In his 1985 book The Idea of Music: Schoenberg and Others, Peter Franklin set out a challenge for musicology: namely, how best to talk and write about the music of modern European culture that fell outside of the modernist mainstream typified by Schoenberg, Berg, and Webern? Thirty years on, this collected volume of essays by Franklin's students and colleagues returns to that challenge and the vibrant intellectual field that has since developed. Moving freely between insights into opera, Volksoper, film, festival, and choral movement, and from the very earliest years of the twentieth century up to the 1980s, its authors listen with a 'critical ear': they site these musical phenomena within a wider web of modern cultural practices - a perspective, in turn, that enables them to exercise a disciplinary self-awareness after Franklin's manner.

In his 1985 book The Idea of Music: Schoenberg and Others, Peter Franklin set out a challenge for musicology: namely, how best to talk and write about the music of modern European culture that fell outside of the modernist mainstream typified by Schoenberg, Berg, and Webern? Thirty years on, this collected volume of essays by Franklin's students and colleagues returns to that challenge and the vibrant intellectual field that has since developed. Moving freely between insights into opera, Volksoper, film, festival, and choral movement, and from the very earliest years of the twentieth century up to the 1980s, its authors listen with a 'critical ear': they site these musical phenomena within a wider web of modern cultural practices - a perspective, in turn, that enables them to exercise a disciplinary self-awareness after Franklin's manner.

This book is a critical history of Sub Pop, the Seattle independent rock label that launched the careers of countless influential 'grunge' bands in the late 1980s and early 1990s. It focuses in particular on the languages and personas of the 'loser', a term that encompassed the label's founders and personnel, its flagship bands (including Mudhoney, TAD and Nirvana) and the avid vinyl-collecting fans it rapidly amassed. The 'loser' became (and remains) the key Sub Pop identity, but it also grounded the label in the overt masculinity, sexism and transgression of rock history. Rather than the usual reading of grunge as an alternative to the mainstream, Lamestains reveals a more equivocal and complicated relationship that Sub Pop exploited with great success.