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Power to Represent: the Spatialized Politics of Style in Houston Hip Hop By

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Power to Represent: the Spatialized Politics of Style in Houston Hip Hop By RICE UNIVERSITY Power to Represent: The Spatialized Politics of Style in Houston Hip Hop by Christopher Michael Taylor A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR DEGREE Doctor of Philosophy Approved, Thesis Committee: .1 sociate Professor, Linguistics Stephen A. T~ er, Professor, Anthropology ong, Professor, Sociology endoza-Denton, Associate Professor, Anthropology (University of Arizona) May 2011 Abstract Combining quantitative sociophonetic methods and a qualitative, ethnographic approach to the study of language and social relations, my current research program focuses on the role of language in competing hip hop cultures. This research draws on early scholarship in cultural studies (Hebdige 1979), as well as what some have termed post- subcultural studies (Muggleton & Weinzier12003). Central to my own work are two theoretical concerns shared by these currents of scholarship, including: (1) How sociohistorical forces (including institutionally-mediated social action) shape cultural frameworks for symbolically staking out a position in the social landscape (2) How prominent social positioning in local cultural hierarchies shapes popular ideas regarding such intersecting notions as authenticity and indigineity Regarding the first of these concerns, I examine how popular hip hop artists reflexively bring into focus a repertoire of spatialized social practices by rapping about them in their music- a discursive practice I term metastylistic discourse. By selectively rapping about social practices indexical of their experiences of place, not only communicate a particular take on the local (i.e. their own); they directly position social and indirectly position sociolinguistic practices centrally among stylistic practices distinguishing Houston aesthetically from the cultural forms associated with other scenes. Central here is the second concern I share with current approaches to cultural studies, p~rticularly, the significance of where social actors (i.e. established artists) find themselves in local social hierarchies. Established artists shape and reshape ways of talking about local life partly through econtextualizing prior texts. It is through the circulation of such texts that a discursive framework emerges, the product of a trans-modal series of recontexutalizations which serve to communicate an experience of Houston, what it looks and sounds like. In short, my current project works to close the gap between sociolinguistic approaches to the formation and interrogation of stylistic norms and research in cultural studies along these same lines (Hodkinson 2003, Piano 2003). By examining these processes in the context of hip hop, my work illustrates how social actors shape cultural norms through performance Acknowledgements Innumerable people have helped me along the path to PhD, so if I do not mention you, please forgive me over a pint. First, I would like to thank my mentors and professors at Sam Houston State University, particularly David Burris, Paul Child, David Gerling, Doug Constance, Belinda Turk, and Helena Halmari- to whom I owe the rewards of choosing Linguistics as a field of study. I would also like to thank my fellow graduate students, particularly Martin Hilpert, Chris Koops, Dave Katten, Sebastian Ross-Hagenbaum, Ann Olivo, and Bethany Townsend. Without your help, I may not have made it this far. To my professors at Rice, including those outside the Linguistics department, I owe a debt of gratititude for teaching and being patient with me. Likewise, I would like to thank my committee- Nancy Niedzielski, Stephen Tyler, Elizabeth Long, and Norma Mendoza-Denton- for working with and supporting me throughout this long process. Since a work of this scope requires a strong support network, I would like to thank some of the people who have especially been there for me: Hillery Keith, Lee Ann Conrad, Cole Hollis, Nibu Abraham, Cory Stewart, Mike Griffiths, Josh Kitching, Jo Fax, and Jason Woods. Your help and time has been invaluable. I would also like to thank my family: Roy and Helen Taylor, my wife Chloe, and my son Cormac. I love you. Finally, this work would have been impossible without the company, respect, and love I received from Houston Hip Hop artists, producers, promoters, journalists, and fans. I especially want to express my gratitude to all the artists who participated in my work - I dedicate this book to you. Table of Contents Acknowledgements · .. · · · · · · · · · · · · · · · · · .. · · · · · · · · · · · · · · · · · · · · · · · · · · i 