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Three Indie Institutions in the London, Ontario Independent-Music Scene

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Three Indie Institutions in the London, Ontario Independent-Music Scene Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-13-2013 12:00 AM Treasuries of Subcultural Capital: Three Indie Institutions in the London, Ontario Independent-Music Scene Samuel C. Allen The University of Western Ontario Supervisor Dr. Keir Keightley The University of Western Ontario Graduate Program in Popular Music and Culture A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Samuel C. Allen 2013 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Community-Based Research Commons Recommended Citation Allen, Samuel C., "Treasuries of Subcultural Capital: Three Indie Institutions in the London, Ontario Independent-Music Scene" (2013). Electronic Thesis and Dissertation Repository. 1460. https://ir.lib.uwo.ca/etd/1460 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. TREASURIES OF SUBCULTURAL CAPITAL: THREE INDIE INSTITUTIONS IN THE LONDON, ONTARIO INDEPENDENT-MUSIC SCENE (Thesis format: Monograph) by Samuel Charles Allen Graduate Program in Popular Music and Culture A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Popular Music and Culture The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Samuel Charles Allen 2013 ABSTRACT This thesis explores the role institutions play within the London, Ontario independent-music scene. Institutions are where indie-music scenes happen (Kruse 2003). They are crucial to indie community-building in scenes, and provide the spaces and opportunities for indie- music activities to publically take place. Local institutions engage with scenes by providing scaled-down versions of the so-called mainstream music industry. I refer to these as “indie- style economies.” However, institutions are also organizational structures which influence the social and power relations within scenes. In particular, hierarchical distinctions between scene members are found to be based on the consecration of what Sarah Thornton (1995) calls subcultural capital. This thesis uses London as a case study of indie-music scenes. Three institutions are considered: the live-music venue APK Live, the independent record store Grooves Records, and the campus and community radio station CHRW Radio Western. Research methods include participant observation, interviews, and an application of theoretical literature. Keywords Indie Music, Scenes, Institutions, Subcultural Capital, Live-Music Venue, Independent Record Store, Campus and Community Radio, London, ON ii ACKNOWLEDGMENTS I would like to thank my supervisor, Dr. Keir Keightley for his guidance, patience and dedication to this thesis. Thank you also to Dr. Matt Stahl, my second reader. I would like to thank all of my teachers and professors over the years. I could not have gotten here without the hard work of many talented, knowledgeable, and caring educators. Special thanks to John Reed. Thanks John, for being a great teacher, mentor, and friend. Thanks also to my family and to Amanda, for your support through this process. Thank you to all of my colleagues in the Popular Music and Culture, and Media Studies programs. Finally, thank you to everyone in the London, Ontario indie-music scene. Without you this project would not exist. Thank you for lending your experiences to these pages and for all of the years of music, art, and friendship. iii TABLE OF CONTENTS ABSTRACT ........................................................................................................................ ii ACKNOWLEDGEMENTS ............................................................................................... iii TABLE OF CONTENTS ................................................................................................... iv LIST OF APPENDICES ................................................................................................... vi 1 INTRODUCTION ......................................................................................................... 1 Questions................................................................................................................. 1 Method .................................................................................................................... 2 Structure .................................................................................................................. 7 2 LITERATURE REVIEW .............................................................................................. 9 Indie Genre Rules and Conventions ....................................................................... 9 Process of Agency and Meaning Making in Music Scenes .................................. 18 Indie Institutions and the Shaping of Value .......................................................... 24 3 APK LIVE .................................................................................................................... 31 APK Live and Scene Values ................................................................................. 31 The Structuring of Meaning and Subcultural Capital ........................................... 42 APK Live Closes and the Need for an Institutional Hub ...................................... 48 Conclusion ............................................................................................................ 53 4 GROOVES RECORDS ............................................................................................... 56 Facing the Store .................................................................................................... 56 The Indie-Style Economy ..................................................................................... 62 Subcultural Capital, Hierarchy and Display ......................................................... 69 Conclusion ............................................................................................................ 76 5 CHRW RADIO WESTERN ........................................................................................ 80 On the Air ............................................................................................................. 81 iv CHRW’s “Alternative” Policy and the Indie-Music Scene .................................. 85 CHRW’s “Community” Policy and the Indie-Music Scene ................................. 95 The Reach of Subcultural Capital ....................................................................... 101 Conclusion .......................................................................................................... 103 6 CONCLUSION .......................................................................................................... 105 REFERENCES ............................................................................................................... 110 APPENDICES ................................................................................................................ 116 CURRICULUM VITAE ................................................................................................. 124 v LIST OF APPENDICES Appendix A: List on Interviewees .................................................................................. 116 Appendix B: Information Letter ..................................................................................... 118 Appendix C: Consent Form ............................................................................................ 120 Appendix D: Sample Interview Questions ..................................................................... 121 Appendix E: Ethics Approval ......................................................................................... 122 Appendix F: End of Study Report .................................................................................. 123 vi 1 1 INTRODUCTION My interest in indie-music scenes stems from my participation and experiences in the scene in London, Ontario. At the end of high school, I was playing guitar and bass in bands downtown. By the beginning of my undergraduate career, at the University of Western Ontario, I was regularly attending musical events at the gastro-arts pub The Alex P. Keaton, house-shows in artists and musicians’ apartments, and art openings in established and makeshift galleries. I spent my days digging through vinyl albums at Grooves Records and educating myself on indie music and culture by listening to CHRW Radio Western. A group of friends and I formed the Open House Arts Collective, with the goal of promoting and supporting the local music scene. Together we booked concerts and festivals, manufactured and released albums, and organized interviews with press in the city. People were always collaborating in the scene and it was exciting to hear and see what my friends were creating together. What we felt we could do in the scene by working together motivated us. It was exciting to realize what we could accomplish through our collective efforts. It was only after beginning to do research into popular music that I realized that our experiences belonged to a history of similar musical production and activity dating back at least thirty years from when we started. Questions Reflecting on my experiences within the London
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