Girl Music of the Indie Rock Persuasion: Amplifying Indie Through 2000s Girl Culture

The 2000s, a decade that is often considered lacking in defining culture or trends, represents a key period for the distillation of ideas about authenticity and access in North American music cultures. A liminal space between analogue distribution practices and the ubiquity of streaming services, the 2000s saw a turn towards television, film, and early internet cultures as the primary spaces of tastemaking and musical discovery. These unconventional sites challenged existing hierarchies and modes of gatekeeping that reproduced particular music genres, and rock music in particular, as the domain of straight, white masculinities. This interdisciplinary research explores the various facets of this cultural mainstreaming, excavating the central role of women, girls, and girl culture in this shift. I draw on qualitative research interviews conducted with female music supervisors, bloggers, and DJs to bolster this analysis of cultural intermediaries; each chapter of the dissertation also focuses on a different cultural site. In the first chapter, I place existing work on indie music cultures in conversation with girls’ studies scholarship on bedroom cultures to argue that an indie rock rhetoric of retreat and marginalization lacks a feminist citational politics. In the second chapter, I explore the shifting role of music supervisors as tastemakers and provide a critique of ‘fanboy auteur’ narratives. In the third chapter, I explore films released as indie crossover hits during the 2000s, connecting indie music and indie film theory but also arguing that, with more distance from the moment of indie rock’s initial cultural mainstreaming, cultural producers could camp its gender politics. In the fourth chapter, I explore girls’ music blogs from a particular music scene (New York City) as resistive sites where the exclusionary legacies of rock music criticism were challenged. In the fifth and final chapter, I explore how the 2000s also expanded physical music scenes into digital space with the meteoric rise of MP3 and file-sharing technologies that offered an important challenge to masculinist music cultures. This dissertation demonstrates that a wider cultural aversion to feminized cultural texts and practices flattens the stories we tell about 2000s indie rock — and the legacies it left behind.