1 Introduction 1.1 Constructed Dialogue as a Window onto the Community· · · · · · · · · · · · 1 1.2 Questions, Data, Methods· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 8 1.3 Structure of the Dissertation· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 10 2 Conceptualizing Style 2.1 Three Approaches to Style·················· · · · · · · · · · · · · · · · · · 14 2.1.1 Introduction · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 14 2.1.2 Eckert and the Stanford Tradition · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 15 2.1.3 Judith Irvine: Principles of Differentiation and Mediation · · · · · · · · · · · 24 2.1.4 Nikolas Coupland: Persona Management and the Relational Self .. · · · 30 2.1.5 Interim Summary · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 33 2.2 Themes Central to Theorizing Style · · · · · · · · · · · · · · · .. · · · · · · · · · · · · 34 2.2.1 Style as Practice · · · · · · · · · · · · · · · · · · · · · · · · · · .. · · · · · · · · · · · · · · · · 39 2.2.2 Policing the Boundaries · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 42 2.3 Style as Resistance · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 45 2.3.1 The CCCS Approach and Stylistic Resistance · · · · · · · · · · · · · · · · · · · · 45 2.3.2 Sociolinguistics and Stylistic Resistance· · · · · · · · · · · · · · · · · · · · · · · · · 48 2.4 Troping on Stylistic Norms: Parody··········· · · · · · · · · · · ········50 2.5 The Normative Basis of Style · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 57 2.5.1 Conceptualizing Language Ideology: Some Strands ofThought .. ·····57 2.5.2 Authenticity in Sociolinguistics· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 61 2.5.3 Authentication and Denaturalization · · · · · · · · · · · · · · · · · · · · · · · · · · · ·63 2.6 Summary · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 67 ii 3 Conventionalizing Style 3 .1 Introduction · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 69 3.2 Performance and Style: An Overview··························· 73 3.2.1 Performance as a Site for Making and Remaking Style·· · · · · · · · · · · · ·73 3.2.2 Types of Performance: the Mundane and the Spectacular· · · · · · · · · · · · 74 3.3 Producing Texts and Relations: Intertextuality and Textual Practices· · ·85 3.4 Social Icons: Who Makes Style? · · · · · · · · · · · · · · · · · · · · · · · · .. · · · · · 90 3.5 Social Organization and Circulation· · · · · · · · · · · · · · · · · · .. · · · · · · · · · 94 3.6 Indigenizing Style· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ·96 3.6.1 Language and Place: Some Preliminaries · · · · · · · · · · · · · · · · · · · · · · · · 96 3.6.2 (Re)-Theorizing Place and Language · · · · .. · · · · · · · · · · · · · · · · · · · · · 100 3.6.3 Spatial Tactics: Enabling and Constraining the Spatially-Relational··· ·104 3.7 Enregistering Local Style: Circulation and (Vernacular) Norming · · · · 110 3. 7.1 Defining Enregisterment · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ·112 3. 7.2 Conditions and Processes: Contact, Distinction, Labeling· · · · · · · · · · · · 115 4 lndigenizing (Houston) Hip Hop: Linking Style with an Ideology of Place at the Macro and Micro Levels 4.1 Rap Music in Houston: Lay of the Land · · · · · · · · · · · · · · · · · · · · · · · · 123 4.1.1 Introduction: Rap-A-Lot Sets the Stage · · · · · · · · · · · · · · · · · · · · · · · · · 123 4.1.2 Mixtape Culture: Screw, Michael Watts, and Local Rotation·· · · · · · · 125 4.1.3 National Spotlight: 2004-2006· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 131 4.1.4 One Underground, or What Houston Also Sounds Like · · · · · · · · · · · · · 136 4.1.5 Another Underground· · · · · · · · · · · · · · · · · · · · · .. · · · · · · · · · · · · · · · · · 139 4.1.6 Post-Underground Hip Hop in Houston·························· 145 4.2 Conventionalizing Indigeneity and Policing Boundaries in Hip Hop· · · 151 4.2.1 Overview················································· 151 4.2.2 The Approach: Methods and Data· · · · · · · · · · · · · · · · · .. · · · · · · · · · · · ·154 4.2.3 Analyzing the Video and Lyrics· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ·163 4.2.4 (Methodological) Reflections on the Analysis· · · · · · · · · · · · · · · · · · · · ·172 4.3 Damage Control: Styling Locally (and Globally) at "the Station" .. · · · 176 111 4.3.1 Locating the Researcher· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 176 4.3.2 Meeting Folks: Some Introductions························· · · · · 180 4.3.3 From the Stoop to the Booth: The Station, Space, and Self-Presentation 183 4.3.4 Summary·················································
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