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Exiled Records and Over-The-Counterculture: a Cultural

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Exiled Records and Over-The-Counterculture: a Cultural EXILED RECORDS AND OVER-THE-COUNTERCULTURE: A CULTURAL POLITICAL ECONOMIC ANALYSIS OF THE INDEPENDENT RECORD STORE by DAVID D. GRACON A DISSERTATION Presented to the School ofJournalism and Communication and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Doctor ofPhilosophy September 2010 11 University of Oregon Graduate School Confirmation ofApproval and Acceptance ofDissertation prepared by: David Gracon Title: "Exiled Records and Over-the-Counterculture: A Cultural Political Economic Analysis ofthe Independent Record Store" This dissertation has been accepted and approved in partial fulfillment ofthe requirements for the Doctor ofPhilosophy degree in the Department ofJournalism and Communication by: Janet Wasko, Chairperson, Journalism and Communication Carl Bybee, Member, Journalism and Communication Leslie Steeves, Member, Journalism and Communication Julianne Newton, Member, Journalism and Communication Douglas Blandy, Outside Member, Arts and Administration and Richard Linton, Vice President for Research and Graduate Studies/Dean ofthe Graduate School for the University of Oregon. September 4, 2010 Original approval signatures are on file with the Graduate School and the University ofOregon Libraries. 111 © 2010 David D. Gracon IV An Abstract of the Dissertation of David D. Gracon for the degree of Doctor of Philosophy in the School of Journalism and Communication to be taken September 2010 Title: EXILED RECORDS AND OVER-THE-COUNTERCLTLTURE: A CULTURAL POLITICAL ECONOMIC ANALYSIS OF THE INDEPENDENT RECORD STORE Approved: Dr. Janet Wasko This study examined the cultural political economic significance of the physical "brick and mortar" independent record store in the digital era. The research was built upon two critical frameworks - the political economy of communication and critical cultural studies. The political economy of communication situated the independent record store within the dominant music industry, and was concerned with the corporate structuring and standardization of music culture. The study analyzed the extreme market concentration involving the "big four" major record labels (in terms of vertical and horizontal integration, diversification and product synergy), their interconnectedness to the major corporate music retailers, and the implications for the manufacturing of popular musical artists. The independent record store (to varying degrees) counters these tendencies by offering greater cultural diversity in terms of "independent," local, used v and obscure music. However, the independent record store is influenced by the policies and practices of the major label system, distribution channels, big box chain retailers, and on-line commerce. The study examined the dominant industry policies and practices, including buying (centralized versus localized), music as a loss leader, co-op advertising, retail "payola," retail censorship, and the overall range of musical diversity, vis-a-vis the practices and semi-autonomous nature of the independent record store. This project was equally invested in the cultural aspects of the independent record store in terms of communities and scenes. Various subcultures gather and connect with each other at independent record stores, where anti-corporate and counter-hegemonic narratives circulate, and individuals learn about the depths of musical history and culture. This project explored the physical atmosphere and vernacular culture associated with the stores, as well as the cultural significance of vinyl record collecting. However, these cultural attributes are framed in terms of the harvesting of commodification, where the perception of "independence" is rendered problematic in terms of the economic realities associated with the logic of capital. The primary ethnographic field sites for this study included the House of Records in Eugene, Oregon; Music Millennium in Portland, Oregon; and Amoeba Music in San Francisco, California. Numerous specialty independent record stores within these geographic areas were also included in the study. VI CURRICULUM VITAE NAME OF AUTHOR: David D. Gracon GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University ofOregon State University ofNew York, University at Buffalo DEGREES AWARDED: Doctor ofPhilosophy, Communication and Society, 2010, University of Oregon Master ofArts, Humanities, 2001, State University ofNew York, University at Buffalo Bachelor ofArts, Department ofMedia Study and Sociology, 1999, State University ofNew York, University at Buffalo AREAS OF SPECIAL INTEREST: Critical Cultural Studies, Political Economy of Communication, Visual Communication, New Media Theory, Media Arts Production, Media