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DISCLAIMER: This document does not meet current format guidelines Graduate School at the The University of Texas at Austin. of the It has been published for informational use only. Copyright by Kathleen Eaton Feyh 2012 The Dissertation Committee for Kathleen Eaton Feyh Certifies that this is the approved version of the following dissertation: Russian Hip-Hop: Rhetoric at the Intersection of Style and Globalization Committee: Barry Brummett, Supervisor Joshua Gunn Jürgen Streeck Thomas Garza Sonia Seeman Russian Hip-Hop: Rhetoric at the Intersection of Style and Globalization by Kathleen Eaton Feyh, B.A., M.A. Doctoral Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication To my Oma (1911-2011), who was not hip-hop’s biggest fan, but was certainly mine. Acknowledgements This dissertation would not have happened at all without the great love and support of my wife, comrade, lover, and colleague Dana Cloud. With her advice, help, and constant encouragement, she picked me up and carried me over the finish line. Her love has been and remains the greatest gift I’ve ever received. I also want to acknowledge our daughter Samantha, who has been supportive and patient when there’s been less time for her and more time either for working or for stressing out about working. I thank my mother Corinne for always rooting for me, all the time, no matter the goal and no matter the obstacles. I also thank my stepmother Leah, my brothers Bill and Andrew, my sister Elizabeth, and my mother in-law Lana for familial encouragement and love. I thank my committee, beginning with advisor Barry Brummett. Barry’s move-it- along ethic helped get me through, as did his understanding of the perils of perfectionism. Thanks also to committee members Thomas Garza, Joshua Gunn, Sonia Seeman, and Jurgen Streeck for their support and guidance, as well as for their caring friendship. There are colleagues and friends who deserve thanks as well. I thank the amazing trio of Angela Aguayo, Lisa Foster, and Kristen Hoerl for support and love. Also deserving gratitude are Jennifer Asenas, Adria Battaglia, Bob Bednar, Dan Brouwer, Rosa Eberly, Dana Hendrix, Keith Hutchinson, Tomoko Ikeda, Julia Johnson, Kevin Johnson, Davi Johnson-Thornton, Bryan Mack McCann, Ashley Mack McCann, Chuck Morris, David Olson, Sae Oshima, Dustin Tahmahkera, Jaime Wright, Amy Young and many others who deserve to be listed here but whose names are omitted in the interests of v brevity. I thank them all not only for their support but for the intellectual community they have built in which I am honored to take part. Finally, I want to thank Dana Cloud. Again. Always. For everything. vi Russian Hip-Hop: Rhetoric at the Intersection of Style and Globalization Kathleen Eaton Feyh, Ph.D. The University of Texas at Austin, 2012 Supervisor: Barry Brummett In this work, I describe Russian hip-hop as a uniquely fruitful site of investigation of cultural cycles (innovation, commodification, dissemination, consumption, and further innovation) of style as communicative practice. The sudden Transition to market democracy—the expansion of the universal market into Russia and the Eastern bloc— allows us to see exactly what is at stake in a discussion of style, rhetoric, and agency. That is, the style subcultures before the Transition—though borrowed—operated locally, communally, and with an emphasis on ideas. After the Transition, the style culture defined around hip-hop was mostly a matter of imitating forms in a way designed to garner fame and profit. In an inversion of the cultural cycle, hip-hop arrived more as the sound of neoliberalism than as a rhetorical resource for resistance. vii I argue that style is a form of communicative practice, a union of form, ideology, and activity whose elements cannot be separated. Style is the language of the universal market. It is the cultural currency we use to express ourselves, experience leisure, even engage in politics. Styles are also characterized by cultural cycles, which are frameworks for capturing styles at particular historical moments with each moment’s particular social and economic characteristics. Attending to specific historical context for cultural cycles is important, because each style has a history that continues to leave traces upon it. It is increasingly through style that people identify themselves and each other as denizens of a single planet, interconnected. And it is through style that those living in advanced capitalist nations connect with other regions of the globe. Globalization is also the basis for the borrowing of styles worldwide, including into Soviet and post-Soviet Russia. In Post-World War II Soviet style subcultures privileged youth were special sources of Western commodities and information, while ordinary youth often cobbled together copies of Western styles. Soviet youth consumed the West, they imitated it, and they often innovated upon it. In innovating, they created their own versions of styles, most notably Russian rock. Style subcultures in the Soviet Union were de facto political, given that the very act of diverging from the official culture was treated by the state as a kind of dissidence. Following the fall off the Soviet Union, style cultures were mostly rendered irrelevant or folded into the developing market in popular and youth culture. For example, Russian hip-hop in is a product both of Soviet style culture and of the universal viii neoliberal market. The political and economic ambivalence of hip-hop as a whole and of other styles in Russia provides a lens through which we can view the effects of the development of the universal market in that country. Style is a means for people to negotiate their relationships to each other and to the state and market. The universal market is eager and quite able to take advantage of style, to package it, market it, and enforce its boundaries. Russians must go to market for the necessities of life and for leisure; it is also primarily through the market that they come to know and practice style. Still, even within hip-hop, there remains a kernel of resistance in the culture-making of ordinary people. ix Table of Contents LIST OF TABLES ................................................................... ERROR! BOOKMARK NOT DEFINED. LIST OF FIGURES .................................................................. ERROR! BOOKMARK NOT DEFINED. LIST OF ILLUSTRATIONS ..................................................... ERROR! BOOKMARK NOT DEFINED. RUSSIAN HIP-HOP: RHETORIC AT THE INTERSECTION OF STYLE AND GLOBALIZATION ....................................................................................................... 12 INTRODUCTION ......................................................................................................................... 12 Genre, Practice, and Style ...................................................................................................... 17 Cultural Cycles and the Universal Market ............................................................................. 21 Style and Globalization .......................................................................................................... 28 Russian Youth Culture after World War Two ....................................................................... 31 Russian Hip-Hop ................................................................................................................... 35 Notes ...................................................................................................................................... 40 CHAPTER ONE: GLOBAL STYLIN’ ........................................................................................... 43 An Account of Style .............................................................................................................. 47 The Irony of Individualism:“I Know that You Like My Style” ...................................................... 47 Collective Style and the Market: “We Make You Wanna Bite Our Style” .................................... 50 Epochal Style: “You Gotta Rock It, Pop It, ‘Cause It’s the Century” ............................................ 54 Style as Communicative Practice .......................................................................................... 56 Style as Form ................................................................................................................................... 57 Style as Ideology ............................................................................................................................. 62 Style as Activity .............................................................................................................................. 65 Hip-Hop Style as Communicative Practice ........................................................................... 67 Conclusion: For a Holistic Approach .................................................................................... 73 Notes ...................................................................................................................................... 75 CHAPTER TWO: CULTURAL CYCLES AND THE UNIVERSAL MARKET .................................. 77 The Utility of a Cultural Cycles Model for the Study of Hip-Hop ........................................ 78 Bakhtin and Cultural Cycles ..........................................................................................................
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