Editing Jangle (section)

==Legacy==

The jangle sound has since become regarded as emblematic of the 1960s<ref name="brab">{{cite book|last=Brabazon|first=Tara|author-link=Tara Brabazon|title=Thinking Popular Culture: War, Terrorism and Writing|url=https://books.google.com/books?id=pQqoDQAAQBAJ&pg=PT29|year=2016|publisher=Taylor & Francis|isbn=978-1-351-87949-1|page=29}}</ref> and of the decade's [[folk rock]] movement.<ref>{{cite book|last1=Einarson|first1=John|last2=Furay|first2=Richie|title=For What It's Worth: The Story of Buffalo Springfield|url=https://books.google.com/books?id=vIdR--aAoAsC&pg=PA43|year=2004|publisher=Cooper Square Press|isbn=978-0-8154-1281-6|page=43}}</ref> In 2018, ''[[Guitar World]]'' contributor Damian Fanelli cited McGuinn's "distinctive 12-string Rickenbacker jangle" as among the "most influential and imitated guitar sounds of the past 53 years."<ref name="guitarworld" />  Bannister writes that the sound became ideal for bands with one guitarist who wished to fill out their sound and affect a sense of continuity throughout their music.<ref name="Bannister" /> However, few of the subsequent Byrds-influenced jangle bands were folk rock as the Byrds were.<ref name="Unterberger2003">{{cite book|last=Unterberger|first=Richie|author-link=Richie Unterberger|title=Eight Miles High: Folk-rock's Flight from Haight-Ashbury to Woodstock|url=https://archive.org/details/eightmileshighfo00sanf|url-access=registration|year=2003|publisher=Backbeat Books|isbn=978-0-87930-743-1|page=[https://archive.org/details/eightmileshighfo00sanf/page/293 293]}}</ref>  

Since the 1960s, jangle pop crossed numerous genres, including [[power pop]], [[new wave music|new wave]], [[post-punk]], [[psychedelic music|psychedelia]] and [[lo-fi music|lo-fi]],in the 1980s, the most prominent bands of early [[indie rock]] were "jangle pop" groups such as R.E.M. and the Smiths.<ref name="Bannister"/> "[[New Sincerity]]" was also loosely used for a similar group of bands in the [[Austin, Texas]] music scene, led by [[The Reivers (band)|the Reivers]], [[Wild Seeds]] and True Believers.<ref name="newsincerity">{{cite web|last=Caldwell|first=Rob|date=June 1, 2014|url=https://www.popmatters.com/180466-spindizzy-jangle-the-reivers-in-your-eyes-2495671650.html|title=Spindizzy Jangle: The Reivers' "In Your Eyes"|website=PopMatters}}</ref> Interest in the jangle sound came to be supplanted by a preference for pure drone, a device that became common to [[grunge]]. This type of drone was regarded as more [[Rockism and poptimism|"authentic" for rock music]]. It is exemplified mainly by [[The Pixies (band)|the Pixies]]' technique of contrasting a song's minimalist verses with loud guitar drones in the chorus.<ref name="Bannister" />

In the early 2010s, the term "New Melbourne Jangle" was coined to describe a proliferation of indie pop bands in [[Melbourne]], Australia, including [[Twerps (band)|Twerps]] and [[Dick Diver]]. These and other Australian groups were subsequently branded as "[[dolewave]]", jangly guitars being a defining characteristic.<ref>[[Everett True|True, Everett]] (28 March 2014). [https://www.theguardian.com/music/australia-culture-blog/2014/mar/28/dolewave-australian-indie-music "How dolewave put Australia's music writers to work"], ''[[The Guardian]]''. Retrieved 22 December 2018.</ref> In a similar way, the term "pop de guitarras" (guitar pop) was used to brand the indie scene of [[Santiago]], Chile, during mid 2010s.<ref>{{cite thesis |last=Villanueva Vergara |first=Javier |date=November 2019 |title=Proyectos de identidad sociomusical en la escena indie-pop santiaguina (2015-2018) |url=https://repositorio.uchile.cl/handle/2250/187797 |type= |chapter= |publisher=Universidad de Chile |docket= |oclc= |access-date=17 June 2023 |language=Spanish |pages=31–32}}</ref>