I Rogers
Biographic Data
| ID | 13880 |
|---|---|
| NAME | I Rogers |
| GIVEN NAMES | I |
| FAMILY NAME | Rogers |
| SIGNATURE | ROGERS I |
| AFFILIATIONS | RMIT University |
| ORCID | 0000-0001-6910-5319 |
| VERIFIED | Yes |
| TOTAL WORKS | 30 |
| TOTAL CITATIONS | 72 |
| AUTHOR COUNT | 30 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1979 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 4 |
The Australian WEB3 music ‘community’ and the ‘indie’ mainstream
This paper examines the hesitancy of Australian musicians towards embracing the music non-fungible token (NFT) as a commodity. Drawing on the concepts of cultural autonomy and the digital disruptive sublime, the study argues that the overtly economic nature of NFTs challenges the ideology of creative independence in the hegemonic ‘indie’ music scene. Through interviews with nine Australian musicians who participated in our project, the research f…
Pulling into Economy Island: The Prolificacy and Legacy of Robert Pollard and Guided By Voices
In 1992, American band Guided By Voices released their fifth album Propeller. A last-ditch effort, Propeller contains the best unreleased material of band leader Robert Pollard. In debt, the band hand-decorated 500 vinyl copies of the album and quietly distributed them. Luckily, this limited release caught the attention of influential musicians, and recording label Scat Records, sparking broader interest in the band. This article explores how Pol…
Music as Magic: Breaking and Recasting the Spell of Live Music in Naarm/Melbourne
Introduction Music scholarship across genres is often concerned with music's metaphysical and ephemeral effects on individuals, communities, and society. These scholarly framings constitute a concept that we refer to here as “the magic of music”. Using this framing, this article addresses the ways that the magic is undermined by a range of worldly, non-magical realities, using the case study of the COVID-19 pandemic lockdowns and their devastatin…
Searching for “Australia’s Woodstock”: The Forgotten Australian Rock Festivals of 1970 – 1975
Between 1970 and 1975, at least 18 rock festivals took place in Australia, often near regional towns. These have gone largely undocumented. By focusing on these “forgotten” festivals, this article contributes to our understanding of the festival’s role in Australian music culture, mapping the Australian context over the international rock music trends of the time. These festivals highlight the contribution of regional and rural settings to the de…
Diminishing Dreams: The Scoping Down of the Music NFT
Introduction In a 2019 report for the International Journal of Communication, Baym et al. positioned distributed blockchain ledger technology, and what would subsequently be referred to as Web3, as a convening technology. Riffing off Barnett, a convening technology “initiates and serves as the focus of a conversation that can address issues far beyond what it may ultimately be able to address itself” (403). The case studies for the Baym et al. re…
That Sounds More Like Something Aarfy Would Do: Conflicting Portrayals of Sexual Assault in Catch-22 and Something Happened
Joseph Heller’s Catch-22 contains a troubling moment where Yossarian sexually assaults Nurse Duckett in the hospital. The scene, however, contrasts with Heller’s clearer condemnations of assault elsewhere in the novel, particularly the rapes in the Eternal City and Aarfy’s escape from punishment. Heller builds on this thematic use of assault in Something Happened by having Virginia Markowitz, a rape victim, exhibit more complex symptoms of rape t…
Black Flag’s My War Side Two: Cultural and Aesthetic Legacies in Studio Recording
In 1984, L.A. punk band Black Flag released My War. Coming three years after Damaged – a canonized classic of the hardcore genre – and following a period of legal dispute and touring hiatus, My War was diverse and polarizing; side two of the album featured three slow, long riff-heavy songs that run counter to the predominantly lean and fast signature sound of the band’s previous work and that of many contemporaries. With the benefit of hindsight,…
If There Isn’t Skyscrapers, Don’t Play There!” Rock Music Scenes, Regional Touring, and Music Policy in Australia
Australia’s concentrated population presents particular challenges for touring music acts. The country’s capital cities are few, and the distance between these cities is not dotted with the type of vibrant regional music scene commonly found abroad. Yet due to an array of state and federal arts grants – all aiming to subsidisze music touring – many Australian inner-city acts venture out to these destinations hoping to find conductive performance …
Aesthetic cosmopolitan, national and local popular music heritage in Melbourne's music laneways
There are currently few examples of popular music being officially celebrated as heritage in Australia. Interest in this area is growing, however, and this paper examines how Melbourne, the capital of the state of Victoria, has recently named three laneways after rock artists, namely, AC/DC Lane, Amphlett Lane and Rowland S. Howard Lane. Using interview and observational data collected at the laneways, we demonstrate that these spaces respectivel…
