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Popular Music Making in Canada and Greece Global Music, Local Culture: Popular Music Making In POPULAR MUSIC MAKING IN CANADA AND GREECE GLOBAL MUSIC, LOCAL CULTURE: POPULAR MUSIC MAKING IN CANADA AND GREECE By ATHENA ELAFROS, B.A., M.A. A Thesis Submitted to the School ofGraduate Studies In Partial Fulfilment ofthe Requirements For the Degree Doctor ofPhilosophy McMaster University (c) Copyright by Athena Elafros, January 20 II DOCTOR OF PIDLOSOPHY (20 11) McMaster University (Sociology) Hamilton, Ontario TITLE: Global Music, Local Culture: Popular Music Making in Canada and Greece AUTHOR: Athena Elafros, B.A. (University ofToronto), M.A. (Queen's University) SUPERVISOR: Graham Knight COMMITTEE MEMBERS: Tina Fetner Christina Baade NUMBER OF PAGES: vii~ 242 11 Abstract The purpose ofthis dissertation is to better theorize the relationship between cultural production, popular music and cultural identity. While broadly examining popular music, the primary focus ofthis study is on black popular music making and hip hop cultures in Canada and Greece. My dissertation focuses upon three distinct case studies in Toronto, Canada; Athens, Greece; and Vancouver, Canada. Each ofthe three case studies in my dissertation contributes, and offers revisions, to Bourdieusian studies ofcultural production. Whether it is DJs in Toronto trying to assert authorship and legitimate their roles as musicians, an MC in Vancouver trying to conceptualize a new mode ofdiasporic belonging for Greeks ofthe diaspora, or male hip hop practitioners in Athens utilizing their historical knowledge ofthe Greek field of popular music to authenticate their pursuits in rap music, each case study provides a different lens through which to understand how popular music makers use music in their quests for cultural legitimacy, diasporic belonging and/or authentication. Through an emphasis on location, cultural identity and collective history, each case study advances Bourdieu's field theory in new directions. Drawing on, and refining Bourdieu, I demonstrate how an analysis ofpopular music has much to offer sociological studies ofcultural production. 111 Acknowledgements This dissertation could not have been written without the support ofmany people. First and foremost, I would like to thank all ofthe interview respondents in Toronto, Canada, (and the greater Toronto area) and Athens, Greece, who took the time to speak with me and give me their perspectives on music making. Without their assistance, this dissertation would not have been possible. Second, I would like to thank the members ofmy dissertation committee: Graham Knight (advisor), Tina Fetner and Christina Baade. Graham, your encouragement, pragmatism, support and humour have been invaluable. I have learned a great deal about how to be good academic through your guidance and I hope that one day I can have the same positive impact on the lives ofstudents. Tina and Christina, you have both served as excellent role models and scholars for my academic development. Tina, you have been a great research supervisor, teaching assistant supervisor and committee member. Christina, your positive feedback, and gentle reminders that a musical text consists ofmore than song lyrics, have made me a better scholar. All in all, I could not have asked for a better group ofpeople to supervise my work. I would also like to thank Murray Forman for acting as the external reader. Third, I would like to thank my friends and colleagues for their support. First and foremost, I would like to thank Sasha Bogin, Jessica Dionne and Alie Marconicchio for all oftheir encouragement and kindness in good times and in bad. I'm honored to be your friends. Special thanks to thank my k-town crew, Rosa Barker, Jenn Robinson, Andrew Stevens, and Travis Tomchuk for being excellent colleagues and even better friends. Also, to the lovely ladies ofthe writing group, Hillary Arnold, Lisa Byers, Steph Howells and Vicky Maldonado, thanks for the bi-monthly meetings, constructive feedback and lovely meals. I would also like to thank the following people in the Sociology department for their assistance at different points in this process: Michael Adorjan, Bob Andersen, Carl Cuneo, Melanie Heath, Corinne Jehle, Nicole Neverson, Dorothy Pawluch, Vic Satzewich, and Bilny Shaffrr. Finally, I would also like to thank Vince Sacco and Frank Pearce for their friendship and mentorship over the years. Vince and Frank are both truly wonderful and one ofa kind people. Fourth, there are a whole host ofpeople who helped make my field research in Athens possible. These people include: Matina Anastassopoulos (for transcription of my Greek interviews), Evangelia Daughtrey (for translation ofmy research materials into Greek), iv Kevin Dawe (the external reviewer ofmy ethics protocol for my fieldwork in