuss the problems of society but yet do nothing about it. When she speaks of the good that wont come out of us, she is referring to our potential to make a difference. However we must access this potential and call upon it for it to have any significance.

A Taste of Indie: Taking a Closer Look into The Identity of an Indie Head Lastly, Death Cab for Cutie remarks on the merging of soul and body in our human experience. In their song, Soul Meets Body, they refer to this merging point as a destination that one reaches, a far off place. I want to live where soul meets body, and let the sun wrap its arms around me, and bathe my skin in water cool and cleansing, and feel, feel what its like to be new. Cause in my head theres a greyhound station where I send my thoughts to far off destinations. So they may have a chance of finding a place where theyre far more suited than here. And I cannot guess what we'll discover when we turn the dirt with our palms cupped like shovels. But I know our filthy hands can wash one anothers and not one speck will remain. And I do believe its true that there are roads left in both of our shoes, but if the silence takes you then I hope it takes me too. (Death Cab for Cutie 2005).

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Life is perceived as a journey, and the place where soul meets body is the destination. There is the implication that there is some world more desirable than this one. The washing of each others hands suggests a concept of love based on friendship. This pursuit of the truth and the companionship along the way is the embodiment of indie thought.

All you need is love We can view the image of love from two perspectives within the indie genre, that of male and that of female artists. Within both views however, we get a similar idea of love, that is one of innocence and tenderness. In the male perspective, we are given an ideal of love founded upon freedom and companionship. Men want a woman who is clever yet passionate. In their song, Sea Legs, The Shins present the image of love as a seascape. Girl, if you're a seascape, I'm a listing boat, for the thing carries every hope. I invest in a single lie. The choice is yours to be loved. Come away from an emptier boat Throw all consequence aside and a cheerless pyre we will set alight. (The Shins 2007).

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They suggest you must enter love by throwing caution to the wind, in this image quite literally. The boat is there to rescue her from an empty life without love. In this image however, the girl is presented with the choice to be loved as opposed to it being forced upon her. Self-awareness also appears to be an important aspect of love within the indie ideal. In their song, I Will Possess Your Heart, Death Cab for Cutie speaks on this aspect of love as reflection. There are days when outside your window, I see my reflection as I slowly pass. And I long for this mirrored perspective when we'll be lovers, lovers at last (Death Cab for Cutie 2008). This reflection of seeing ourselves clearly and seeing ourselves in another is essential to our understanding of love here. From the female perspective, we find a somewhat parallel view of love. Indie pop, folk artist, Ingrid Michaelson, gives a sarcastic critique on society in her song, You and I off her album, Be OK. In the song, she uses a witty humor to comment on a bourgeois society and an image of love. Don't you worry, there my honey. We might not have any money, but we've got our love to pay the bills Oh, let's get rich and buy our parents homes in the South of France. Let's get rich and give everybody nice sweaters and teach them how to dance. Let's get rich and build our house on a mountain making everybody look like ants from way up there, you and I, you and I, you and I. (Michaelson 2008).

Michaelson presents a mentality in which all you need to be happy is love. The suggestion of paying the bills with love seems absurd. So does the suggestion of buying people sweaters and teaching them how to dance. However, this desire for a love of companionship is typical of indie thought. This inclination to separate oneself from society and live a different life is characteristic of the indie culture. She flaunts a quirky carefree attitude with no concern for how she will be received by society.

A Taste of Indie: Taking a Closer Look into The Identity of an Indie Head In another song, Breakable off her album, Girls and Boys, Michaelson speaks on our

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fragility as humans, both men and women alike. Her view of love is one of delicate emotions and young eager hearts. Have you ever thought about what protects our hearts? Just a cage of rib bones and other various parts. So it's fairly simple to cut right through the mess, and to stop the muscle that makes us confess. And we are so fragile, And our cracking bones make noise, and we are just, breakable, breakable, breakable girls and boys. (Michaelson 2006)

It is important to note in this case that Michaelson makes no distinction between gender, as she refers to breakable girls and boys. She exposes us alike as emotional beings, by reducing us to nothing more than the bones that protect our hearts. Michaelson points out how easily influenced we are by love. The heart is a muscle, one that we try to protect at all costs. If we understand indie music within the ritual view of communication, it involves the participant listener and their reception and reaction to the music. Indie is using music as a diary on a journey to find our place in the world. It is a language that everyone can use and understand, the language of pathos. For indie, suffering is the sign of the elect statusit demonstrates sensitivity and depth of character. Because of their contemplative melancholia, indie fans view themselves as the elect who can recognize the truth in music (Fonarow 2006, 56). In this sense, indie can be perceived as a search for the truth.