The Origins of Taste and Precursors of Scenes
This chapter focuses on the origins of music taste and how it relates to later or concurrent scene engagement. Taste plays a large part in an individual’s biographical development, especially in music scenes. It can be seen to drive and gatekeep music scenes, steering the material actions individuals perform, and the experiences they recall and document. The formation of music scenes is often explained by mapping and narrativizing the taste-based…
Music, Memory, Space and Place
Since the beginning of the twenty-first century, new perspectives have begun to emerge into the cultural study of popular music, inspired by what could be termed the ‘memory boom’ in popular music production, performance and consumption. This conceptual development reflects and responds to an ever-increasing trend in everyday life whereby popular music is celebrated not merely in terms of its connections with the ‘here and now’, but also for its …
Virtuality: Images and the Local Archive
This chapter examines the online content and practice of local Australian music scenes. Virtual technologies are often cheap to access, easy to use and rapidly circulating. The formation of a contemporary music scene is rarely without attendant documentation via social media, video-streaming sites, digital photo archives, MP3 file-sharing networks, online forums, blogs and other collaboratively curated media platforms. This chapter looks at the i…
Introduction: Scenes and Memory
Since the early 1990s, the concept of scene has gathered critical momentum as a means of studying the intersection of music and everyday life. A centrally important feature of scene theory has been its rejection of purely structural accounts of musical taste and a move away from associated conceptual frameworks such as ‘subculture’ and ‘community’. In its conceptual transgression, scene has also contributed to the recasting of collective musical …
Scenes, Memory and the Spaces of Music Consumption
Drawing on Michael de Certeau’s (1984) work on everyday life and the role of agency in the co-production of cultural meaning, this chapter examines the social tensions and relations accommodated within key sites of music consumption, including venues, points of purchase and the household. By considering a broad spectrum of music consumption from new angles, the chapter proves that a great deal can be drawn from monitoring the ways in which cultur…
The Distance from an Unknown Centre: The Discourses of Periphery and Edge in Music Scenes
In this chapter, we examine notions of centre and periphery, and look at how these are used in the construction of scene discourses. Even at their most fluid and virtual, music scenes are a type of boundary work (see Straw 1991; Bennett and Peterson 2004). They rely on sites and places – be it geographically defined cities, genre constructions drawn from sound or the congregation of individuals around certain ideas and beliefs. Despite scene’s co…
Scene ‘Theory’: History, Usage and Influence
This chapter contextualizes the concept of a music scene by offering a history of its usage within research. Popular music scholarship has long been invested in examinations of sound and location. Within the research surrounding scenes, Will Straw’s (1991) paper ‘Systems of Articulation, Logics of Change’ has proven mobilizing. It is Straw’s exploration of scene as ‘cultural space’ that is most often cited. Yet within the second half of Straw’s p…
Spaces of Local Music Production
A significant number of our interview respondents were involved in music production. This chapter maps out three key production approaches in Brisbane, Queensland – namely, a residential house, a community performance venue/recording studio and the mobile ‘bootleg’ recording of one enthusiast – and through these case studies we examine how these sites/processes allow types of social transit that interface with local music histories, mythologies a…
In the Scattered Fields of Memory: Unofficial Live Music Venues, Intangible Heritage, and the Recreation of the Musical Past
The live music venue has long been regarded as a space of critical importance in relation to musical experience. Like music artists themselves, venues often come to embody the zeitgeist of a particular genre or era. Liverpool’s Cavern, New York’s CBGB’s, and Brisbane’s Cloudland are but three examples of an ever-growing list of live music venues (closed down, demolished, renamed) achieving iconic status due to a connection with important and galv…
Popular Music Scenes and Cultural Memory
This volume explores the ways in which music scenes are not merely physical spaces for the practice of collective musical life but are also inscribed with and enacted through the articulation of cultural memory and emotional geography. The book draws on empirical data collected in cites throughout Australia. In terms of understanding the relationship between music scenes and participants, much of the existing popular music literature tends to avo…
