Research Plan: Digging for Vinyl. Mogis 1 Digging is a form of sourcing vinyl records in alternate ways to mainstream music distribution channels. It involves searching for disregarded or overlooked cultural artefacts, commonly seen as temporal ‘ treasures’ that are not commonly available in mainstream retail. This can involve visits to flea markets, thrift stores, private collectors, independent music stores and just about any outlet that is not considered mainstream or overly commercial. The cultural ‘ practice’ of digging is just as important as the actual use vinyl has a product in this context. It is widely considered that digging is most popular with club DJ’s and music producers looking for samples from the analogue era to incorporate into new contexts, and this will be inherent in the theoretical framework. Representation: Looking at how identity is created through digging ties in with some of the transcendent philosophies that generate individuality (Doane 156-83). An important aspect of this is authenticity. Authenticity is represented through digging in several ways. Starting with vinyl as a medium and the argument that analogue is ‘ real’ and digital is ‘ fake’ (Yochim and Biddinger 189). Then moving to the concept of discovery as an accumulated possession of taste and distinction, and the grounding of discourse through agency, individualism and questioning music as a corporate product (Doane 156-83; Moore 440-441). Design: As a practice, it is important to focus on the ‘ act’ of digging as much as the actual design of the vinyl product itself. To take this into account it is proposed to look at vinyl as a binary narrative to digital formats, and explore the impact these have had on cultural practices involving exchanges of capital (Yochim and Biddinger 183-93). This will include a complete history that carefully inspects fringe cultures, access to technology, and social change. A comprehensive yet digestible explanation of the evolution in technology will also explain how social identity through eclecticism has resisted Euro-centrism, allowing diggers a contemporary cultural frontier outside of direct conflict (Doane 156-83). Jay Mogis 4216107 Regulation: Mogis 2 The idea that digging can ‘ disrupt the music industry’s efforts to define and regulate their consumer identities’ helps deepen the nostalgia associated with its practice (Hayes 52). The boutique quality of vinyl as an assessable commodity will provide a good place to study the euphoria associated with cultural ‘ treasure hunting’ with disposable income (Shuker 124). Some historical musicology will also look at how temporality re-introduces cultural artefacts for modern consumption. The idea of flea markets, garage sales and small retail outlets as secondary cash economies, outside of the modern information panopticon, is also of interest (Straw 175-85). Consumption: The act of digging as a metaphoric enactment of cultural archaeology will be used to see how use and exchange values, with vinyl as an intermediary, produce identity (Edgeworth 80-86). The physical spaces that enable consumption, and the lengths diggers go to in search of euphoria, form the main basis of this (Shuker 124). Looking at these spaces through the idea of actively participating in individual agency as a form of social activism will hopefully provide a clear picture of how they are consumed (Hayes 53-4; Doane 162). Construction: With the idea of taste and distinction as the basis of identity, the way these spaces are constructed and maintained will be referred to reflexively throughout the study (Doane 162-7). The homogenisation of cultural emblems like music in the globalised marketplace has incited a boutique market that values authenticity and rejects generic consumerism (Yochim and Biddinger 193; Moore 440-1). Digging as a way of finding artefacts that represent deep cultural connections whilst also appreciating irony and humor are often not by design (Yochim and Biddinger 193; Moore 465). For example you could create a boutique record store and sell vinyl, but the proverbial journey – digging – is almost more important to this study than the destination – vinyl. Therefore the spaces created by chance or circumstances are of most interest. Jay Mogis 4216107 Annotated bibliography. Mogis 3 Charlton, Katherine. Rock Music Styles: A History. Boston: McGraw-Hill, 2008. Print. Katherine Charlton gives a comprehensive account of the history of popular music from the roots of Jazz through to contemporary styles in the middle 2000s. This history will be used to look at the way established markets have enabled urban styles to rise to popularity. Especially interesting is the way Elvis Presley became a national icon as a white working class American singing in the spirit of African Americans. With vinyl as the link between Elvis and his popularisation, and validation of this previously fringe genre, modern use of vinyl and representations of non-whiteness will be drawn between Elvis and artists like The Beastie Boys and Eminem to see how the marketplace for digging has been realised. Of equal interest are the white artists who imitate Black styles in a diluted manner, essentially denigrating the sociological meaning of the music, this will be done by looking at teen idol artists like Pat Boon and comparing them to the likes of Vanilla Ice and Snow. Doane, Randal. ” Bourdieu, Cultural Intermediaries and: A Case Study of Middlebrow Musical Taste.” Journal of Consumer Culture 9. 