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CULTURAL THEORY, POPULAR MUSIC, and the CANADIAN STATE by JOSEPH LEIGH TERRY B.S., University of Illinois at Urbana Champaign, 2000 M.A., University of Georgia, 2004

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CULTURAL THEORY, POPULAR MUSIC, and the CANADIAN STATE by JOSEPH LEIGH TERRY B.S., University of Illinois at Urbana Champaign, 2000 M.A., University of Georgia, 2004 POLICY FOR CULTURE’S SAKE? CULTURAL THEORY, POPULAR MUSIC, AND THE CANADIAN STATE by JOSEPH LEIGH TERRY B.S., University of Illinois at Urbana Champaign, 2000 M.A., University of Georgia, 2004 A dissertation submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Journalism and Mass Communication 2013 This dissertation entitled: Policy for Culture’s Sake? Cultural Theory, Popular Music, and the Canadian State written by Joseph Leigh Terry has been approved for Journalism and Mass Communication Dr. Andrew Calabrese Dr. Janice Peck Date The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. IRB protocol # ____________________0507.11 iii Terry, Joseph Leigh (Ph.D., Journalism and Mass Communication) Policy for Culture’s Sake? Cultural Theory, Popular Music, and the Canadian State Dissertation directed by Professor Andrew Calabrese At the conclusion of his seminal essay, “Culture is Ordinary,” cultural theorist Raymond Williams intones that “the ordinary people should govern; that culture and education are ordinary; that there are no masses to save, to capture, or to direct.” Williams’s passage captures the heart of his intellectual project and the central conflict in the development of cultural policy: the hierarchical separation of culture seen as a “whole way of life” and as “arts and learning.” Within cultural policy, this split is constructed at times as the democratization of culture (culture as civilizing) or cultural democracy (better access to the means of cultural production and distribution). This dissertation addresses these tensions by undertaking a case study of Canadian cultural policy in its support of the country’s independent popular music industry. Due in part to Canada’s geography and demographics, the country has developed a rich history of cultural policy that captures the historical tensions in understanding culture by attempting to adequately support both “serious” music and “music of a light or popular nature.” Moving beyond policy review, this study explores the impact of government-supported popular music subventions on the ground through interviews with policymakers, music industry personnel, and popular music artists. The results demonstrate the continual need of the state to redefine and reimagine the underlying intent of its policy interventions. Distinguishing an act of policy as either “cultural” or “industrial” fails to reveal how state political choices in matters of culture and democracy come to shape and inform their intrinsic value. For all those who choose to dedicate their lives to creating our songs. In the words of ABBA, “Thank You for the Music.” v ACKNOWLEDGEMENTS First and foremost, I would like to thank my advisor, Andrew Calabrese, and the other members of my dissertation committee. This final step in my doctoral journey has not only been a lonely one at times, but it has also been a long one. I appreciate your patience and feedback at each step of the process and willingness to fully engage in a topic I hold very dear. I chose wisely. Thank you Andrew for your guidance, support, friendship, and critical insights on so many matters beyond just my dissertation. I will miss our meetings at The Huckleberry. I also want to thank in this space Kendra Gale and the incomparable Martha LaForge. I am also appreciative of the Summer Research Fellowship I received through Journalism and Mass Communication at CU-Boulder to help fund my research in Canada. Next, I would like to thank all the research participants who agreed to be interviewed and were open to some rather lengthy conversations. Al Mair stands out as my first major interview in Canada and the person who reached out to other stakeholders. As a rookie Canadian researcher, that early coffee shop interview made it feel like the seas had parted. Thanks also go to Alan O’Connor in Toronto for taking me around the city to several of the music “landmarks” and for being a tremendous source of information. And, you were right about Fucked Up! Lastly in Toronto, a special thanks to Alan Stanbridge for fellowship at many conferences, friendship, access to the largest academic library in Canada, and phenomenal musical and policy insight. Of course too, thanks for the extravaganza of spinning vinyl on your Naim/Linn system. One of these days… In that rare space of my entirely real life and academic life, an incredible debt of gratitude and appreciation goes to Theresa Crapanzano for being not just okay with being in that vi unfortunate position, but (sort of) thankful for it! I cannot imagine writing any of these pages without you. Thank you, thank you, thank you. We also have the best dog in the world and I appreciate him quieting down in the loft to allow me to write. Good boy, Moonshadow! A special thanks to my parents for their unwavering support through all that has happened in my life, especially these last several years. I feel very fortunate to be your son. There really are no words to show my full appreciation. The phone is ringing. Oh, it’s David. Thank you brother for the distractions and support! I also want to thank those in my lengthy academic journey who have had and will continue to have an impact on my academic life. First and foremost in this group is Jay Hamilton. Working forward chronologically, others include Carrie Rentschler, Rob Sloane, Eric Pierson, Clifford Christians, and Dan McGee. More recently I want to thank Peggy Kreshel, Dwight Brooks, and Elle Lester Roushanzamir. I consider myself fortunate to have had all of you as teachers and mentors. I also thank all of you for my love of teaching. A cheers to my incredibly collegial and supportive cohort at the University of Colorado, especially May Farah. Thanks also to Kyle Kontour, Colleen Mihal, and Marisa Lubeck for good times and camaraderie. Colorado would not have been the same. Thanks to the best neighbors in Lakewood: Dee, Jennifer, Will, and Chris. My Georgia thanks are sparse. Can you blame me? Thanks to my many fantastic students, no matter what you choose to call me. Thanks to Joy Goldsmith for the continued support and encouragement. Thanks to Heidi Lyon for being a friend and my boy’s absolutely favorite groomer and sitter. In the immortal words of RCPM, “here’s to life!” vii CONTENTS CHAPTER 1: INTRODUCTION ................................................................................................... 1 Politics and Popular Music ............................................................................................................. 1 Subsidizing the Cultural Industries: From Hollywood to Halifax .............................................. 6 Cultural Policy Studies ................................................................................................................. 12 Cultural Policy/Cultural Studies ............................................................................................... 18 Popular Music Policy ................................................................................................................ 24 Research Objective ....................................................................................................................... 30 Methodological Overview ........................................................................................................ 34 Conclusion .................................................................................................................................... 36 CHAPTER 2: HISTORICAL OVERVIEW OF CANADIAN CULTURAL POLICY ............... 37 Introduction: The Canadian Approach to Culture ....................................................................... 37 Beginnings of Canadian Cultural Policy ................................................................................... 40 Massey Report .......................................................................................................................... 41 Canadian Content Legislation ................................................................................................... 49 Applebaum-Hébert Report ........................................................................................................ 53 Cultural Industries and Popular Music ......................................................................................... 58 Sound Recording Development Program ................................................................................. 58 FACTOR ................................................................................................................................... 61 Contemporary Popular Music Policy ............................................................................................ 64 From Creators to Audience ....................................................................................................... 64 viii Conclusion .................................................................................................................................... 67 Chapter 3: Popular Music: Politics, Policies, Institutions ............................................................ 71 Introduction ................................................................................................................................... 71 The Emergence of Policy in Popular Music Studies ...................................................................
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