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Online Music Communities: Challenging Sexism, Capitalism, and Authority in Popular Music

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Online Music Communities: Challenging Sexism, Capitalism, and Authority in Popular Music ONLINE MUSIC COMMUNITIES ONLINE MUSIC COMMUNITIES: CHALLENGING SEXISM, CAPITALISM, AND AUTHORITY IN POPULAR MUSIC By PAUL ALEXANDER AITKEN, B.FA. A Thesis Submitted to the School of Graduate Studies in Partial Requirements for the Degree Master of Arts McMaster University © Copyright by Paul Alexander Aitken, September 2007 MASTER OF ARTS (2007) McMaster University (Music Criticism) Hamilton, Ontario TITLE: Online Music Communities: Challenging Sexism, Capitalism, and Authority in Popular Music AUTHOR: Paul Alexander Aitken, B.FA. (York University) SUPERVISOR: Dr. Christina Baade NUMBER OF PAGES: vii, 167 ii ABSTRACT With its almost exclusive focus on the economics of the music industry, the early-21 st century debate over digital music piracy has obscured other vital areas of study in the relationship between popular music and the Intemet. This thesis addresses some of these neglected areas, specifically issues of agency, representation, discipline, and authority; it examines each of these in relationship to the formation and maintenance different online music communities. I argue that contemporary online trends related to music promotion, consumption, and criticism are, in fact, part of a much larger socio-cultural re-envisioning of the relationships between artists and audiences, artists and the music industry, and among audience members themselves. The relationship between music and the Intemet is not only subversive on the level of economics. I examine these issues in three key areas. Independent women's music cOlmnunities challenge patriarchal authority in the music industry as they use online discussion forums and web sites to advance their own careers. The tension that exists between the traditional for-profit music industry and the developing ethic of sharing in the filesharing community creates the conditions whereby we can imagine aItemative ways that music can circulate in culture. "Citizen media," such as blogs and "open source" encyclop~dias, allows for those who otherwise had no avenue for presenting their thoughts and ideas to engage in public discourse. Traditional understandings of authority and expertise are subject to revision as new ways of assessing authority develop for online sources. This is also evident in the struggles of "old-media" groups in reconciling their established publishing and editorial practices with emergent online practices. This thesis foregrounds the work of individuals by drawing extensively from interviews, personal blogs, and online discussion forums. In this way, the monolithic "grand narratives" of the Internet, such as the filesharing "battle" or the democratic potential of online discourse, are shown to be the product of many individual subjectivities, each of whom contribute to authoring the online environment. iii ACKNOWLEDGEMENTS My advisors, Dr. Christina Baade and Dr. Susan Fast, for their guidance. My family, June and David Aitken, Susan Aitken, and Catherine Morris, for their support. My friends and loved ones, for being there. IV TABLE OF CONTENTS INTRODUCTION ........................................................................................................ 1 COMMUNITy ......................................................................................................... 3 AUTHORITy .......................................................................................................... 7 MUSIC ................................................................................................................. 10 METHODOLOGY .... , ............................................................................................. 12 ONE: SISTERS ARE DOING IT FOR THEMSELVES GOGIRL~: COM, MEAGHAN SMITH, AND KRISTIN SWEETLAND ............................ 17 COMMUNITy!NETWORKING: FROMRrOT GRRRL TO GoGIRLS .......................... .22 IDENTITY AND WEB PROMOTION: MEAGHAN SMITH, KRISTIN SWEETLAND ...... 3 7 CONCLUSION ....................................................................................................... 50 Two: SHARE AND SHARE ALIKE P2P AND SOCIAL DISCIPLINE AT OINK.ME.UK. ................................................... 53 THE BITTORRENT PROTOCOL ............................................................................. 59 OINK .................................................................................................................. 62 REGULATION: INSPIRJNG AN ETHIC OF SHARING ................................................ 63 THE SHARE RATIO .............................................................................................. 67 TOWARDS ALTERNATIVES: GIFT ECONOMY TO VOLUNTARY LICENSING .......... 