2 (2009): 155-86. Print. Randal Doane offers a stunningly articulate argument on how Bourdieu’s work on taste, distinction, and cultural capital intersect with Negus’ work on intermediaries: to ground the discourse of classification strategies that enable hegemonic dominance. Of most interest is the way Black culture has been denigrated to assume white privilege. This informs the idea of class structure through taste, especially in music, and how it has driven the search for identity through the act of digging. The idea of white privilege is described as representative of a class structure that works to create exclusivity through access, and how power relations are implied through classification of taste. This attaches to digging in the following ways: Digging is the act of accumulating cultural labor and applying it for privilege, the opposition to mainstream practice through digging also works to oppose racism and middlebrow normativity, and by enabling the imagined space required for diggers to connect through visceral interaction with the medium, i. e. Performance. Jay Mogis 4216107 Norwegian Archaeological Review 45. 1 (2012): 76-92. Print. Matt Edgeworth offers a highly personal view of the process of digging in archaeology based in part on the work of Bourdieu. At one point he talks of Mogis 4 Edgeworth, Matt. ” Follow the Cut, Follow the Rhythm, Follow the Material.” interacting with the foot bone of a pig in unconventional ways that challenge his sense of smell, sound and tactility, and describes how this is part of his holistic experience of discovery. Although very abstract, it is beautifully crafted and helps contextualise the origin of the word digging from a form of physical archaeology to a metaphorical one experienced in the search of vinyl. The sites of archaeology can be drawn in direct comparison to the sites involved in digging for vinyl and although this piece seems to lack in theoretical framework it is of very high interest to this study. Hayes, David. “” Take those Old Records Off the Shelf”: Youth and Music Consumption in the Postmodern Age.” Popular Music and Society 29. 1 (2006): 5168. Print. David Hayes explores the age of vinyl as a place of cultural authenticity. The act of subverting the current market standards as a form of social activism akin to cultural musical movements like Jazz in the early part of the century, rock and roll in the 1950s, punk in the 1970s, and even grunge in the 1990s helps ground the networking of subcultures through a universal cultural diaspora of opposing categorisation and stereotypes. This explains how a collective resistance to mainstream practices has enable identity, and directly addresses the practice of digging as part of a mechanism for change. Although this piece has a focus on collecting as opposed to digging, it grounds the theoretical framework of digging as a cultural practice into the circuit of culture, through the empirical mechanisms surrounding collecting vinyl. The visceral qualities of vinyl as a product also synthesise the premium of nostalgia as a definable commodification of identity. Jay Mogis 4216107 Music, and Culture. ” Westport: ABC-CLIO, 2007. Print. Mogis 5 Hess, Mickey. “ Icons of Hip Hop [Two Volumes]: An Encyclopedia of the Movement, This unprecedented encyclopedia of hip-hop culture clearly defines the origins of digging, especially in relation to the art of beat making. This solidifies the theoretical findings of Shuker and Hayes and offers a detailed account of the relationship between digging as a practice, and digging as part of a process that is resolved through performance. When DJ Kool Herc started isolating break beats and developed techniques involving two turntables maneuvered through an especially modified mixer, the origin of both hip-hop as a genre and digging as a practice opened a proverbial Pandora’s box of diasporic reasoning. Especially interesting is the technical autonomy of the early pioneers of both fields, and the construction of collective identity through individualism: a deeply abstract concept. A paradigm shift in this study occurred here and instead of exploring Blackness as exclusive, a need to explore non-whiteness inclusively – as a reaction to Eurocentric hegemony – became a priority. In simple terms instead of looking at digging as a way of attaining Blackness, the direction will change to the resistance of mainstream – Eurocentric – society, and as a result non-whiteness. Shuker, Roy. Wax Trash and Vinyl Treasures: Record Collecting as a Social Practice. Farnham: Ashgate Publishing Ltd, 2010. Print. Roy Shuker is an exemplar in the field of music as cultural practice. This is his latest in a long series of publications that explore the sociological context of music as an intermediary. Chapter 5: Collecting Practices, is particularly relevant to this research as it explores cultural theory in regard to vinyl records. Although initially creating a paradigmic shift in this research, due to his comprehensive coverage of the topic, closer inspection detailed the value of specialised research into digging in contrast to merely collecting. Shuker directly addresses the need to explore digging as a unique practice and validates the purpose of this study. Shuker explores acquisition strategies as a form of cultural ‘ hunting and collecting’ and links digging to the art of sampling, allowing a unique field of identity construction to be analysed. Jay Mogis 4216107 Journal of Communication 25. 