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Niels Van Poecke Authenticity Revisited Authenticity Revisited Te production, distribution, and consumption of independent folk music in the Netherlands (1993-present) Niels van Poecke Authenticity Revisited Te production, distribution, and consumption of independent folk music in the Netherlands (1993-present) Ph.D. thesis Niels van Poecke 1 Authenticity Revisited Te production, distribution, and consumption of independent folk music in the Netherlands (1993-present) Authenticiteit Herzien De productie, distributie en consumptie van indie-folk in Nederland (1993-heden) 2 Authenticity Revisited Te production, distribution, and consumption of independent folk music in the Netherlands (1993-present) ~ Authenticiteit Herzien De productie, distributie en consumptie van indie-folk in Nederland (1993-heden) Proefschrift ter verkrijging van de graad van doctor aan de Erasmus Universiteit Rotterdam op gezag van de rector magnifcus Prof.dr. H.A.P. Pols en volgens besluit van het College voor Promoties. De openbare verdediging zal plaatsvinden op donderdag 2 november 2017 om 11:30 uur door Niels van Poecke geboren te Terneuzen 3 Doctoral committee: Supervisors: prof.dr. C.J.M. van Eijck prof.dr. J. de Mul Other members: prof.dr. M.S.S.E. Janssen prof.dr. D.J. Hesmondhalgh prof.dr. W.G. Roy 4 For my grandfather Marinus van Stee – a true working class intellectual. ~ For my daughter Mance van Poecke who, in writing the story she wishes to live by, may discover the power of music. 5 Tis research has been funded by the sustainable humanities program of the NWO Publisher: ERMeCC - Erasmus Research Centre for Media, Communication and Culture Design by Eyesberg (Amy Suo Wu & Tim Braakman) Printed by Peterprint.nl ISBN: 9789076665337 6 Preface and acknowledgments Tis dissertation is about indie-folk – the indie of which stands for ‘independent’. As a category of music, indie negatively defnes itself as the mirror image of the ‘mainstream’, of music that is produced and disseminated within the realm of the commercial recording industry. Indie musicians are part of a subdomain of the profes- sionalized feld of musical production and create music that is labeled lo-f rather than hi-f, pure rather than overly produced, authentic rather than synthetic. What it nowadays means to frame music ‘authentic’ – a concept fercely contested within academia – is the topic of this dissertation. As a young academic writing his dissertation, I have oftentimes felt myself like a musician entering the big world of pop music. I felt myself like Llewin Davis, the protagonist of the movie Inside Llewin Davis by the Coen brothers, a somewhat clumsy folk singer walking in and out production studios and music venues, oftentimes metaphorically bumping his head against the high barrier to entry. I had entered the big world of science: of international confer- ences, of discussing my work with colleagues, of reviewing the work of others, and of teaching to and working with talented students. As a researcher-and-teacher-in-the-making, I had to acquaint myself with the rules of the game, with the knowledge and skills necessary to become a professional in the feld. I had to become more independent, that is, fnd my own ‘signature’ by relating myself to the ‘mainstream’ and be capable of defending my work against the opinions of others. After six years of discovering this big world I have now come to see it as part of my habitat. Many people have contributed to this dissertation. First and foremost, I would like to thank my supervisors, professor Koen van Eijck and professor Jos de Mul. Professor Koen van Eijck I would like to thank for being the most dedicated and fun to work with supervisor. His supervision has been extremely valuable. I thank him for his dedication, for being very confdent about my skills as a Ph.D.-lecturer, for working together on designing and teaching new courses on sociology and the philosophy of the social sciences, and last but surely not least, for all the laughs we shared, during our many discussions or when coming across each other at the department or during one of the department events. I want to thank professor Jos de Mul for all the hard work he has put into this project. His monthly seminars, during which Ph.D. candidates discuss each other’s work, were of great help in writing the various articles and chapters of this thesis. Not only because the seminars oftentimes were the carrot this donkey was chasing after, but most of all, because the feedback on my work, provided by Jos and the other students, were very much to the point and have considerably improved the writings of this dissertation. I enjoyed participating in the seminars, as it also allowed me to update my knowledge on philosophy. I will sincerely miss being part of