"Local Band Does O.K.": a Case Study of Class and Scene Politics in the Jam Scene of Northwest Ohio
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"LOCAL BAND DOES O.K.": A CASE STUDY OF CLASS AND SCENE POLITICS IN THE JAM SCENE OF NORTHWEST OHIO Katelen Brown A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2018 Committee: Jeremy Wallach, Advisor Esther Clinton © 2018 Katelen Brown All Rights Reserved vi ABSTRACT Jeremy Wallach, Advisor The subculture of jam bands is often publicly held to multiple stereotypical expectations. Participants in the subculture are expected to fall into one of two camps, coastal elites or “dirty hippies.” Members of the Northwest Ohio jam scene often do not have the kind of economic privilege that is assumed of them based on the larger jam subculture. Not only do these perceptions create difficulties for audience members of the Northwest Ohio scene, but there are added complications for the musicians in the scene. This research explores the challenges of class and belonging faced by participants in the Northwest Ohio jam scene. More specifically, this thesis focuses on the careful social negotiations scene members and musicians are required to navigate in order to maintain insider status while dealing with the working-class realities of life in the area. In this thesis, I argue that subcultural capital is one of the most significant factors for belonging to the larger subculture, and that its necessity, which requires sufficient economic support, demands more nuanced practices by local scenesters in order to maintain. I dissect the complexities of the concept of “family” in the jam scene, including its meaning for audiences and musicians, as well as how it intersects with class and public perceptions of class in the scene. Finally, I argue that musical forms and practices hold significance in establishing genre authenticity, but I maintain that class is a determining factor in the decisions bands make about whether or not they hold completely true to genre boundaries. This thesis attempts to address the complexities of class and how it functions in small, local rock scenes, specifically in the Northwest Ohio jam scene. vii In memory of my Grandfather, Robert E. Brown, Who taught me to always be kind and stand up for those less privileged than I am In memory of my Uncle, Robert C. Brown, Who taught me to always dance to the music and be grateful for every moment, even the sad ones Happy trails, Bobby Love, Kate In memory of Roger B. Schupp, Who taught me to follow my passions and stand up for what I believe in In honor of Nicole Beaudin, Who continues to teach me about true strength of character every single day Fight hard, warrior woman. viii ACKNOWLEDGMENTS As I sat down to write these acknowledgments, I already had tears welling up in my eyes, the good kind. The gratitude I feel for those who have supported me is overwhelming and I wish I was able to fully express how thankful I am. I would like to start by thanking my advisor, committee members, and mentors, Dr. Jeremy Wallach and Dr. Esther Clinton, without whose support and guidance I would never have been able to complete this project. Their willingness to stay up late nights to read my work and advise me, their continued understanding of the challenges I have faced, and their patience throughout this writing process has been invaluable to me and I wish I could express the extent of my gratitude. Through their own scholarly works, wisdom, and never-ending support, they have inspired and guided me throughout the two years of my study in the Popular Culture Master’s program at Bowling Green State University. I cannot find the words to thank them enough. I would like to thank my parents, Matt Brown and Jill Gingo, for raising me and teaching me to always take on a challenge, even when it hurts more than I think I can bear. I would like to also thank my step-parents, Mandy Brown and Jim Gingo, for always offering their love and support. I would also like to thank my siblings and step-siblings, Emily Brown, Trevor Brown, Drew Pfieffer, Eric Pfieffer, Ashley Gingo, and Ian Gingo for their love and patience. My Grandmother, Tody Brown, has never offered anything but kindness, love, and support for me and my passions and for that, I will be forever grateful. I would like to thank my Grandfather, Robert E. Brown, and my Uncle, Robert C. Brown, who will be forever in my heart. My Grandmother and Grandfather, Darlene and Paul Seibert, have always pushed me to do my best and they have endured with love and patience through my distance and forgetfulness, and I can not thank them enough for that. My extended family rarely gets to hear from me because of how ix busy I am, but they never fail to send me their love, and for that, I would like to express my love and appreciation. The academic