71 THE VIRTUAL TO THE REAL, OR, How TO OFFEND THE OINKCOMMUNITY ....... 76 CONCLUSION ....................................................................................................... 81 THREE: ONLINE CITIZEN MEDIA AND POPULAR MUSIC DISCOURSE LOLLAPALOOZA 2006 ........................................................................................... 87 SHIFTING CAPITALS ............................................................................................ 91 PROJECT D.D ...................................................................................................... 98 TECHNORATI AND AUTHORITY ................................................. ·························102 LOLLAPALOOZA, "DELIVERED" TO YOU BY ...................................................... 104 CHROMEWAVES .................................................................................................. 108 JAMBASE ........................................................................................................... 111 THE GROVE ONLINE AND WIKIPEDIA ................................................................. 116 CONCLUSION ....................................................................................................... 123 WEBOGRAPHY ........................................................................... , ......................... 129 BIBLIOGRAPHy .................................................................................................... 143 DISCOGRAPHy!FILMOGRAPHY ........................................................................... 148 v APPENDIX ONE: LYRIcs ..................................................................................... 149 "1 Can't Do Math" - Meaghan Smith (Lost With Directions, 2004) ............... 149 "0 Leander" - Kristin Sweetland (Root, Heart & Crown, 2002) ................... .150 APPENDIX Two: INTERVIEWS AND QUESTIONNAIRES ...................................... 151 Email Questions for Meaghan Smith and Kristin Sweetland. .......................... 151 Open Online Questionnaire ............................................................................. 153 ApPENDIX THREE: LETTER OF INFORMATION/CONSENT ................................. 156 APPENDIX FOUR: ELECTRONIC FRONTIER FOUNDATION WHITE PAPER ...... .. 160 VI LIST OF FIGURES Figure 1. OiNK Ratio Requirements ..................................................................... 68 Vll MA Thesis - P.A. Aitken McMaster - Music Criticism INTRODUCTION n the winter of 2003-04 I spent several months compiling a list of contact I information for music festivals, promoters, and booking agents in the hopes of organising a summer tour for my jazz quintet. The process involved many hours spent online surfing the individual websites of numerous festivals, promoters, artists, and city councils; it also necessitated several hours on the telephone, and probably several more emailing. All of the information I gleaned was publicly available through the World Wide Web. It was at times mind-numbingly boring, involving cutting-and-pasting addresses and phone numbers into an ever-growing (and increasingly disorganised) database. I spent a great deal of time asking myself "Why am I doing this? This is taking away from time that could be spent actually playing music!" Of course, in the back of my mind the point was clear: this was a necessary step toward the goal of performing. I needed to contact all of these potential venues if I hoped to perform for the types of audiences I desired. As the professional musician's mantra goes: I needed to get gigs, get gigs, get gIgS ... Along the way I began to wonder why such a list had never circulated among my many musical colleagues. After all, things did in fact circulate. There were always stories of terrible gigs (and sometimes good ones, rarely great ones) and unseemly club owners (and sometimes good ones, even more rarely great ones!). I suspected that such a list was out there-surely someone had put in as much time and effort as I had into compiling such a thing. Of course, I am writing here of a freely available list that would circulate amongst musicians in order to help everyone to succeed, not one of the many How to Get Gigs and 1 MA Thesis - P.A. Aitken McMaster - Music Cliticism Influence People-type books that are available to professional musicians who have the extra moncy (!) to spend.} I thought that among my small group of colleagues we perhaps hadn't yet begun to fully utilise Internet communications technologies to help get us gigs. I sent an email to as many of my musician colleagues as I could. I asked why we shouldn't begin to share resources, and speculated that, since we were all in the same boat looking for gigs, perhaps we should pool our collective abilities to get work: in doing this maybe we could all be more successful, play to more audiences, make more money? I added that even
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