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Get Listenin' Kids!': Independence As Social Practice in American Popular Music" Why Is This Research Being Done? This Is a Research Project Being Conducted by J

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Get Listenin' Kids!': Independence As Social Practice in American Popular Music ABSTRACT Title of Dissertation: “GET LISTENIN’ KIDS!”: INDEPENDENCE AS SOCIAL PRACTICE IN AMERICAN POPULAR MUSIC Laura Beth Schnitker, Doctor of Philosophy, 2011 Dissertation directed by: Professor J. Lawrence Witzleben Division of Musicology and Ethnomusicology School of Music, University of Maryland This dissertation examines the concept of independence—defined as alternative approaches to the creation, distribution and consumption of music that actively resist cultural hegemonies—as an ongoing tradition in American popular music. While previous studies of independence have focused on specific independent record labels or eras, this project views independence as a historical trajectory that extends to the beginnings of the recording industry. Pierre Bourdieu’s concept of the social field frames my investigation of the ways in which independence becomes socially and musically manifested in communities of musicians, mediators and audiences. I explore how these communities articulate their distinction within the dominant music industry by responding to the social and aesthetic chasms created by the centralization of media. This study is divided into two sections. The first focuses on independent record labels and local radio broadcasts in the first half of the twentieth century, when “independent” referred to either a record label that distributed outside major label channels, or a radio station unaffiliated with a network. In the second section, I show how the modern concept of independence became more overtly political with the emergence of the punk movement of the late 1970s. I follow the subsequent development of independent underground networks in the 1980s through their present-day fragmentation in twenty-first century internet culture. I conclude with an ethnographic examination of independent music performances in order to show that, while independence remains situated in ideas about community, authenticity and autonomy, it is subjectively understood and constructed by individual members of independent communities. The primary research for this study draws from eight years of personal experience as a freeform DJ and active consumer of independent music, as well as seven years working as a sound archivist at the University of Maryland Broadcasting Archives. Because this is a study of popular music, I engage with several interdisciplinary theoretical areas, including ethnomusicology, musicology, sociology and media studies, in order to conceptualize some of the patterns that shape independent social practices. “GET LISTENIN’ KIDS!”: INDEPENDENCE AS SOCIAL PRACTICE IN AMERICAN POPULAR MUSIC By Laura Beth Schnitker Dissertation submitted to the Faculty of the Graduate School of the University of Maryland in partial fulfillment of the requirements for the degree Doctor of Philosophy 2011 Advisory Committee: Professor J. Lawrence Witzleben, Chair Professor Robert C. Provine Professor Christopher Sterling Associate Professor Richard G. King Associate Professor Sheri Parks © Copyright by Laura Beth Schnitker 2011 Dedication To the memory of my grandfather Sam Mages, who handed me my first clarinet. ii Acknowledgments When I embarked on this journey, I had little idea about the number and quality of people who would eventually contribute to it. It is a daunting task to try and include every one of them in an official statement of gratitude. Some of them are the lifelong friends and family whose ongoing support I have had the good fortune to take for granted. Others were individuals whose paths only briefly intersected with mine, but by offering a kind word or helpful piece of information, they, too, nudged this project a little closer to its completion. Then, of course, there is everyone in between who gave of themselves in both official and unofficial capacities, and without whose involvement I would not have survived this long and often arduous process. My thesis committee has been an outstanding team. The kindness and positive affirmations from my advisor Dr. J. Lawrence Witzleben bolstered my spirits on numerous occasions. Dr. Robert Provine has also been a reliable source of wisdom and guidance throughout my graduate career at Maryland. To Dr. Richard King I am grateful for validating a research area that sometimes feels a bit radical for ethnomusicology. With his expertise in media history and keen eye for detail, Dr. Christopher Sterling helped me bridge into other disciplines. Dr. Sheri Parks has also lent an impressive breadth of knowledge and experience to my efforts, and her timely words of encouragement will resonate long after I move on to other endeavors. Finally, I must acknowledge my honorary advisor-in-absentia, Jonathan Dueck, whose mentorship and boundless enthusiasm for indie music were vital to my progress. iii I was fortunate to conduct research in a field that is by nature a welcoming place, and there was no shortage of friendly musicians, DJs, journalists and fans who were happy to talk to me about the music they love. Michael Azerrad, Jim McGuinn, Jeff Krulik, Rachel Reynolds, Brendt Rioux, Ben Yee, Scott Maxwell, Chris Berry, Pop Levi, Rob Ward, Travis Huff, Mike Kato, Ebbie Bonczek, Dave Sisson, Heather MacDonald, Jessica Cobb, Halley Cohen and Carrie Peplinksi were model interview subjects, conversationalists and survey respondents. I also need to extend my thanks to the nameless, faceless folks who created online archives of their favorite bands simply because they felt their careers deserved to be documented, organized and accessible. My colleagues at the Broadcasting Archives, Chuck Howell, Michael Henry and Karen King, have been more generous and accommodating than any aspiring archivist scholar could ask. To my friends, my personal cheerleading squad, I would like to say cheers, and I look forward to thanking you in person when we next meet: Sam Dorf, Sunny Yoon, Anthony Law, Kate Lerner, Wendy Hunter, Maggie Janes and Jessica Cobb. I owe a lifetime’s worth of successes large and small to the continuing encouragement of my parents, Claudia and Gary Schnitker, who have nurtured each of my endeavors. Thanks also to my sister Karen, who swears she’s going to read this entire dissertation, for pointing out the humorous sides (and there are many) of academics. Finally, it is no exaggeration to claim that I would not have made it this far were it not for the unwavering support, inspiration and companionship of my partner Mary Switalski, who believed I could achieve this long before I did. iv Table of Contents Dedication ........................................................................................................................... ii Acknowledgments.............................................................................................................. iii Chapter One: Introduction .................................................................................................. 1 Whence Independence? .................................................................................................. 2 Discovering Independence .............................................................................................. 6 Overview ......................................................................................................................... 8 Popular Music Studies in Ethnomusicology ................................................................... 9 Previous Scholarship on Independent Music ................................................................ 11 Methodology ................................................................................................................. 14 Theoretical Approaches ................................................................................................ 19 Defining Independent Communities ............................................................................. 22 Chapter Outline ............................................................................................................. 28 Chapter Two: The History of Independent Labels, 1920-1960 ........................................ 31 The Early Sheet Music Trade ....................................................................................... 34 Tin Pan Alley ................................................................................................................ 39 The Dawn of the Recording Industry ............................................................................ 43 Coin-operated Playback Machines ............................................................................... 45 The Phonograph Enters the Home ................................................................................ 46 Gennett Records ............................................................................................................ 50 Gennett and Chicago Jazz ............................................................................................. 51 Records versus Radio .................................................................................................... 57 ASCAP versus BMI ...................................................................................................... 58 Rhythm & Blues ........................................................................................................... 61 The Indies Rise Again ................................................................................................... 64 Jukebox, Radio and the Networks of Distribution ........................................................ 68 Payola
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