Another Criticism on the Demise of OiNK (and the Problems of Class and Indie Rock)
Great post from marathonpacks (via fluxblog) on the demise of OiNK:
Yet what these people don’t understand, or at least won’t admit to understanding publicly, is that OiNK was a symbolic subcultural mirror of exactly everything they profess to hate about their vision of mainstream culture. You can’t deny that OiNK was itself a culture: it was private and elite, it had clearly elaborated and lengthy rules for membership that included an annoyingly audiophilic standard for musical “quality” and sanctions for not tithing as much as you took. It had forums where people discussed meta-level issues about its functionality. OiNK clearly had its own set of ideologies, and they were far from liberatory. While it’s only a symbolic gesture, I’m glad to see OiNK disappear for the same reasons I’m so glad to not be part of a music “scene” anymore; I don’t miss blue-blooded conservativism masquerading as originality and protest.
Also, included for free, support of the much-needed criticism of “Sasha Frere-Jones’ New Yorker article discussing race and indie rock.”
Fittingly, the most popular forms of “indie” music today—formerly accessible on OiNK by sorting in order of popularity—reflect its generic status as not one decided by instrumentation or miscegenation as much as social position. And, sad as it might be, that will probably (hopefully) be OiNK’s legacy 20 years from now: a cultural snapshot of music fandom and/of 00s indie rock as the express domain of the parochial and privileged.
Maybe places like this should take notice of the dangerousness of closed, elite communities.
November 26, 2007 2:08 pm 
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