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Digging in the Crates. Practices of Identity and Belonging in A

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Digging in the Crates. Practices of Identity and Belonging in A DIGGING IN THE CRATES. PRACTICES OF IDENTITY AND BELONGING IN A TRANSLOCAL RECORD COLLECTING SCENE GÁBOR VÁLYI Thesis submitted in fulfillment of the requirements for the degree of Ph.D. in Sociology Goldsmiths College, University of London. September 2010 1 I declare that the work presented in this thesis is my own1. Gábor Vályi, 27th September, 2010 1 A detailed discussion of the copyrighted audiovisual material that is included to illustrate the thesis is given in Appendix 1. 2 ABSTRACT This thesis is a multi-sited ethnographic study of the practices through which a sense of identity and belonging is produced and experienced in the crate digging scene, a hip hop related translocal record collecting collectivity. Affective attachments are rarely theorised within popular music studies, and are largely neglected or taken for granted in empirical work. Whereas the emergence and prevalence of a sense of companionship and collective identity is less surprising in tightly-woven collectivities that frequently gather in public venues in a particular locality, it demands more of an explanation in spatially dispersed musical worlds, like the transnational crate digging scene, in which regular, locally based face-to-face interaction takes place in small friendly circles that consist of a handful of enthusiasts at most. The thesis reworks earlier, more elusive definitions of the notion of scene – a shared cultural space in which a range of coexisting and interacting musical practices work towards producing a sense of community – in a way that is more specific both with regarding what kinds of practices – aesthetic, distinctive, and spatial – shall be taken into consideration in accounting for the sources of attachments in musical collectivities. Furthermore, through its empirical chapters it outlines and connects particular areas of inquiry – the collective cultivation of a certain form of musical appreciation, the performance of distinctive practices, the acquisition and passing on of scenic sensibilities and customs, the places of scenic practice, as well as a shared understanding of spatiality – in which the productive ―work‖ of these practices could be be more closely observed and understood. Through a micro-sociological study of the collective practices organised around the consumption of second hand records, the thesis also engages with the sociocultural significance of the transforming technological regime of music consumption. 3 CONTENTS List of photographs, images, and charts .......................................................................8 Acknowledgements ........................................................................................................11 1. A practical approach to belonging ..........................................................................13 Addressing attachment in translocal music scenes ................................................. 16 Materialising belonging .......................................................................................... 20 Engaging with the sociocultural consequences of the transforming technological regime of music consumption ................................................................................. 25 Practices of identity and belonging within the crate digging scene ........................ 27 2. Belonging through tradition .....................................................................................31 2.1 Belonging through rituals ...................................................................................... 34 2.2 Describing musical collectivities .......................................................................... 37 Reworking subculture ............................................................................................. 38 Neo-tribal formations .............................................................................................. 39 Music scenes ........................................................................................................... 41 Genre and articulation ............................................................................................. 44 Scene as a framework of analysis ........................................................................... 46 Reworking the notion of the scene .......................................................................... 47 2.3 Towards an aesthetically engaged sociology of scenes ........................................ 49 Musical mediations ................................................................................................. 51 From interpretive community to community of appreciation ................................. 52 A shared history that makes aesthetics matter: culture as a selective tradition ...... 54 2.4 From theory to practice ......................................................................................... 56 3. Researching the scene ...............................................................................................58 3.1 The development of this research project ............................................................. 60 Initial inspirations ................................................................................................... 60 4 Beginning fieldwork................................................................................................ 61 A gradually emerging theoretical framework ......................................................... 65 Towards a more specifically focused ethnography ................................................. 67 3.2 Notes on a necessarily situated and partial perspective ........................................ 73 ―Insider research‖: a perspective of special proximity ........................................... 73 Situating subjective position at the intersection of multiple affiliations and encounters ............................................................................................................... 79 3.3 Representing the scene .......................................................................................... 86 4. The break aesthetics. History, appreciation, and community ..............................90 4.1 A conceptual approach toward sonic organisation............................................... 96 4.2 The making of a shared tradition: Ancestor worship revisited ........................... 103 4.3 B-boy breaks ....................................................................................................... 106 4.4 Samples and beats ............................................................................................... 114 4.5 Beyond breaks ..................................................................................................... 137 4.6 A community of appreciation ............................................................................. 146 5. The digging ethos. Distinctive collecting practices ...............................................151 5.1 Relational distinctiveness .................................................................................... 156 5.2 From a shared tradition to individual applications .............................................. 160 5.3 Individual strategies: perceptions, possibilities, and aspirations ........................ 167 5.4 Higher common principles: applying the crate digging ethos ............................ 174 Paying dues ........................................................................................................... 178 Flipping records .................................................................................................... 181 Foundational values .............................................................................................. 184 5.5 It‘s a belonging thing .......................................................................................... 185 6. Creating attachments. Social learning within the scene ......................................189 6.1 Networks of sociability ....................................................................................... 192 6.2 Personal influences.............................................................................................. 194 5 Long lasting, immediate relationships: mentors and peers ................................... 197 Occasional acquaintances: distant role-models ..................................................... 200 Reinforcing relationships: mutual favours and co-operation ................................ 202 6.2 Networks of mediation ........................................................................................ 204 Entry points: influences from mass media ............................................................ 206 Digging deeper: actively seeking for music related events, compilation albums, sporadic articles, hip hop related radio shows ...................................................... 209 Creating and reinforcing attachments to the scene through media consumption practices................................................................................................................. 216 6.3 The transformation of scenic learning................................................................. 221 7. Digging spots. Places of scenic participation ........................................................227 7.1 Sites of microeconomic activity, sociability, and the circulation of information234 7. 2 Local spots: sites of regular scenic interaction .................................................
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