Arnold, Michael Davis2015-04-012015-04-012013-06https://hdl.handle.net/11299/170893University of Minnesota Ph.D. dissertation. June 2013. Major: Hispanic and Luso Literatures, Cultures & Linguistics. Advisors: Dr. Ofelia Ferrán and Dr. Fernando Arenas. 1 computer file (PDF); vii, 483 pages.The focus of this comparative, pan-Iberian study is on the negotiation of identity and hybrid cultural production in early twenty-first-century Spain and Portugal. I identify here two subgenres of indie and electronic music scenes and analyze how the handful of musicians that comprise these burgeoning movements are fighting to keep their respective national cultural traditions alive in the face of iTunes, mp3s, and P2P filesharing that have universalized a certain form of pop music which cuts across languages and cultures. The hybrid musicians I interviewed for this project combine flamenco or fado with a variety of indie sounds: rock, pop, power pop, hip hop, trip hop, post punk, spaghetti western, shoegaze, or experimental electronic. The end result is a musical production which simultaneously attempts to voice their nationality as well as their generation. They are the torchbearers of tradition for an Iberian generation raised on The Velvet Underground, David Bowie, The Clash, The Replacements, Nirvana, and The Strokes. Their music references these and other global indie bands alongside those of twentieth century Iberian urban folk icons--Bambino, Camarón de la Isla, Enrique Morente, Amália Rodrigues, Alfredo Marceneiro, and Carlos do Carmo. I have developed a framework with which to contextualize and conceptualize the various issues addressed by these bands: authenticity, globalization, nostalgia, cultural capital, national-gender identity, and the economic crisis plaguing contemporary Europe.enFadoFlamencoIndie musicNeoflamenco and NeofadoPortugalSpainHispanic and Luso literatures, cultures & linguisticsThesis or Dissertation