Popular Music and Materiality: Memorabilia and Memory Traces
The material objects of popular music have featured significantly in studies of popular music. In particular, there are established literatures on physical playback media (including the re-emergence of vinyl albums) and playback devices, from the Walkman to the iPod. Recently, as popular music scholars have begun to explore the everyday use of music and music technologies by casual listeners, music has increasingly been described as sound and as …
Danger Mouse's The Grey Album (Charles Fairchild)
A few years ago I was in Thailand to give a talk at a conference in Bangkok on the "post-Zionist performance of Israeliness" among Israeli psytrancers in Thailand. I had the pleasure of meeting Robert A. Leonard, an American professor of forensic linguistics, who turned out to be an old friend of my doctoral advisor as well as a founding member and bassist of Sha Na Na, the rock and roll doo-wop group who (wearing satin gold sweat suits) opened f…
In Search of â Independentâ Brisbane
In Search of ‘Independent’ Brisbane: Music, Memory, and Cultural Heritage
As the third largest city in Australia, Brisbane has a long and established history of independent and DIY music-making dating back to the early 1970s. Although generally regarded as a second-tier music city in Australia, several groups emerging from Brisbane have scored national and international success, notably The Saints and The Go-Betweens. Indeed, in recent years these Brisbane bands have achieved iconic status in global punk and independen…
Musical Performance and the Changing City: Post-Industrial Contexts in Europe and the United States
Musical Performance and the Changing City: Post-Industrial Contexts in Europe and the United States Holt, Fabian,Wergin, Carsten New York ; London : Routledge, 2013 9780415644860 (hardback : alk. paper)
Fifteen years of ‘Utopia’: Napster and Pitchfork as technologies of democratization
The legacy of Napster is filled with bold claims that continue to circulate. As recently as 2013, Wired writer Angela Watercutter described the service as “strings of code that forever changed the relationship between technology and music.” In this paper, we set out to problematize this narrative by outlining a seldom–reported pre–history of Napster combined with an expanded examination of the alternative legacies surrounding the platform. One su…
Popular Music Scenes and Cultural Memory
This volume explores the ways in which music scenes are not merely physical spaces for the practice of collective musical life but are also inscribed with and enacted through the articulation of cultural memory and emotional geography. The book draws on empirical data collected in cites throughout Australia. In terms of understanding the relationship between music scenes and participants, much of the existing popular music literature tends to avo…
Popular Music and Materiality: Memorabilia and Memory Traces
The material objects of popular music have featured significantly in studies of popular music. In particular, there are established literatures on physical playback media (including the re-emergence of vinyl albums) and playback devices, from the Walkman to the iPod. Recently, as popular music scholars have begun to explore the everyday use of music and music technologies by casual listeners, music has increasingly been described as sound and as …
You've got to go to gigs to get gigs’: Indie musicians, eclecticism and the Brisbane scene
The present article explores the 'indie' music scene in Brisbane, an Australian capital city undergoing rapid cultural and socioeconomic development. Within Brisbane, a dominant narrative of popular music-making has emerged from local history, promotion and music writing. This narrative depicts a commercially successful, professional present and, thus, separates Brisbane musicians of today from the city's troubled cultural/political past. Unfortu…
In the Scattered Fields of Memory: Unofficial Live Music Venues, Intangible Heritage, and the Recreation of the Musical Past
The live music venue has long been regarded as a space of critical importance in relation to musical experience. Like music artists themselves, venues often come to embody the zeitgeist of a particular genre or era. Liverpool’s Cavern, New York’s CBGB’s, and Brisbane’s Cloudland are but three examples of an ever-growing list of live music venues (closed down, demolished, renamed) achieving iconic status due to a connection with important and galv…
Street music, technology and the urban soundscape
In this article, we will examine the role and place of the street musician, their contribution to the urban soundscape and the ways in which this has been informed and (re)shaped by recent advances in music technology. Despite their global omnipresence, street musicians have seldom been the focus of contemporary scholarly research on music-making and performance. Historically, the street musician has been perceived and depicted as a romantic folk…