Finding an Identity Beyond The Lyrics Often times when musicians make the transition from independent to signing with a major label, their place and credibility in the indie community is greatly diminished. Now seen as popular and no longer indie, these bands are often labeled as sell-outs. This is a struggle that all artists must face when gaining a fan base. However, we must recognize that this independence,

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both perceived and real is not so black and white but rather a continuum of identity. There is no clear line to be drawn between pop and indie, mainstream and underground. This struggle of placing ourselves on the continuum of independence is one that we all face as individuals in one society. What distinguishes independent record labels is their minimal influence on the artists they work with and their attempt to avoid artist-cultivating behavior that is often associated with the major record labels. The Los Angeles independent record label, Sea Level Records, was started by two college friends, Todd Clifford and Graham MacRae. A disclaimer on their web site reads, If you want to be a rock star, then thats great, but just please do it on someone elses time and with someone elses money. We want to work with artists who are serious about telling stories, painting picture with sound, and willing to try something a little different (Iacono 2002, 90). This readiness to test new ideas is keeping record labels like this one a step ahead.

Leading The Pack If we were to study the case of The Shins as an example of the indie genre, we could discover much about the Indie genre. The New Mexico natives form a fitting model for a successful Indie band that has managed to stay authentic to indie music. Their music first became popular through their prominent role on the soundtrack of the 2004 independent motion picture Garden State. With a sound that draws form multiple musical genres from alternative rock, to alternative country and diving head first into folk, The Shins can now add pop to their latest list. In his article, Recording Notes: The Shins Sticking Close to Home, John David Farinella commends the Albuquerque natives for their sonic virtues, and their influence for the (past six years standing near the top of the indie music mountain (Farinella 2007, 117). In particular,

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the interview narrows in on the creative talents exercised by front man - singer, songwriter and guitarist, James Mercer. Instead of speaking directly with Mercer, however, Farinella gets the story through the bands producer, Joe Chiccarelli. His intimate relation with the band allowed for an in-depth look into production and thought-process behind their innovative sound. According to Chiccarelli, Mercers attention to lyrical quality over quantity drove the son choices. The thing I love about him is hes so particular about his lyrics and he really takes time with them, Chiccarelli says. He could have the greatest track in the world, but if he was not feeling great about the lyrics, he doesnt even want to finish the song. Its really important to him that every word, every rhyme really have some meaning; its not just a word thrown in there. (Farinella 2007, 117)

The purity and quality of music is the most important concern for indie artists. Being true to himself and his own sound as an artist, Mercer thrives on finding new ways to create his music. Their song, Sea Legs, for example, features a rhythm track built on bottle caps that Mercer recorded There was also a Farfisa organ that the team borrowed [and] bouzouki, lap steel and hammer dulcimer [on] a few tracks (Farinella 2007, 119). The indie culture welcomes the use of unconventional instruments and alternate forms of sound production. Being open to experimentation is a characteristic that distinguishes this music from other genres.

Indie Pop: Do opposites really attract? If we view popular music as an escape from life, then indie music is just the opposite- an awakening of life. It is our connection to all of our surroundings, a merging of music to an active life. Also unlike popular music, which enables a passive distraction, Indie music stimulates constant reflection and thought. In Theodore Adornos article, On Popular Music, he dissects the composition of popular music and contrasts it to serious music. Adorno distinguishes popular music as being characterized by its difference from serious music (Adorno 1992, 197). As he

A Taste of Indie: Taking a Closer Look into The Identity of an Indie Head states in the case of popular music, the whole is pre-given and pre-accepted, even before the actual experience of the music starts: therefore it is not likely to influence, to any great extent,

