A Multi-Level Analysis of Songwriter Career Strategies by Rachel S

Changing Patterns of Cooperation in Occupational Communities: A Multi-Level Analysis of Songwriter Career Strategies By Rachel Skaggs Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in Sociology August 10, 2018 Nashville, Tennessee Approved: Daniel B. Cornfield, PhD Shaul Kelner, PhD Joshua Murray, PhD Copyright © 2018 by Rachel Skaggs All Rights Reserved ii To my father, Donnie Skaggs, who I’ve watched pursue his songwriting dreams. To my mother, Rose Skaggs, who supports his dreams and mine. To David Carlson. His dreams and mine are intertwined. iii ACKNOWLEDGMENTS It is an overwhelming task to think of all of the support that people have given me in support of this dissertation. My dissertation is about collaboration, and I have been unmeasurably lucky to have collaborated with wonderful people. I want to begin by thanking every songwriter I interviewed. Without their trust and insight, I could not have conducted research that is as compelling, touching, and important as the project that has emerged. The generosity and openness of these people, most of whom were total strangers to me, is inspiring. Next, I must acknowledge the support of the Robert Penn Warren Center for the Humanities. As a dissertation fellow at the Warren Center, I was able to truly develop my ideas and focus on the work of writing a good dissertation. My fellow fellows at the Warren Center challenged me and supported me. Danielle Picard, Wietske Smeele, Sara Kollner, Alexandra Alekseyeva, David Vila, and James Phelan all contributed to the ways I think about my own work as I try to present it in a manner that is intelligible and meaningful to an interdisciplinary audience. Mona Frederick and Terry Tripp supported my work, and they have supported me with enthusiasm throughout my time at Vanderbilt. I am so thankful to have them on my side, so to speak. When I applied to Vanderbilt’s sociology program, I was explicit about my intent to work with the Curb Center for Art, Enterprise, and Public Policy. I am unendingly thankful for the intellectual and financial support I have received in my work with the Curb Center. The mentorship and social connectedness to Jay Clayton, Elizabeth Meadows, Heather Rippetoe, Steven Tepper, and Miriam Lense has been essential to my development as a public scholar, specifically in the music community. The students and innovators I worked with while planning the Curb Creative Connection conferences have also supported my growth; Lindsay Conlin, Rachel Moore-Beard, Khrys Hatch, Jonathan Tari, Marissa Begin, and Rachel Anand have all inspired me to continue connecting my research to the people whose careers might benefit from it. Further, the kindness and support that Jim Ed Norman has shown me throughout my time with the Curb Center has been an irreplaceable benefit to my growth as a person and a music researcher. Dan Cornfield is the most central node in my development as a scholar. I cannot possibly express how much his guidance has meant to me. I have been Dan’s student, his teaching assistant, his research assistant, and his co-author. I have worked with Dan as an associate and book review editor on the journal Work and Occupations, and I have shared countless meals, phone calls, and long office conversations with Dan. I count myself fortunate to have learned how to be a good scholar, colleague, and person from Dan Cornfield. The members of my dissertation committee have supported me with enthusiasm and contributed to the project that has emerged. Shaul Kelner asks questions that really make me think, and his ability to forge connections between ideas is inspiring. Josh Murray has encouraged my network-based work in particular and has helped me to refine my thinking around how to conduct good research. I cannot thank Tim Dowd enough for the energy he iv brings to my committee. Tim came in person to my proposal defense, and since that time, I have gotten to present with him on two separate conference panels. It is heartening to have gotten the level of support from him that I have, and I could not ask for more from an outside committee member. The other faculty members, both at Vanderbilt and at other institutions who have supported me in my education have given me the most amazing gift. I am indebted to them for what I know, how I know it, and how I use it. Lijun Song and David Diehl have enthusiastically supported my development as a networks scholar. Richard Pitt conspired to teach me everything about how entrepreneurs are educated and reminds me to be excited about uncovering the hidden patterns in social life. Dr. Andre Christie-Mizell taught me not to fear numbers. His kindness and guidance has been essential to me since my first semester at Vanderbilt, and I know that when I see him, we are going to make each other laugh. Laura Carpenter supported my initial fieldwork into the Nashville music community and is a true pleasure to know. Jennifer Novak-Leonard taught me to ask why my findings matter in a policy context and has taught me how to present myself as a professional in all interactions. Jonathan Wynn believed in me and has been a true mentor from afar and, when possible, in person. Alexandre Frenette has found ways to give me opportunities that have helped me develop as a scholar and a writer around issues that connect sociology to arts policy, and I am thankful for him as a colleague and as a friend. My dearest professors Beau Weston and Phyllis Passariello at Centre College are the people who told me I should be an academic. They told me I could do this, and they were right. My friends have also supported my development and work along the way. I am particularly thankful to Gabriela Leon-Perez, Megan Robinson, Carly Rush, Ashley Kim, Peter Vielehr, Jyoti Gupta, Thomas Calkins, Hilary Saunders, and Sandra Arch for the myriad ways they have each supported me and my work. Kat Cantelou and Kara Beer have been understanding and supportive of my demanding schedule and have remained my truest friends. Mike, Patricia, and Melissa Carlson have celebrated with me along the way and have believed in me the whole time. Jamey and Emily Skaggs remain the people with whom I can let my hair down and remember that life is so much more than work. Though our time together is generally cobbled together on odd weekends and days here and there, my time with them is meaningful and precious. My grandmother, Mary Skaggs, has inspired me and encouraged me forever. She believes in me the most, and her pride in me makes me proud to be who I am. To my parents, Donnie and Rose Skaggs, and to my sister, Hannah Skaggs Guthrie, I give the highest order of praise and thanks. Your love and support has been so important to me. David Carlson has been by my side throughout this entire process. His love has meant everything. Thank you, David. v TABLE OF CONTENTS Page DEDICATION .................................................................................................................. iii ACKNOWLEDGEMENTS .............................................................................................. iv LIST OF TABLES ............................................................................................................ viii LIST OF FIGURES .......................................................................................................... ix Chapter 1. Prelude: Girls in Trucks ................................................................................................ 1 2. Introduction: Patterned Cooperation in Occupational Communities Introduction ............................................................................................................. 6 Literature .................................................................................................................. 9 Research Questions .................................................................................................. 30 Data and Analytic Strategy ...................................................................................... 31 Conclusion ............................................................................................................... 41 References ................................................................................................................ 43 3. Desperation Mode: Social and Political Economic Change in an Occupational Community Introduction .............................................................................................................. 49 Data and Analytic Strategy ...................................................................................... 51 A Shifting Political Economic Landscape ............................................................... 55 Discussion ................................................................................................................ 86 Concluding Thoughts on Political Economy, Patterned Cooperation, and Homogeneity ............................................................................................................ 84 References ................................................................................................................ 86 4. Charting Changes in Co-Writing from 2000-2015 Introduction .............................................................................................................. 89 Research Questions and Hypotheses ......................................................................

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