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A popular music genre with its own set of practices and attitudes, indie upholds its own set of boundaries and conventions of authenticity. When the term “indie rock” appears in journalistic or scholarly writing, it often already assumes liberal notions of race in the United States and cultural imperialist notions of indie music overseas. This chapter moves away from indie as genre category and toward indie as genre scenes and culture to situate the piNoise pop music festival (1998–2005) at the intersection of a late twentieth-century Asian American creative class generation and a mid-1990s resurgence in opm (original Pilipino music) and Pinoy indie rock. This chapter maps these translocal scenes in order to demonstrate how a focus on translocality both challenges demands for authentic musical “sounds” and redirects our attention to the emplacement of music within a network of artists, audiences, venues, performances, and events.

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