Subcultures, Alternative Media PROFESSIONAL EXPERIENCE: Graduate Teaching Fellowship, School ofJournalism and Communication, University ofOregon, 2006-2010 Vll Adjunct Professor ofMultimedia Arts, Medaille College, Buffalo, NY, 2004­ 2006 Technical Supervisor, New Media Institute, Medaille College, Buffalo, NY, 2004­ 2006 Adjunct Professor of Sociology, Trocaire College, Buffalo, NY, 2004-2006 Assistant Language Teacher (ALT), Japanese Exchange and Teaching Program (JET), Kanazawa-City, Japan, 2002-2003 Adjunct Professor ofVideo, University ofRochester, Rochester NY, Spring, 2002 Technical Director, Squeaky Wheel, Buffalo Media Resources, Buffalo, NY, November 2001 to July 2002 Teaching Assistant, State University ofNew York, University at Buffalo, Buffalo, NY, 1999-2001 GRANTS, AWARDS AND HONORS: Lokey Scholarship, University of Oregon, 2009 Kappa Tau Appha award in Journalism and Mass Communication, University of Oregon, 2009 Excellence in Teaching Award, State University ofNew York, University at Buffalo, 2001 PUBLICAnONS: Gracon, D. (2009). The independent record store as a site ofcultural resistance and anti­ McDona1dization - A case study ofthe House ofRecords. In R. C. Sickels (Ed.), The business ofentertainment: Popular music: Vol. 2 (pp. 205-221). Westport, CT: Praeger Publishers. Vlll ACKNOWLEDGMENTS I would like to thank my dissertation committee members: Janet Wasko, Carl Bybee, Leslie Steeves, Julie Newton and Doug Blandy for their encouragement and support throughout this entire research process. I would like to add an extra thanks to Carl and Janet, who were able to give their energy to this project despite difficult life events occurring outside the university. I would also like to thank the independent record storeowners and workers for allowing me to conduct research in their stores in order to gain a critical insight into this unique culture. Also, thanks to the musicians, record labels and distributors who participated in this project. Without your open and giving nature, this project wouldn't have been possible. In particular, I want to thank Greg Sutherland at House ofRecords in Eugene, Oregon, who has been a relentless supporter ofthis project from day one. I would also like to send a sincere thanks to Terry Currier, the owner ofMusic Millennium in Portland, Oregon, who very kindly allowed a total stranger to spend two weeks researching his store. Terry was also pivotal in terms ofconnecting me to other major record labels and music distributors. Lastly, I would like to thank Tony Green at Amoeba Music in San Francisco, Califomia for his kindness, and for granting me store access. Lastly, I would like to thank my friends and family. This includes my father and late mother, my sister Jennifer, brothers Gary and Steven, and my two very hilarious IX nephews Josh and Eli. I would also like to say thanks to my friends: Marc Moscato, Tom Eichler, Joanne and Don Eichler, Greg Genco, Brenna Wolf-Monteiro, Anne Conaway, Greg Miller, Leslie Rutberg, Mary Erickson, and my doctoral cohort: Andre Sirois, Jessalynn Strauss, Ahran Park, and Alina Padilla-Miller for their continued support over the years. x For my mother, who taught me to be thrifty at a very early age. Xl TABLE OF CONTENTS Chapter Page 1. INTRODUCTION 1 Overview ofthe Research Problem and Research Questions 3 Methodologies........................................................................................................ 15 Significance ofthe Study................ 18 Personal Relationship to Independent Record Stores 20 Chapter Preview 31 Summary................................................................................................................ 35 II. MAPPING THE MUSIC INDUSTRY, MUSIC RETAIL AND THE INDEPENDENT RECORD STORE...................................................................... 37 A BriefHistory ofMusic Eras and Formats 38 The Mechanical Era (1877-1923) 38 The Electronic Era (1924-1960s)......................................................................... 41 Cassette Era (1970-1982)..................................................................................... 44 The Digital Era (roughlyl983-present)................................................................ 45 Current Trends in the Recorded Music Industry..................................................... 47 Contemporary Ways to Obtain Recorded Music 52 Current Trends: Music Consumption by Channel.................................................. 55 Current Trends: Music Consumption by FormaL.................................................. 57 Current Trends: Music Consumption by Age 58 Illegal Music Downloading/File Sharing................................................................ 59 Major Record Labels..............................................................................................
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