them. All the respondents that participated in this research I would like to thank for the time they took to speak about their practices, thoughts, emotions, feelings, and memories related to their much-treasured folk music. Without their help and candor this research would not have been possible. I am thankful that some of you have become friends. My special gratitude goes to Amy Suo Wu and Tim Braakman of Eyesberg (for designing this text-impregnated thesis and for turning it into a folk zine) and to professor Ton Bevers for being part of the supervision team dur- ing the frst year of this project. I am also greatly indebted to professor Antoon Van den Braembussche for being my mentor in aesthetics for more than 15 years already, and for frequently receiving me and my girlfriend at his home to spend memorable time discussing current trends in philosophy, culture and music, together with his wife and meanwhile one of our dearest friends, Arlette De Raedt. Professor Dick Houtman and professor Stef Aupers I would like to thank for ofering me the frst opportunity to work on the topic of this thesis. And I thank professor William Roy, professor David Hesmondhalgh, professor Susanne Janssen, professor Evert Bisschop Boele, dr. Aukje van Rooden, and dr. Timotheus Vermeulen for serving on my committee. All the members of the ERMeCC Ph.D. club and the philosophy Ph.D. seminars I would like to thank for reviewing my work and for being such fun to work with colleagues. So thank you: Rolf, Ed, Erwin, Gerben, Jean, Jetske, Joost, Joris, Frank, Mark, Esther, Eva, Henrietta, Simone, Emy, Ruud, Johannes, Joyce, Lena, Abby, Yosha, Rian, Min, Siri, Aldo, and professor Ruud Welten for chairing some of the sessions. A special thanks to Bert, for suggesting to change the title of this thesis into the current one (as a reference to Bob Dylan); to Robin, for the many interesting discussions on metamodernism; to Julian, Balász and Frank for sharing the ofce and for all the great conversations about teaching and research; to Dorus, for being such a nice colleague and friend; to Pauwke, for all the conference fun we had and for co-organizing the Music Talks-events; to Arno, for inspiring me to write about popular music memories; to Nicky, Marije and Marielle and all the students that were part of the editorial team, for co-organizing the Arts and Culture Talk Show; and to Janna, for waving and smiling at me from her ofce at least ten times a day and for co-publishing the banjo-piece. 7 All the students who participated in my courses I want to thank for their sincere interest and for being hunger for knowledge. A special thank you to Siobhan, Lisa, Kjell and Julia, for helping me out in preparing the tran- scriptions of the interviews. I thank Lutgard Mutsaers and Gert Keunen for letting me contribute to the edited volume Made In Te Low Countries. And I thank Teresa Oostvogels for organizing the practical details of the Ph.D. defense and the publication of this dissertation. My family and friends I would like to thank for encouraging me to continue working on the topic of this thesis. I would like to thank my parents for learning me the skills to appreciate blues, folk, country and Americana music; my grandparents for always asking me relevant questions about my research and for standing so strong particularly when times were changing. My friends Lieke, Rens, Jelle, Rosa, Willem, Miriam, Geert, Geertje, Misja, Sanne, Stefanie, Wael, I would like to thank for their support and for being my dearest friends. A special thank you goes to Willem and Geert, for accepting the invitation to be my wingmen and for co-organizing the day of the defense. I know that it is somewhat stereotypical to thank your girlfriend at last, but coming last really means being frst. I thank Bieke for being my girlfriend for almost eighteen years. Her improvisation skills in composing (children’s) songs and doing all kinds of funny dances on Sunday mornings make even the most gifted folk musician sound and look like an amateur. I sincerely hope that our shared biography is a never-ending story, and simply can’t wait to spend more time together and to write a new chapter in which we are the proud par- ents of a newborn! Rotterdam, September 16, 2017. 8 Contents Preface and acknowledgmets 7 1 – Introduction 13 1.1. A twenty-frst century folk revival 15 1.2. Research questions 15 1.3. Te ‘end’ of authenticity – and beyond 16 1. 4. Methodological foundations 17 1.4.1. Studying innovation in popular music – Te production of culture-perspective 17 1.4.2. Studying indie-folk by ‘looking through’ a diamond structure 19 1.4.3. Defning music as social practice 20 1.4.4. Studying the production, distribution, and consumption of indie-folk – A practice theory-based approach 22 1.4.5.
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