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the reaction to the details, except to give them varying degrees of emphasis (Adorno 1992, 198). Being that popular music presents itself as this pre-given whole, the detail loses all significance and value within the song. The detail becomes substitutable and therefore merely a cog in the machine. Adorno juxtaposes this theory of popular music with that of serious music, which we will refer to as indie for our purpose. The sound of popular music relies on the knowledge of the pattern and an imitation process. The sound of indie music however, relies on the creation of the story through the relations of detail. As Adorno states, In [indie] music, each musical element, even the simplest one, is itself, and the more highly organized the work is, the less possibility there is of substitution among the details. In hit music, however, the structure underlying the piece is abstract, existing independent of the specific course of the music. (Adorno 1992, 201)

When listening to a pop song, the audience knows what they are about to hear. Adorno refers to the effects of popular music as a relaxation which does not involve the effort of concentration at all (Adorno 1992, 205). Independent music offers a somewhat similar relaxation but maintains a state of consciousness. If popular music lulls us to inattention, independent music inspires and motivates us to act as individuals. Indie music speaks for standing up to promote local activity in a community, whereas popular music lulls the community to inattention and inactivity. The latter has no concern for the growth of the community of relationships among individuals. Indie music is based on the relationships within a community and lending a hand to those around you. It is about us telling

A Taste of Indie: Taking a Closer Look into The Identity of an Indie Head the world who we are, instead of allowing the media to tell us who we are as a generation or a people.

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Poser Nation The word Poser is a derogatory term often associated with a false appearance, or the intentional formulating of a certain image to be perceived. Often when people deviate from mainstream society or separate themselves in any way, they are criticized more harshly. This puton of appearances is not specific to indie culture. Posers can be of any genre or subculture. We see them in hip-hop, punk, and rock n roll. True independent culture however is not concerned with the appearances of things but rather the attainment of the pure. Critics of indie culture would argue however that it is a poser culture of depicting a false extreme sense of uniqueness that merely ends up being a new identity to conform to. In reality, the appearance is only the effect of the identity rather than the aim.

Indie In My Eyes An independent lifestyle is a proactive one. It is a healthy way of life in which we can grow as creative and reflective individuals. The DIY sensibility of the indie community allows for individuals to support one another, promote each others music and help the community grow. Indie artists are far more concerned with self-expression than commercial or public gain. Instead of it being a dog-eat-dog world, indie looks towards a community-centered world. I would argue that these philosophical traits seem to surpass any specific musical styles or commercial ownership in attempt to define the indie culture.

A Taste of Indie: Taking a Closer Look into The Identity of an Indie Head Today, being a part of the indie community has become easier than ever. With the technological advancements of the Internet, the hunt for indie music has been cut down drastically. To some degree, the challenge of discovering new artists has been minimized. I would argue that this new accessibility for artists to be found only makes the culture more

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appealing. Whereas a previous drawback may have been the time-consuming activity of finding authentic music, today it is as easy as opening your computer. Technology is now encouraging the discovery of new music. It also allows artists the ability to expose their music to new fans at a low cost. What separates indie music from all other types is its ability to not only incorporate various types of sound, but also by its nature, seek out new ones. Just as it has been able to incorporate all genres of music, the community is also gradually beginning to represent a variance of race as well, leaving the days of white masculinity behind. While Bannisters acknowledgement of indies roots of white masculinity cannot be denied, the times are moving forward and the indie is not far behind. The indie community is progressing into a clearer reflection of modern day culture, more so than any other music genre. With new popular artists on the rise such as African-American indie pop and soul singer, Janelle Mone, and Ethiopian-born American indie rock, electronica artist, Kenna, I would argue that indie music is transcending race and beginning to focus more on other aspects of identity. Through this representation, independent culture acts in an effort to both reflect and shape a better community. While the indie culture tends to overlap with other subcultures such as hippie, grunge, alternative and emo, the main difference seems to lie in their varying philosophies. Most commonly the genre of indie music is contrasted with popular music, which is associated with artists selling out to major labels. In order to understand the Indie subculture then, we must

A Taste of Indie: Taking a Closer Look into The Identity of an Indie Head define two aspects of its identity- attitude and philosophy. This attitude of the indie culture is