community at Bowling Green State University is beyond supportive and I must take a moment to thank as many of the folks who have helped me along the way as I am able. I would like to thank Dr. Sidra Lawrence, without whose support, passion, and wisdom, I would not be doing this work and pushing myself to always work harder. None of this project would have been possible without the remarkable Popular Culture faculty and staff at BGSU with whom I have been so very fortunate to work with, including Dr. Jeremy Wallach, Dr. Esther Clinton, Dr. Montana Miller, Dr. Angela Nelson, Dr. Kristen Rudisill, Dr. Jeffery Brown, Dr. Becca Cragin, DeeDee Wentland, and Rebekah Patterson. I would like to thank the past and present music faculty to whom I owe so much including the late, Dr. Roger B. Schupp, Dr. Isabelle Huang, Dr. Olman Piedra, Dr. Dan Piccolo, Mr. Kevin Schempf, Dr. Gene Trantham, Dr. Marcus Zagorski, Dr. Arne Spohr, Dr. David Harnish, Dr. Katherine Meizel, Dr. Megan Rancier, and Dr. Jeffrey Halsey. Though it may have been long ago that I worked with some of these faculty members, their contributions to my scholarship and my life will never be forgotten. I must thank my dearest friends who have pushed me to work hard, but also reminded me that life is short and that it’s okay to take a break once in a while. To those at Howard’s Club H (you know who you are), you know that these past three years have changed me forever. Your love and support have meant the world to me. My partner and poet-in-residence, Jacob Hall, has been supportive, loving, challenging, and insightful. With his patience, kindness, and cleverness always at the ready, he has helped me through every day and every struggle with grace. I know I will never find the right words to thank you enough, Jacob, though you could probably write some better ones for me. x Finally, I would like to offer my sincerest thanks to my friends and informants who have offered to share their time, experiences, and opinions with me, no matter how much or how often I had to inconvenience them. Everyone I have worked with in the Northwest Ohio jam scene has embraced me as a member of the scene and supported my project. I would like to specifically thank Adam Rice, Currey Long, Benji Katz, Alex Hastedt, Travis Ward, Drew Merritt, Vinny Bartolotta, Ben Kowalka, Hank Walker, Dustin Galish, Calvin Cordy, J.P. Stebal, Billy Gruber, Riley Maxwell, John Jerabek, Steve Mizer, Sageon Jagielski, and Aaron Armstrong, for their work in the jam scene, their kindness and openness towards me, and their help with this project. I will never truly be able to put into words how thankful I am for all of the individuals who have worked with me on this thesis. xi TABLE OF CONTENTS Page INTRODUCTION……………………………………………………………………… ..... 1 CHAPTER I. THE BAND WANTS YOU TO BE HAPPY, BUT I WANT YOU TO SHUT UP: CREATION AND MAINTENANCE OF JAM SCENES THROUGH THE COLLECTION OF SUBCULTURAL CAPITAL AND THE SUBCULTURAL CAPITAL EXCLUSION LOOP ……………………………………........................................................................................ 10 Subcultural Capital…………………………………………..................................... 11 Tie-Dye, Stealies, and Pot Leaves: How Aesthetic Norms Function in Jam Scenes ............................................................................................................ 15 Talkers and “Serious” Fans ........................................................................................ 17 Wooks, Custies, Chads, and Chompers: Collecting Subcultural Terminology ......... 20 Going to and Knowing Shows in National and Local Scenes ................................... 25 “I Saw You With A Ticket Stub In Your Hand”: How Much Is It Again? ............... 33 21st Century Jammer: Jam Bands and Fans in the Digital Age…… ......................... 35 Conclusion………………………………………………………………… ............. 40 CHAPTER II. “WOULD YOU LIKE TO BE IN MY FAMILY PICTURE?”: CONCEPTS OF “FAMILY”, MUSICAL PROFESSIONALISM, AND CLASS ........................................... 42 Communal Experience and the Legacy of the “Dead Family” .................................. 45 The Original “Dead Family” and Popular Perceptions of the Jam Band Scene ........ 49 Elitist Hippies vs. The Problems of Class and Geography ........................................ 57 The Legacy of Heideggarian Philosophy and the Hippies of the 1960s .................... 60 “Family” and Fans in Northwest Ohio ....................................................................... 65 xii Musician “Fam” and the Narrative of Inclusivity in the Jam Scene .......................... 68 Conclusion………………………………………………………………………… . 70 CHAPTER III. “LUCY AND THE FUZZ”: AUTHENTICITY TO THE JAM GENRE AND INTERSECTIONS WITH CLASS .......................................................................................