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Electronic Dance Music: from Deviant Subculture to Culture Industry

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Electronic Dance Music: from Deviant Subculture to Culture Industry UNLV Theses, Dissertations, Professional Papers, and Capstones 12-1-2015 Electronic Dance Music: From Deviant Subculture to Culture Industry Christopher T. Conner University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Sociology Commons Repository Citation Conner, Christopher T., "Electronic Dance Music: From Deviant Subculture to Culture Industry" (2015). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2528. http://dx.doi.org/10.34917/8220096 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. ELECTRONIC DANCE MUSIC: FROM DEVIANT SUBCULTURE TO CULTURE INDUSTRY by Christopher T. Conner Bachelor of Arts Indiana University Purdue University-Indianapolis 2007 Master of Arts Indiana University Purdue University-Indianapolis 2010 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Philosophy-Sociology Department of Sociology College of Liberal Arts The Graduate College University of Nevada, Las Vegas December 2015 Copyright by Christopher T. Conner, 2016 All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 23, 2015 This dissertation prepared by Christopher Conner entitled Electronic Dance Music: From Deviant Subculture to Culture Industry is approved in partial fulfillment of the requirements for the degree of Doctor of Philosophy – Sociology Department of Sociology David Dickens, Ph.D. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Interim Dean Ranita Ray, Ph.D. Examination Committee Member Robert Futrell, Ph.D. Examination Committee Member Jay Coughtry, Ph.D. Graduate College Faculty Representative ii ABSTRACT Electronic Dance Music: From Deviant Subculture to Culture Industry by Christopher T. Conner Dr. David R. Dickens, Examination Committee Chair Professor of Sociology University of Nevada, Las Vegas Utilizing a mixed qualitative research methods design, including interviews, ethnographic field work, and analyzing historical documents, I examine the Electronic Dance Music (EDM) subculture, since its inception in the late 80s as a deviant subculture. Previous studies of raves and other music subcultures focus almost exclusively on the role of popularity in transforming the subculture. In this research, I found, in the case of EDM at least, a more complicated process in which structural factors such as mass media, public officials (politicians and law enforcement), and major music corporations played a prominent role in the transformation. Media coverage focused on sensationalized cases of widespread drug use, while public officials responded by passing and enforcing legislation that forced EDM organizers into more legitimate venues. This change in venue brought them to the attention of the music industry, who saw a new opportunity to make money. By “rationalizing” the production, distribution, and consumption (especially via corporate advertising) of electronic dance music for profit, the original subcultural, even countercultural, values of PLUR (peace, love, unity, respect), solidarity, and authenticity were undermined. These changes resulted in the group being transformed into what Horkheimer and Adorno ([1944] 1972) called a culture industry. Electronic dance music is today dominated by large-scale entertainment corporations who employ a formulaic marketing strategy in the production of EDM events for a mass audience. iii ACKNOWLEDGEMENTS No other person deserves more credit for his moral support, guidance, and aid in my intellectual development than my dissertation advisor, Dr. David R. Dickens. I have yet to meet a scholar who is as thoughtful, detail oriented, and well-versed than him. Moreover, he is perhaps the most compassionate human being I have ever met. In many ways, he has been like a father to me and a much needed mentor in the absence my own father. The hours spent with him and other graduate students during his office hours remain some of my most cherished memories. I would also like to acknowledge my other committee members: Dr. Ranita Ray, Dr. Robert Futrell, and Dr. Jay Coughtry. I sincerely doubt any other committee has been more invested, flexible, and helpful in their collective wisdom. Somehow they always managed to keep me on my toes and thinking. There are several other individuals within the department of sociology at the University of Nevada, Las Vegas who I feel I must mention. Many thanks to the department office coordinator, Connie Dye, who helped me navigate the bureaucracy of the graduate college. Similarly, Sandra Bailey and Elizabeth Kahre also deserve mentioning. They were not only extremely helpful, but they were also great friends. To my fellow comrades in arms in graduate school, I could not have done it without you. At the top of this list are Nick Baxter and Nick McMurray (also known as Nick I and Nick II). Were it not for the many lunches and dinners with them, I would not have survived. I’m fairly certain one of them still owes me lunch. Secondly, Andrea Dassopoulos helped me through a very dark time. Thirdly, a variety of key people helped me in many different ways: Jennifer Stevens (host of wine nights), Jennifer Reed (who helped me move to my first academic job), Jenni Whitmer (for help with formatting), and Candace Griffith (for being the department den iv mother). Finally, several other fellow students made graduate school a little more bearable: Suzanne Becker, Valarie Burke, Denise Cook, Joshua Corum, Lauren Galloway, Jesus Gonzalez, Jennifer Heineman, Matthew Le Claire, Rachel Macfarlane, Genevieve Minter, Daniel and Allison Sahl, and Sarah St. John. I would also like to thank my new colleagues at Washburn University, who have been very welcoming during my first semester. I am especially appreciative for Dr. Sharla Blank and Dr. John Paul. And, last but not least, I want to thank Dr. Lynn Pike, my thesis advisor at Indiana University Purdue University—Indianapolis. v Dedicated to my parents Janis and Thomas Conner vi TABLE OF CONTENTS ABSTRACT ........................................................................................................... iii ACKNOWLEDGEMENTS ................................................................................... iv TABLE OF CONTENTS ...................................................................................... vii LIST OF FIGURES ............................................................................................... ix INTRODUCTION .................................................................................................. 1 History of the EDM Subculture............................................................................... 2 Outline of the Study ................................................................................................. 9 LITERATURE REVIEW ..................................................................................... 11 Subcultures ............................................................................................................ 11 Social Movements ................................................................................................. 21 The Culture Industry ............................................................................................. 23 METHODS ........................................................................................................... 26 Research Questions ............................................................................................... 26 The Field ............................................................................................................... 27 Researcher Role and Ethnographic Experience ................................................... 28 Sample ................................................................................................................... 29 Interviews .............................................................................................................. 30 Content Analysis ................................................................................................... 31 Analysis ................................................................................................................. 32 Validity .................................................................................................................. 33 Ethical Consideration and Political Implications ................................................ 33 PHASE I: BEGINNINGS (1980s-1995) .............................................................. 36 Early Developments .............................................................................................. 40 Media Coverage .................................................................................................... 47 Interaction with Officials
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