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laid-back, mellow, open-minded, reflective and emotional. It is not aggressive in nature or overly masculine. In the realm of the independent, egocentrism is an obstacle to living to our full capacity. The culture feeds an open mind and a free spirit. It recognizes that as individuals we cannot be satisfied as individuals by the limited sounds and thoughts or lack-there-of in popular culture. We must demand a culture such as this to encourage creative abilities and expressions of all forms. The irony of anti-conformity is that it eventually leads to conformity of some new ideal. We are always in relation to others and therefore in some ways, we are not capable of being entirely unique. However, our conflict then lies in the struggle to find some sense of individuality while identifying with some particular group or community. It is here that we find hope through the attitude and philosophy of indie culture. By nature, indie fans typically consider themselves to be music critics. With a passion for authenticity comes an obsession with distinctions. The indie head becomes consumed in sifting out the pure art from the impure. I am not a record collector, however I do have a passion for discovering and collecting music of all genres. Does this make me a contradiction within the indie identity? Perhaps, but I would argue, maybe it is this self-contradiction that solidifies my participation in the independent community.

Making Sense of It All As individuals, in attempt to define ourselves, we relate to different cultures and subcultures, but one will ever totally satisfy our whole person. As complex human beings, we will always be in conflict in some way with the subcultures and groups we belong to or identify

A Taste of Indie: Taking a Closer Look into The Identity of an Indie Head with. Our identity is constantly being broken up into subsets, pulling us in different directions

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such as nationality, race, gender and sexual orientation. However we seek security in belonging to a community. Here in lies the irony of our journey to be private individuals in a public world. If our identities are constructed and maintained through communication, and it follows that identities are dynamic, intersectional and multiple, then it makes perfect sense for independent lifestyle to be the right choice. To me, indie provides a means of confronting this battle of identity. Indie means having a choice and making the decision to access the world of creativity and authenticity that we harbor inside us. Our happiness in life is dependent on many things, including personal expression, growth, relationships and interactions. As a discursive practice, the indie culture motivates both spiritual and personal growth. It speaks for progression rather than stagnation or even regression as some would argue is the case of other music genres such as hip-hop. Indie asks us where have we come from, and where are we going? If we are to grow in any capacity, we must be in a state of constant reflection and action. Indie is an activity, an attitude and a state of being. Within the indie community, our aim is to access a meaningful experience through music and eventually a meaningful existence through our independent identity. The indie culture is about choosing to create your own beat instead of following anothers. If life is a journey to discover the truth, the indie lifestyle is the road less traveled. Perhaps that will make all the difference.

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References

Adorno, T. (1992). On Popular Music. In Easthope, A. and McGowan, K. (eds.), A Critical and Cultural Theory Reader (301-314): Milton Keynes: Open University Press. Bannister, M. (2006). Loaded: indie guitar rock, canonism, white masculinities. Popular Music, 25, 77-95. Death Cab for Cutie (2008). I Will Possess Your Heart. On Narrow Stairs [CD]. Seattle, WA: Atlantic Records. Death Cab for Cutie (2005). Soul Meets Body. On Plans [CD]. Atlantic Records. Farinella, J. (2007). Recording Notes: The Shins Sticking Close to Home. Mix, 31:5, 117-123. Fonarow, W. (2006). Empire of dirt: The aesthetics and rituals of British indie music. Middletown, CT: Wesleyan University Press. Harding, C. (2009, March 14). Upfront: The Indies How to Bear the Bear Market. Billboard The International Newsweekly of Music, Video and Home Entertainment, 121:10, 9. Iacono, E. (2002, November 16). Sea Level Keeping Well Above Water. Billboard - The International Newsweekly of Music, Video and Home Entertainment, 114:46, 90. Kiley, R. (2002). The Good That Wont Come Out. On The Execution of All Things [CD]. Omaha, NE: Saddle Creek. Michaelson, I. (2006). Breakable. On Girls and Boys [CD]. New York City, NY: Ingrid Michaelson. Michaelson, I. (2008). You and I. On Be OK [CD]. New York City, NY: Cabin 24 Records. Moore, A. (2008). Review of Books: Empire of Dirt: The Aesthetics and Rituals of British Indie Music. Music & Letters, 89:2, 292-293. The Shins (2001). Girl Inform Me. On Oh, Inverted World [CD]. Seattle, WA: Sub Pop. The Shins (2007). Sea Legs. On Wincing The Night Away [CD]. Oregon City, OR; Portland, OR; Seattle, WA: Sub Pop Records. (2005).