Politics of electronic music purism: Social space and label authenticity in the Netherlands Master Thesis Student Name: Marko Polovina Student Number: 465938 Supervisor: Erik Hitters Erasmus School of History, Culture and Communication Erasmus University Rotterdam June, 2018 i Abstract Since electronic music’s emergence in the mid-1980s, the genre has gained considerable recognition as an unusual and an interesting case study for cultural production dynamics and socio-cultural values in regards to what is considered authentic. The scene in the Netherlands has seen large-scale consumption of more mainstream/accessible off-shoots of electronic music genres such as trance, techno, and house for over two decades. The most significant case studies on electronic music are presented by Thornton (1995) and Hesmondhalgh (1998), generally taking a more broad approach in understanding these definitions within the electronic music dance industry; both share key ideas of technology innovation and convergence of these practices within identity. This thesis attempts to look at the label perspective of the Dutch scene because of its independent and historical connotations associated with the music genre, similarly done by Grote (2014) and Strachan (2007) in other locations and genres in the label perspective. The fact that these labels are independent, but aesthetically appear small-scale, despite at times being the large-scale producer of certain genres, creates a dissonance in the way that cultural capital can be clearly created in this world. Bourdieu’s (1993/1996) cultural capital, specifically the social space aspect, along with Bruno Latour’s (1996) actor network theory is used to understand how music labels in the Dutch electronic music industry in Amsterdam and Rotterdam construct their identities in this network of influences and social space, what they distinctly value as authentic, and ultimately how they perceive authenticity in the current electronic music scene. The results from ten interviews confirm certain narratives provided by recent contributions in dance music, but is divergent from traditional understandings of authenticity in other genres and illustrates how a network of influences, along with transparent intention, correlates with authenticity. Also, recommendations for future electronic music research based on the ramifications of the findings and adaptations to Bourdieu’s cultural production to fit this music field are presented for further exploration. Keywords: electronic music; authenticity; cultural production; independent music label; actor network theory; Dutch music industry ii Acknowledgements I would be remiss if I did not give the deserved credit to the people around me in this yearlong journey while attempting to find out how to apply my passion for music in academia. I would first like to thank my supervisor Erik Hitters for his helpful guidance in this effort. Thank you Erasmus Rotterdam University for giving me the opportunity to attend and learn from the wonderful ESHCC faculty. The city of Rotterdam has given me a wider and more ambitious worldview in my personal life that I would most likely never have received if I stayed the United States. I would like to thank Niels van Poecke for taking the time to discuss his own work in the field of music within the context of authenticity. Kevin Groen for the suggestions and some initial connections. The key figures that spoke to me about their labels and these unclear topics. Without your willingness and friendly openness that mimics the scene itself, this would not have been possible. Without the friends I made abroad this would have been even more difficult. Thank you, Laurin Ivetić, Paulius Dovidavicius, Sarah Parsisson, Laura Bäck, and Andreas Metaxas. While some of you may not realize, each of you offered forms of encouragement and suggestions that gave me the confidence to see this through. To my friends and family back home in metro Detroit, your random calls and sharing events from thousands of miles away gave me the feeling I never left home. See you soon. Table of Contents Abstract........................................................................................................................................ i Acknowledgements ..................................................................................................................... ii 1. Introduction .......................................................................................................................... 1 2. Theorizing the Dynamic of Authenticity within Electronic Music Cultural Production ... 7 2.1 Dividing capital and music’s place in cultural production ................................................... 7 2.2 Actor-Network Theory (ANT) ...........................................................................................11 2.3 Social space ....................................................................................................................13 2.4 Authenticity ......................................................................................................................15 2.4.1 Performativity ............................................................................................................18 2.4.2 Commodifying music identity and brand ....................................................................21 3. Methodology ........................................................................................................................24 3.1 Research Design .............................................................................................................24 3.2 Expert Interviews .............................................................................................................25 3.2.1 Sampling Criteria and Method ...................................................................................26 3.2.2 Experts’ List ..............................................................................................................27 3.3 Data Collection ................................................................................................................29 3.4 Operationalization ............................................................................................................30 3.5 Data Analysis: Thematic Analysis ....................................................................................30 3.6 Reliability and Validity ......................................................................................................32 4. Findings ...............................................................................................................................34 4.1 The old definitions and the reality of authenticity..............................................................34 4.1.1 Purism, sell outs, and the notion of the artist brand ...................................................37 4.1.2 Social acceptance within a new scene dynamic ........................................................39 4.2 The role of context and space within performance ...........................................................41 4.2.1 First component: location aesthetic ...........................................................................42 4.2.2 Second component: knowledge ................................................................................44 4.2.3 Third component: time...............................................................................................46 4.2.4 Final component: journey ..........................................................................................47 4.3 Shifts from digital volatility and the appreciation of art......................................................49 4.4 Social collectives .............................................................................................................50 5. Conclusion ..........................................................................................................................53 5.1 Limitations and future research ........................................................................................59 References ...............................................................................................................................61 Appendix A: ..............................................................................................................................69 Label Profiles .........................................................................................................................69 Appendix B ...............................................................................................................................71 Code Tree .............................................................................................................................71 Interview Guide .....................................................................................................................71 “We are the music makers, and we are the dreamer of dreams.” –Arthur O’Shaughnessy “As the hours pass, it feels like some kind of psychological barrier has been breached and all repressed fantasties are pouring out and everyone has somehow dissolved into the mass, into the music itself…” –Matthew Collin, Rave On, p. 51 Social space and electronic music label authenticity 1 1. Introduction The lines between major and independent labels have become blurred within the music industry. This constant lack of stability is brought by innovative technology, often colliding