By Brent Luvaas
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Extra resources for DIY style : fashion, music and global digital cultures
New Order Indonesia,” wrote Pemberton, “seems to present itself as an ideal absence in which nothing, as it were, happens” (Pemberton 1994: 4). Through a diverse range of events and institutions, the Indonesian government has sought to make the national culture a fundamental aspect of experience, an undeniable part of who Indonesians are and how they think of themselves. It is useful, then, to think of Indonesian national culture as a “hegemony,” as cultural theorist Raymond Williams defined it, “a practical consciousness,” or “a saturation of the whole process of living that defines the boundaries of ‘simple experience and common sense’ ” (Williams 1977: 110).
Sometime in the early 2000s it became clear, indie was not an alternative to rock anymore; it was the new face of rock, with scant few examples of the older, more bombastic, long-haired alt rock groups left standing. These days, alternative rock feels like a dinosaur. Even the mainstream audience has little use for it, as Canadian band Nickleback recently discovered when their bid to play an NFL halftime show was fervently rejected by Detroit Lions fans. In part, notes Hesmondhalgh, this is a consequence of increasing cooperation between indie labels and the majors, in addition to collaboration between music labels 18 • DIY Style and other kinds of corporations.
The pioneers of the scene (see chapter 2) saw themselves as part of an international punk underground, self-consciously appropriating punk rock’s brand of militant amateurism as their own, and employing it as a loudspeaker of political dissent. ” The term “indie,” anthropologist Wendy Fonarow notes, is not just a derivative of independence; it is a diminutive of “independence” (Fonarow 2006: 45). It is independence in an oversize cardigan sweater and a pair of granny glasses, independence garbed in the protectionist tropes of an imaginary, deeply Anglicized childhood.