The Marginalization of the Black Campus Movement
Journal Article The Marginalization of the Black Campus Movement Get access Ibram Rogers Ibram Rogers Department of African American Studies, Temple University, Philadelphia, PA 19122 Search for other works by this author on: Oxford Academic Google Scholar Journal of Social History, Volume 42, Issue 1, Fall 2008, Pages 175–182, https://doi.org/10.1353/jsh.0.0068 Published: 01 October 2008
From the Margins to the Mainstream: Creating Value in Queensland's Music Industry
As elsewhere, the music industry in Queensland comprises two tiers. The first tier is composed of products and services engaged by major music labels and commercially successful artists who at times attract significant sales. The second tier - or what is sometimes referred to as the 'grassroots' (Gibson, 2002) - largely consists of independent musicians, production personnel and producers attracting both niche and at times mainstream audiences. C…
Searching for “Australia’s Woodstock”: The Forgotten Australian Rock Festivals of 1970 – 1975
Between 1970 and 1975, at least 18 rock festivals took place in Australia, often near regional towns. These have gone largely undocumented. By focusing on these “forgotten” festivals, this article contributes to our understanding of the festival’s role in Australian music culture, mapping the Australian context over the international rock music trends of the time. These festivals highlight the contribution of regional and rural settings to the de…
If There Isn’t Skyscrapers, Don’t Play There!” Rock Music Scenes, Regional Touring, and Music Policy in Australia
Australia’s concentrated population presents particular challenges for touring music acts. The country’s capital cities are few, and the distance between these cities is not dotted with the type of vibrant regional music scene commonly found abroad. Yet due to an array of state and federal arts grants – all aiming to subsidisze music touring – many Australian inner-city acts venture out to these destinations hoping to find conductive performance …
Aesthetic cosmopolitan, national and local popular music heritage in Melbourne's music laneways
There are currently few examples of popular music being officially celebrated as heritage in Australia. Interest in this area is growing, however, and this paper examines how Melbourne, the capital of the state of Victoria, has recently named three laneways after rock artists, namely, AC/DC Lane, Amphlett Lane and Rowland S. Howard Lane. Using interview and observational data collected at the laneways, we demonstrate that these spaces respectivel…
The Use of Displays in Soliciting Charitable Donations
Four types of appeal were used to determine which would be the most effective in eliciting interest in and donations to a charity for children. In a "needy child" appeal, a picture of a child who was ill-looking and poorly clothed was used to help solicit donations. In a "helped child" appeal, a picture of a healthylooking child was presented. A third type of appeal presented both a "needy" and a "helped" child, in order to demonstrate that donat…
From the Margins to the Mainstream: Creating Value in Queensland's Music Industry
As elsewhere, the music industry in Queensland comprises two tiers. The first tier is composed of products and services engaged by major music labels and commercially successful artists who at times attract significant sales. The second tier - or what is sometimes referred to as the 'grassroots' (Gibson, 2002) - largely consists of independent musicians, production personnel and producers attracting both niche and at times mainstream audiences. C…
You've got to go to gigs to get gigs’: Indie musicians, eclecticism and the Brisbane scene
The present article explores the 'indie' music scene in Brisbane, an Australian capital city undergoing rapid cultural and socioeconomic development. Within Brisbane, a dominant narrative of popular music-making has emerged from local history, promotion and music writing. This narrative depicts a commercially successful, professional present and, thus, separates Brisbane musicians of today from the city's troubled cultural/political past. Unfortu…
The Marginalization of the Black Campus Movement
Journal Article The Marginalization of the Black Campus Movement Get access Ibram Rogers Ibram Rogers Department of African American Studies, Temple University, Philadelphia, PA 19122 Search for other works by this author on: Oxford Academic Google Scholar Journal of Social History, Volume 42, Issue 1, Fall 2008, Pages 175–182, https://doi.org/10.1353/jsh.0.0068 Published: 01 October 2008
In Search of â Independentâ Brisbane
In Search of ‘Independent’ Brisbane: Music, Memory, and Cultural Heritage
