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American Functional Music and Environmental Imaginaries

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American Functional Music and Environmental Imaginaries Anthropogenic Moods: American Functional Music and Environmental Imaginaries A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Joshua J. Ottum April 2016 © 2016 Joshua J. Ottum. All Rights Reserved. 2 This dissertation titled Anthropogenic Moods: American Functional Music and Environmental Imaginaries by JOSHUA J. OTTUM has been approved for Interdisciplinary Arts and the College of Fine Arts by Marina Peterson Associate Professor of Performance Studies Elizabeth Sayrs Interim Dean, College of Fine Arts 3 ABSTRACT OTTUM, JOSHUA J., Ph.D., April 2016, Interdisciplinary Arts Anthropogenic Moods: American Functional Music and Environmental Imaginaries Director of Dissertation: Marina Peterson This dissertation investigates how functional music, utilitarian commercial music composed to create moods, shapes environmental imaginaries in late twentieth- and early twenty-first century America. In particular, the study considers how functional music operates in specific media contexts to facilitate sonic identifications with the natural world that imbricate nature with modalities of contemporary capitalism. As human- driven changes to the planet have ushered in the Anthropocene, an investigation of the relationships between musical sound, moods, and environments will draw out the feelings and imaginaries of the era. In doing so, this study amplifies these attenuated sounds, aiming to open the conversation to new ways of listening in an age of increasing environmental fragility. 4 DEDICATION Dedicated to Vanessa and Baby Ottum 5 ACKNOWLEDGMENTS This dissertation is the product of explicit and implicit guidance from family, friends, and faculty. I couldn’t have asked for a better advisor in Dr. Marina Peterson. She has taught me how to examine things with a wider lens than I imagined possible. The ways I see, think, and especially listen, have been completely reshaped as a result of engaging with her. The biggest lessons I’ve learned have not been directly expressed. Rather, my newly formed impulses to maintain focus, imagine unimaginable scenarios, and just do the work have come from just observing the way she works. I am better thinker, artist, and person as a result. I am also grateful to Dr. Michael Gillespie for opening up the world of film and presenting a model of interdisciplinarity I aspire to. Chris Dobrian, Michael Dessen, and Cecilia Sun have all been incredibly supportive from afar reminding me of the importance of continually weaving all parts of my creative, scholarly, and personal identities into one, fluid mix. Friends like Ian, Par, Adam, Brian, and Mike have all been excellent sounding boards and supporters along the way. We’ve known each other since third grade and as recently as 2012. In each case, I can say that the shape of this project has been affected by each one of you. My family has been supportive as usual. More than a few eyebrows have been raised at my pursuits, but encouragement and support has been there all along. Finally, Vanessa: who knew we’d meet at a candy shop by the ocean, move to Ohio and bike past deer, and then end up in Bakersfield just up the road from 18 family members who signify the glory of Californian pioneer stock! You’ve made my life incredibly rich and remind me daily about the virtues a thing called joy. 6 TABLE OF CONTENTS Page Abstract ............................................................................................................................... 3 Acknowledgments ............................................................................................................... 5 List of Figures ..................................................................................................................... 8 Introduction ......................................................................................................................... 9 Interpellation through Functional Music and Media .................................................... 14 Environmental Criticism and the Anthropocene .......................................................... 25 Chapter Outline ............................................................................................................. 29 Chapter 1: Sonic Lubricants: Listening to Petrocultural Narratives in Oil Company Advertisements ................................................................................................................. 32 Refining the Message .................................................................................................... 36 Domesticating Petroculture ........................................................................................... 54 Clean Exhaust ............................................................................................................... 58 Human Energy .............................................................................................................. 63 The End of Oil? ............................................................................................................. 73 Chapter 2: Consumption and Dissolve: Imagining Environments with New Age Music 78 Healing Histories .......................................................................................................... 83 Hearing the Machine in the Garden .............................................................................. 89 Dr. Steven Halpern’s Sonic Supplements ..................................................................... 95 Disappearing on a Windham Hill ............................................................................... 108 Making Space for Nobody .......................................................................................... 118 Articulating Anonymous Environmental Imaginaries ................................................ 129 Fading Out .................................................................................................................. 138 Chapter 3: Meteorologists as DJs: Listening to The Weather (Channel) ....................... 142 A Channel Devoted to the Weather? .......................................................................... 146 Sound Rhetoric ........................................................................................................... 155 Sounding the Brand of Weather .................................................................................. 159 Televisual Sound ......................................................................................................... 164 Smooth Jazz ................................................................................................................ 168 The Weather Channel Presents ................................................................................... 175 7 Nostalgic Listening in the Anthropocene ................................................................... 180 Endless Refrain ........................................................................................................... 189 Chapter 4: Sounds Like Garbage: Listening to Eco-Catastrophes .................................. 191 Deterritorializing Pop ................................................................................................. 194 Tuning in to the Far Side ............................................................................................ 200 Beyond Good and Bad ................................................................................................ 203 Beyond Nostalgia and Apocalypse ............................................................................. 209 Dissecting the Earworm .............................................................................................. 212 Trying to Locate a Disaster ......................................................................................... 216 100% ........................................................................................................................... 228 Compost Listening ...................................................................................................... 233 Conclusion ...................................................................................................................... 235 Bibliography ................................................................................................................... 240 8 LIST OF FIGURES Page Figure 1: Bob Kurtz wears a mask. ................................................................................... 39 Figure 2: Kurtz’ dinosaurs melt into the earth. ................................................................. 42 Figure 3: Different forms of energy extraction. ................................................................ 43 Figure 4: “So go easy, and America’s energy will go a lot further.” ................................ 44 Figure 5: "Gertie Just Loves an Auto." ............................................................................. 50 Figure 6: Ration Bored opening sequence. ....................................................................... 51 Figure 7: Blurring colors with sound. ............................................................................... 52 Figure 8: "I'm a Necessary Evil!" ..................................................................................... 53 Figure 9: “...dirty exhaust into good clean mileage.” ....................................................... 61 Figure 10: Winsor McCay’s
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