Athens, Greece) and Michael Hajimichae~ aka Haji Mike (my Alexander S. Onassis research advisor while in Athens). While in Athens I also had the opportunity to speak with a whole host ofacademics. In particular, I would like to thank the following individuals took the time to offer me their assistance: Maria Kakavoulia, Giannis Kolovos, Jannis Androutsopoulos, George Michael Klimis, Pavlos Kavouras and Nicolas Christakis. Fifth, I would like to the thank the Social Sciences and Humanities Research Council of Canada for granting me a Doctoral Fellowship (2005-2009) and the Alexander S. Onassis Public Benefit Foundation for granting me a research scholarship (2008-2009). Without these scholarships my research project could not have happened. Sixth, I would like to thank my family: my parents, Steve and Soula, and my brother, Bill. As a child, I grew up listening to a lot ofGreek music and reading a lot ofbooks. My father was an avid record collector oflaika and rebetika. My love ofmusic is in no small part the result ofgrowing up listening to George Dallaras, Stelios Kazantzidis, Glykeria, and many others. The first record (that's right, record) I ever owned was NKOTB's Merry, Merry Christmas, which was given to me by my father for Christmas in 1989. My mother instilled in me the value ofan education. She never had the opportunity to pursue a higher education, but from very early on in life she inspired in me a love ofreading and learning. This dissertation is dedicated to her. Finally, I would like to thank my brother Bill for his wonderful sense ofhumour and friendship. Although I am eight years his elder, over the last few years, he has become one ofmy dearest friends. Last, but certainly not least, I would like to thank my partner Christopher Churchill. Meeting Chris while completing my Master ofArts at Queen's University will always be one ofmy fondest memories ofgraduate school. His love, kindness and support have been invaluable in the dissertation process and his constant companionship has made the gruelling process ofcompleting my dissertation bearable, and at times, even enjoyable. v Global Music, Local Culture: Popular Music Making in Canada and Greece Table of Contents Descriptive Note ii Abstract 111 Acknowledgements 1v Table ofContents VI Chapter 1 Introduction 1 Introduction 1 Cultural identities, Meaning-making, Representation and Popular Music 9 Works Cited 17 Chapter 2 Literamre Review 22 Introduction 22 Cultural Identities, Popular Music and the Sociology ofCulture 22 Cultural Identities, Popular Music and Diasporic Communities 29 Cultural Identities, Popular Music and Social Difference 33 Dissertation Outline 3 7 Works Cited 40 Chapter 3 Theory 47 Introduction 4 7 Bourdieu and cultural production 4 7 Refining the field ofcultural production 53 The restricted subfield ofpopular art 53 The importance oflocation 56 The strategic uses ofhistory in fields 57 The cultural production ofidentity 59 Concluding Remarks 67 Works Cited 69 Chapter 4 Data and Methods 71 Introduction 71 From ethnography to interviewing to cross-cultural comparative research 72 Data collection 76 VI In-depth semi-structured interviews 77 Observation 82 Textual analysis ofextant texts 84 Transcription, coding and analysis ofdata 88 Research questions 91 Concluding remarks 92 Works Cited 93 Chapter 5 Locating the DJ: Black Popular Music, Location and Fields of Cultural Production 95 Introduction 95 The importance of location in cultural fields 97 Methods 100 The Canadian Music Industry and the Popular Music Field in Canada 101 Black popular music in Toronto 104 Crowd pleasing and crowd commanding 106 Strategies ofauthorship and the quest for autonomy 106 Strategies ofaction and the importance oflocation 110 Conclusion 115 Works Cited 119 Chapter 6 Historicizing the Field: Greek Hip Hop, Collective Histories and Fields of Cultural Production 123 Introduction 123 Collective histories and cultural fields 124 Methods 128 A brief history ofGreek popular music: mapping the collective history ofthe field 131 Rebetika 132 New Wave Laika 138 R~ ~~ Legitimizing Rap Music: the strategic adoption of'usable pasts' 151 Conflicting Strategies ofLegitimation: Erasure and Hellenization 161 Conclusion 165 Works Cited 167 Glossary ofterms 171 Chapter 7 "Bouzouki Hip Hop?" Representation and Identity in Greek-Canadian Rap Music 172 Introduction 172 Fields, Representation and Cultural Identity 174 vii Methods 179 The history ofthe field: Greek-Canadian Diaspora(s), BZ Jam and Van City Greeks 181 "Feta Funk": the contours and contradictions of Greece as 'imagined community' 185 Constructions ofcollective history: classical Greece and the diasporic imaginary 186 Constructions ofcollective memory: narratives ofdestitution, exile and'evma 192 "Deep inside we aU Greek": the contours and contradictions ofbeing
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