As the third largest city in Australia, Brisbane has a long and established history of independent and DIY music-making dating back to the early 1970s. Although generally regarded as a second-tier music city in Australia, several groups emerging from Brisbane have scored national and international success, notably The Saints and The Go-Betweens. Indeed, in recent years these Brisbane bands have achieved iconic status in global punk and independen…
Musical Performance and the Changing City: Post-Industrial Contexts in Europe and the United States
Musical Performance and the Changing City: Post-Industrial Contexts in Europe and the United States Holt, Fabian,Wergin, Carsten New York ; London : Routledge, 2013 9780415644860 (hardback : alk. paper)
Fifteen years of ‘Utopia’: Napster and Pitchfork as technologies of democratization
The legacy of Napster is filled with bold claims that continue to circulate. As recently as 2013, Wired writer Angela Watercutter described the service as “strings of code that forever changed the relationship between technology and music.” In this paper, we set out to problematize this narrative by outlining a seldom–reported pre–history of Napster combined with an expanded examination of the alternative legacies surrounding the platform. One su…
Street music, technology and the urban soundscape
In this article, we will examine the role and place of the street musician, their contribution to the urban soundscape and the ways in which this has been informed and (re)shaped by recent advances in music technology. Despite their global omnipresence, street musicians have seldom been the focus of contemporary scholarly research on music-making and performance. Historically, the street musician has been perceived and depicted as a romantic folk…
Popular Music and Materiality: Memorabilia and Memory Traces
The material objects of popular music have featured significantly in studies of popular music. In particular, there are established literatures on physical playback media (including the re-emergence of vinyl albums) and playback devices, from the Walkman to the iPod. Recently, as popular music scholars have begun to explore the everyday use of music and music technologies by casual listeners, music has increasingly been described as sound and as …
Danger Mouse's The Grey Album (Charles Fairchild)
A few years ago I was in Thailand to give a talk at a conference in Bangkok on the "post-Zionist performance of Israeliness" among Israeli psytrancers in Thailand. I had the pleasure of meeting Robert A. Leonard, an American professor of forensic linguistics, who turned out to be an old friend of my doctoral advisor as well as a founding member and bassist of Sha Na Na, the rock and roll doo-wop group who (wearing satin gold sweat suits) opened f…
The Origins of Taste and Precursors of Scenes
This chapter focuses on the origins of music taste and how it relates to later or concurrent scene engagement. Taste plays a large part in an individual’s biographical development, especially in music scenes. It can be seen to drive and gatekeep music scenes, steering the material actions individuals perform, and the experiences they recall and document. The formation of music scenes is often explained by mapping and narrativizing the taste-based…
Music, Memory, Space and Place
Since the beginning of the twenty-first century, new perspectives have begun to emerge into the cultural study of popular music, inspired by what could be termed the ‘memory boom’ in popular music production, performance and consumption. This conceptual development reflects and responds to an ever-increasing trend in everyday life whereby popular music is celebrated not merely in terms of its connections with the ‘here and now’, but also for its …
Virtuality: Images and the Local Archive
This chapter examines the online content and practice of local Australian music scenes. Virtual technologies are often cheap to access, easy to use and rapidly circulating. The formation of a contemporary music scene is rarely without attendant documentation via social media, video-streaming sites, digital photo archives, MP3 file-sharing networks, online forums, blogs and other collaboratively curated media platforms. This chapter looks at the i…
Introduction: Scenes and Memory
Since the early 1990s, the concept of scene has gathered critical momentum as a means of studying the intersection of music and everyday life. A centrally important feature of scene theory has been its rejection of purely structural accounts of musical taste and a move away from associated conceptual frameworks such as ‘subculture’ and ‘community’. In its conceptual transgression, scene has also contributed to the recasting of collective musical …
Scenes, Memory and the Spaces of Music Consumption
Drawing on Michael de Certeau’s (1984) work on everyday life and the role of agency in the co-production of cultural meaning, this chapter examines the social tensions and relations accommodated within key sites of music consumption, including venues, points of purchase and the household. By considering a broad spectrum of music consumption from new angles, the chapter proves that a great deal can be drawn from monitoring the ways in which cultur…
