ROOTS MUSIC IN CALGARY, ALBERTA: AN ETHNOGRAPHY GILLIAN TURNBULL A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO DECEMBER, 2009 Library and Archives Bibliothgque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'gdition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votm reference ISBN: 978-0-494-64975-6 Our file Notre reference ISBN: 978-0-494-64975-6 NOTICE: AVIS: The author has granted a non- L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Biblioth&que et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Nnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. 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M Canada Abstract This dissertation examines the ways in which local roots musicians in Calgary, Alberta practice independence, and is based on ethnographic research conducted from 2002 to 2009. The position Calgary occupies as a city in Canada is a complicated one: its vast wealth during recessionary times for other cities, its predominantly conservative politics, and its associations with western culture often contribute to a particular view of the city. At the same time, Calgary strives to overturn those perceptions, presenting itself as a friendly, easygoing, downhome town at times; as a sophisticated metropolis which houses many of the country's corporate headquarters at others; as a gateway to some of the country's most spectacular landscapes at still others. It is a city that has seen unprecedented growth throughout the 1990s and 2000s, and its self-perception is changing to accommodate the accompanying diversity. All of these factors have contributed to how local roots musicians operate in the city. The central argument of this dissertation is that the roots music scene of Calgary is principally defined by the independent practices of its participants more so than any particular sound or style. As such, musicians have adopted some of the qualities so frequently ascribed to western identity; a stubborn, survivalist mindset has determined a self-reliance felt by many local musicians. Independence has also influenced musical choices: artists record, release, design, promote, and sell their own albums, generally without the assistance of a record label; musicians also use compositional techniques, performance practices, and production styles that are viewed as accessible to many listeners and stem from a long line of established genres. In roots music radio and venues, independence is also highly valued, directly influencing programming practices and the social relationships that emerge within the industry. Finally, the geographical layout of the city contributes to perceptions of roots music, how audiences map their experiences of local music, and how economic centres of power govern music consumption. Calgarian roots musicians construct complex and conflicting musical identities of marginalization and independence, regularly shifting their practices to align with Calgary's collective urban identity and a regional western and prairie identity. iv Dedication This dissertation is dedicated to two people who are no longer with us: My grandmother, Mabel Turnbull. Your educational achievements at such a young age in the 1920s have been a continual inspiration for generations of Turnbull women. Your support during my degree is always remembered, as is your wonderful, generous spirit. My grandfather, James Clarke. I have vivid memories of you playing steel guitar for me when I was a child, which began my love of country music. 1 wish that I could share this work with you. I will continue to research country music in your memory. v Acknowledgements I would like to thank the Ontario Graduate Scholarship Fund and York University for providing financial assistance for this project and for this degree. Thank you to Rob Bowman, my supervisor, for a rewarding learning experience and for your infinite patience, assistance, and advice. I would also like to thank my committee members, Louise Wrazen and Bob Witmer, for challenging me, expanding my knowledge of the field, for solid personal and professional advice, and for your feedback on my work. Thank you to the other members of my examining committee, Rob van der Bliek, Anne MacLennan, and Brian Rusted, who all contributed valuable and thoughtful comments and advice. Thanks to Tere Tilban-Rios, whose incredible and tireless work eases the process of finishing a graduate degree for all music students. Thanks to additional faculty members, Dorothy DeVal and Irene Markoff, for your professional advice and efforts to create an enjoyable experience in the music program. I would also like to thank several colleagues who became friends during the completion of this degree, and whose thoughtful comments, support, and intellectual talents were continually valuable. In alphabetical order, these are Sean Bellaviti, Kim Chow-Morris, Tim Falconer, Leslie Hall, Intan Murtadza, Phil Rose, David Snable, Paul Swoger-Ruston, Terry Walker, and Geoff Whittall. Thanks to my colleagues whose close friendship and shared experiences made my time at York very meaningful: Kristin Force, Monique Giroux, Jen Taylor, and Sija Tsai. Thanks also go to my wonderful, dear friends who gave me support in various ways during my time in Toronto: Jane Batson, Deborah Berwick, Siphiwe Dube, Allison Myler, Noel Patten, Gord Ross, Marie-Eve Sarrazin, and Jenn Selby. This project is the result of many years of fieldwork in Calgary, Alberta. I was inspired to write about the roots music scene there after spending time watching some of my vi favourite performers in the city. To all who participated in the project by agreeing to be interviewed, by sending recordings and helping me make further connections, and who have since become friends, thank you: Dave Alcock, Jenny Allen, Myke Atkinson, Vic Bell, Alison Brock, Suze Casey, Ryan Clarke, Steve Coffey, Consonant C, Tom Coxworth, Jim Cuddy, Tony Dekker, Kris Demeanor, Lin Elder, Mark Hamilton, Jane Hawley, Tim Hus, Jerry Keogh, Sharon Keelaghan, Dawn Loucks, Scott MacLeod, Neil MacGonigill, Pat Maclntyre, Matt Masters, Dave McCann, Kent Newson, Tom Phillips, Neville Quinlan, Lori Reid, the Rockergirl Camp Staff, Gordon Ross, les siemieniuk, Aimee Strong, David Ward, members of Widow Maker, Tim Williams, and John Wort Hannam. I would like to thank my extended family for their support. I would especially like to thank my mother and father, Susan and Jim, and my brothers, Blake and Rory (and Nicole), for your understanding, support, and love. This degree would not have been possible without all the help you have given me in various ways and this dissertation is also dedicated to you as both a wonderful family, and as my reminder of what Calgary and home really means. Finally, I would like to thank Gerry McGoldrick, who is a fantastic editor and whose brilliant mind has shaped my thinking throughout the writing of this dissertation. Your willingness to listen to me and challenge my ideas and your unwavering love and support means more than you will ever know. Vll Table of Contents Introduction: Discovering Calgarian Roots Music I. Ethnographic Setting P 1 II. Study Objectives P 2 III. Description of Ethnographic Setting P 5 IV. Methodology P 7 i. Fieldwork at Home P 13 ii. Gender and My Fieldwork P 14 iii. Reflexive Ethnographic Writing P 18 V. Literature Review P 21 i. Alberta Music and Culture P 21 ii. The Music Industry/Independent Music P 24 iii. Country and Alternative Country P 28 iv. Place and Music P 32 v. Community Radio P 34 VI. Overview of Chapters P 36 Chapter 1: "You Better Like the Rodeo": Alberta Roots Music History P 43 I. The Parade P 43 II. Discussing Early Alberta Music P 49 III. Alberta: A Brief History P 50 i. Calgary P 53 IV. Calgary and Western Culture P 55 i. The Stampede.Its Contested Symbols P 57 V. Research on Alberta's Folk Music'Traditions P 69 VI. Roots of Calgary's Current Scene: 1970-1990 P 72 i. Alberta's Camelot: The 1970s P 73 VII. Post-1990: A Current Roots Scene Overview P 81 VIII. Conclusion P 83 Chapter 2: "Only You (And You Alone)": Independence in Practice P 85 I. Introduction P 85 II. What is Indie P 88 III. Indie as Ideology P 94 IV. Indie as Community P 98 i. Community in Calgary P 102 ii. Creating a Community Online P 104 V. Indie as Innovation P 108 i.