Thesis an Indie Hype Cycle Built for Two: a Case Study
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THESIS AN INDIE HYPE CYCLE BUILT FOR TWO: A CASE STUDY OF THE PITCHFORK ALBUM REVIEWS OF ARCADE FIRE AND CLAP YOUR HANDS SAY YEAH Submitted by Samuel R. Ernst Department of Communication Studies In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Spring 2012 Master’s Committee: Advisor: Jonathan Lupo David Scott Diffrient Deborah Thompson ABSTRACT AN INDIE HYPE CYCLE BUILT FOR TWO: A CASE STUDY OF THE PITCHFORK ALBUM REVIEWS OF ARCADE FIRE AND CLAP YOUR HANDS SAY YEAH This thesis investigates the whims of critical reception in the indie rock world and its effects upon the hype cycle. I define the indie hype cycle as a naturalized communicative process governing the flow of critical favor within the indie music community and identify its four primary phases as entrance on to the scene, hype generation, backlash, and obscurity/visibility. To understand the interaction between the hype cycle and critical reception, the project focuses on Arcade Fire and Clap Your Hands Say Yeah (CYHSY) as two bands emblematic of the critical divergence possible after initial success. It compares the reviews of the bands’ debut and sophomore albums by Pitchfork, a prominent indie music website, and identifies genre, elitism, and authenticity as key constructs in the way the site frames the bands as indie, and thus, worthy of praise. I argue that an economy of authenticity—featuring emotional, economic, and talent- based forms—affects the indie hype cycle in a variety of ways. The thesis concludes that the mechanics of indie music criticism have extensive influence upon the indie hype cycle. The initial framing of band authenticity that accompanies debut releases can have years-long ramifications on the way that band is received and covered in the indie press. To inform its analysis, the thesis draws upon a wide variety of scholars including Ryan Hibbet, Michael Albrecht, and Devon Powers, along with commentators from the popular music press including Carl Wilson and Nitsuh Abebe. ii ACKNOWLEDGEMENTS I owe immeasurable thanks to my committee for guiding me through this process. Thanks to Scott and Debby for the insight and discussions as I began the thesis project. Their thoughtful perspectives helped inform both the initial conception of the project and shaped its continued evolution. A gigantic thanks to Jon for his wisdom and clear communication of what to expect as I went through the drafting process. His ideas were invaluable and I appreciate his willingness to be a sounding-board (at a moment’s notice) as I worked through my thoughts. Thanks to him my ideas found their focus and no relevant theoretical stone was left unturned. It was a true pleasure to work with such a kind and patient mentor. I also would like to thank my friends and family who have put up with my months-long thesis-related sequestration. When I have allowed for moments of social interaction, they have always been most gracious. How they manage such kindness when confronted with my often lackadaisical efforts at relationship maintenance is beyond me. And last but not least, my most heartfelt thanks to my wife, Kathryn. She has been steadfast and supportive throughout the entire grad school process. It was she who first encouraged me along the path toward Communication Studies and reentering academia. Her unwavering faith in me and my abilities was a great comfort as I entered these uncharted waters. Her willingness to sacrifice our weekends to my (seemingly) endless twenty-hour writing sessions never went unnoticed. She has my respect and my undying love. I am forever indebted. iii TABLE OF CONTENTS ABSTRACT .................................................................................................................................... ii ACKNOWLEDGEMENTS ........................................................................................................... iii Chapter 1: Upon A Tidal Wave of Young Blood ...........................................................................1 Literature Review ..............................................................................................................13 Genre .....................................................................................................................13 Fandom & Taste ....................................................................................................22 Rock Criticism & Technology ..............................................................................28 Methods & Outline of Chapters ........................................................................................35 Chapter One: Upon a Tidal Wave of Young Blood ..............................................35 Chapter Two: Over and Over Again .....................................................................35 Chapter Three: Wake Up … Is This Love? ..........................................................36 Chapter Four: How to Keep the Car Running Upon Encountering the Crippled Elephant ..........................................................................................................37 Chapter Five: Mountains Beyond Mountains, or the Same Mistakes ..................38 Chapter 2: Over and Over Again ..................................................................................................39 The Hype Cycle ................................................................................................................40 The Sophomore Slump, or Difficult Second Album Syndrome .......................................47 Contextualizing Pitchfork .................................................................................................51 Chapter 3: Wake Up … Is This Love? ..........................................................................................58 The Formation of Arcade Fire and CYHSY .....................................................................59 Reception of Funeral ........................................................................................................61 Reception of Clap Your Hands Say Yeah .........................................................................69 Conclusion ........................................................................................................................77 Chapter 4: How to Keep the Car Running Upon Encountering the Crippled Elephant ...............79 Between the Debut and Sophomore Releases for Arcade Fire and CYHSY ....................80 Reception of Neon Bible ...................................................................................................84 Reception of Some Loud Thunder .....................................................................................92 Conclusion ......................................................................................................................101 Chapter 5: Mountains Beyond Mountains, or the Same Mistakes ..............................................103 Addressing the Research Questions ................................................................................104 Contributions to the Discipline .......................................................................................110 Extrapolating to Indie and Beyond .................................................................................112 Endnotes ......................................................................................................................................116 iv Chapter 1: Upon a Tidal Wave of Young Blood When Arcade Fire won the 2011 Grammy for Album of the Year, it shocked many music industry observers. Historically, bands like Arcade Fire have had to content themselves with the Best Alternative Music Album category, which was introduced in 1991 to recognize the “collegiate rock” considered too “esoteric for mainstream radio.”1 Though the category has boasted nominees like the not-so-alternative Paul McCartney, U2, and Sarah McLachlan, it has also celebrated its fair share of alternative icons including Radiohead, Beck, and Wilco. After the Alternative Album category was introduced, several of these acts also gained crossover nominations for overall Album of the Year.2 But it was not until Arcade Fire won in 2011 that one of these bands actually got to give an acceptance speech. Their win is perhaps more impressive considering the mainstream competition they faced: Eminem, Lady Gaga, Lady Antebellum, and Katy Perry. Yet it was not only the industry that was surprised by the triumph of an indie band. Arcade Fire’s lead singer, Win Butler, seemed perplexed at the award, uttering a shocked “What the hell?” to begin his acceptance speech.3 Further confusion is evident in the flurry of blog posts and Facebook status updates from onlookers around the country demanding to know just who Arcade Fire was.4 Nonetheless, those already “in the know” celebrated the victory. Kanye West’s exclamation point-laced tweet conveyed his excitement: “Arcade fire!!!!!!!!!! There is hope!!! I feel like we all won when something like this happens!”5 Picthfork, the ever-snarky kingpin of indie music reviews, even let its guard down to call the win a “wonderful long-shot moment.”6 Historically, the indie community has been wary of bands “selling out.” Thus Pitchfork’s celebration of Arcade Fire’s mainstream emergence is a notable rupture in the typical narrative of indie’s aversion to widespread popularity. If a key representative of indie is willing to laud 1 mainstream recognition, is “selling