The Distance from an Unknown Centre: The Discourses of Periphery and Edge in Music Scenes
In this chapter, we examine notions of centre and periphery, and look at how these are used in the construction of scene discourses. Even at their most fluid and virtual, music scenes are a type of boundary work (see Straw 1991; Bennett and Peterson 2004). They rely on sites and places – be it geographically defined cities, genre constructions drawn from sound or the congregation of individuals around certain ideas and beliefs. Despite scene’s co…
Scene ‘Theory’: History, Usage and Influence
This chapter contextualizes the concept of a music scene by offering a history of its usage within research. Popular music scholarship has long been invested in examinations of sound and location. Within the research surrounding scenes, Will Straw’s (1991) paper ‘Systems of Articulation, Logics of Change’ has proven mobilizing. It is Straw’s exploration of scene as ‘cultural space’ that is most often cited. Yet within the second half of Straw’s p…
Spaces of Local Music Production
A significant number of our interview respondents were involved in music production. This chapter maps out three key production approaches in Brisbane, Queensland – namely, a residential house, a community performance venue/recording studio and the mobile ‘bootleg’ recording of one enthusiast – and through these case studies we examine how these sites/processes allow types of social transit that interface with local music histories, mythologies a…
In the Scattered Fields of Memory: Unofficial Live Music Venues, Intangible Heritage, and the Recreation of the Musical Past
The live music venue has long been regarded as a space of critical importance in relation to musical experience. Like music artists themselves, venues often come to embody the zeitgeist of a particular genre or era. Liverpool’s Cavern, New York’s CBGB’s, and Brisbane’s Cloudland are but three examples of an ever-growing list of live music venues (closed down, demolished, renamed) achieving iconic status due to a connection with important and galv…
Popular Music Scenes and Cultural Memory
This volume explores the ways in which music scenes are not merely physical spaces for the practice of collective musical life but are also inscribed with and enacted through the articulation of cultural memory and emotional geography. The book draws on empirical data collected in cites throughout Australia. In terms of understanding the relationship between music scenes and participants, much of the existing popular music literature tends to avo…
Aesthetic cosmopolitan, national and local popular music heritage in Melbourne's music laneways
There are currently few examples of popular music being officially celebrated as heritage in Australia. Interest in this area is growing, however, and this paper examines how Melbourne, the capital of the state of Victoria, has recently named three laneways after rock artists, namely, AC/DC Lane, Amphlett Lane and Rowland S. Howard Lane. Using interview and observational data collected at the laneways, we demonstrate that these spaces respectivel…
Black Flag’s My War Side Two: Cultural and Aesthetic Legacies in Studio Recording
In 1984, L.A. punk band Black Flag released My War. Coming three years after Damaged – a canonized classic of the hardcore genre – and following a period of legal dispute and touring hiatus, My War was diverse and polarizing; side two of the album featured three slow, long riff-heavy songs that run counter to the predominantly lean and fast signature sound of the band’s previous work and that of many contemporaries. With the benefit of hindsight,…
If There Isn’t Skyscrapers, Don’t Play There!” Rock Music Scenes, Regional Touring, and Music Policy in Australia
Australia’s concentrated population presents particular challenges for touring music acts. The country’s capital cities are few, and the distance between these cities is not dotted with the type of vibrant regional music scene commonly found abroad. Yet due to an array of state and federal arts grants – all aiming to subsidisze music touring – many Australian inner-city acts venture out to these destinations hoping to find conductive performance …
That Sounds More Like Something Aarfy Would Do: Conflicting Portrayals of Sexual Assault in Catch-22 and Something Happened
Joseph Heller’s Catch-22 contains a troubling moment where Yossarian sexually assaults Nurse Duckett in the hospital. The scene, however, contrasts with Heller’s clearer condemnations of assault elsewhere in the novel, particularly the rapes in the Eternal City and Aarfy’s escape from punishment. Heller builds on this thematic use of assault in Something Happened by having Virginia Markowitz, a rape victim, exhibit more complex symptoms of rape t…
Art (25 works) · Music History and Culture (25 works) · Visual arts (21 works) · Sociology (19 works) · Cultural Industries and Urban Development (14 works) · Aesthetics (13 works) · History (12 works) · Political science (12 works) · Media studies (11 works) · Popular music (10 works)