Portland has a rich, active, and fluid music culture which is constantly being (re)created and (re)defined by a loose network of local musicians who write, record, produce, promote, distribute, and perform their music locally (and sometimes regionally, nationally, and internationally) and local residents, or audiences, who engage in local musical practices. Independent ("indie") local music making in Portland, which is embedded in DIY (do it yourself) values, creates alternative cultural places and landscapes in the city and is one medium through which some people represent themselves in the community. These residents not only perform, consume, promote, and distribute local music, they also (re)create places to host musical expressions. They have built alternative and democratic cultural landscapes, or culturescapes, in the city. Involved Portlanders strive to make live music performances accessible and affordable to all people, demonstrating through musical practices that the city is a shared space and represents a diversity of people, thoughts, values, and cultural preferences. Using theoretical tools from critical research about the economic, spatial, and social role of cultures in cities, particularly music, and ethnographic research of the Portland music scene, including participant observations and in-depth interviews with Portland musicians and other involved residents, this research takes a critical approach to examining ways in which manifestations of independent music are democratic cultural experiences that influence the city's cultural identity and are a medium through which a loosely defined group of Portlanders represent their cultural values and right to the city. In particular, it focuses on how local musical practices, especially live performances, (re)create alternative spaces within the city for musical expressions and influence the city's cultural landscapes, as well as differences between DIY independent music in Portland and its commodified forms and musicians and products produced by global music industry.

At the beginning of the twentieth century, transient laborers in Portland, Oregon faced marginalization and exploitation at the hands of the classes that relied on them for their own prosperity. Portland at this time was poised to flourish as a major population and industrial center of the American West. The industries that fueled the city's growth were dependent on cheap and mobile manual labor made available by the expansion of the nation's railroads. As the city prospered and grew, the elite of the city created and promoted an image of Portland as an Eden of material abundance where industriousness and virtue would lead inevitably to prosperity. There was no room in Portland's booster image for unemployed but otherwise able-bodied men that fueled this prosperity but saw no benefit from it. Their very existence challenged both the image of the city itself, and broader and deeper pillars of American identity. The response to the presence of this mobile, underemployed and largely white male labor class by Portland citizens and institutions was driven by, and in turn helped shape, competing mythologies of both the American West and American masculinity at a time when the country was struggling to define and redefine these constructs. Examining these floating men through their portrayal in popular culture, laws, and charitable efforts of the time exposes a deep anxiety about the notions of worth, gender, and American virtue.