1 (2000): 175-85. Print. Mogis 6 Straw, W. ” Exhausted Commodities: The Material Culture of Music.” Canadian Will Straw another exemplar in the field of cultural studies, positions the spaces that digging occurs in as informal and secondary economies, and the value of musical recordings as cultural waste. Straw notes that although physical artefacts such as vinyl exist in secondary economies such as garage sales and flea markets, that these spaces are created as a result of despair, with a survival-based need to recycle and or sell items of little to no value to exist. Without this need there would be no thrift stores second hand stores or flea markets and this contributes as much to the art of digging as the actual content discovered as a result of it. Without this secondary economy there would be no space to then ‘ dig’, with a constructed sense of taste, to find items that can be re-validated and valued in a modern hybrid context. Yochim, Emily Chivers, and Megan Biddinger. ” It Kind of Gives You that Vintage Feel’: Vinyl Records and the Trope of Death.” Media, Culture and Society 30. 2 (2008): 183-95. Print. Yochim and Biddinger explore the connection between technology and humanity through the way vinyl is looked upon as ‘ human’. A careful reminder is given that the phonogram was once considered to produce ‘ a voice from the dead’, with the iconic His Masters Voice image of a dog listening to his master through a phonogram a classic example of this representation to be used with this. Through a series of interviews they highlight how vinyl collectors describe their love for the medium in very human ways with descriptions like ‘ You can just feel it in your body’, although most cannot distinguish the difference through audio comparisons suggesting nostalgia as a more compelling attribute. Jay Mogis 4216107 Preliminary findings: Mogis 7 These preliminary findings represent only a small section of the proposed research. They draw heavily from the annotated bibliography, sometimes directly, and cover only certain highlights of each section in the circuit of culture (Du Gay 1-151). These are intended to provide a heuristic value to judge the potential for further investigation, and offer a glimpse of the broader possibilities available. They are not intended to be final conclusions and will remain open to further – evidence based – shifts in interpretation until they are complete. How is digging as a cultural practice represented? One of the most difficult aspects so far has been separating the act of digging from the idea of collecting (Shuker 111-3). This is particularly relevant in terms of representation. Digging is part of an overall process that begins with an assumed audience and ends in performance (Shuker 112; Edgeworth 80-86). Diggers search through any non-commercial avenue possible to find segments of music with a clear motivation to use them in a performance of some kind, this could be simply pure listening pleasure – the performance coming from carefully unpacking, admiring and placing the vinyl on a turntable (Shuker 109; Moore 467). Most often digging is part of music production, and the ultimate motivation is finding authentic breaks – rhythmical highlights of a recording – that can be looped and performed with modern validation (Hess 10). This process helps represent an overall image of individuality through distinction and taste, with vinyl as an intermediary (Doane 15860). In this sense it is not vinyl that is represented but the archaeological search for cultural waste, and the transformation process into a modern validation that is of most interest (Straw 175-6; Edgeworth 80-86. This positions the ‘ digger’ as a gatekeeper of cultural knowledge and as an integral part of the overall holistic ritual (Edgeworth 8086; Moore 441; Farrugia and Swiss 34). According to Bourdieu, and many others, this then allows the digger to bypass social class conditioning and affords them a highclass social position that they then negotiate for ‘ street cred’ through performance (Doane 158-60; Damien 149; Moore 446). Jay Mogis 4216107 Mogis 8 Another major part of this is the reaction to a perceived loss of personal agency in the corporate music industry, and the act of digging represents a rejection of the mainstream, and positions them as a ‘ rebel’ fighting for individuality through empirical frameworks (Hayes 53-4; Doane 162). When digging a conscious form of social activism is working to validate taste against the mechanisms of Eurocentric normativity – whiteness and capitalism (Moore 467-9; Doane 162; Farrugia and Swiss 34). This directly intersects with social identity, but the next section will look a lot deeper into identity as something slightly less manufactured. What social identities are associated with digging? Social identity through vinyl requires tracing the history of popular music back to the early 1900s to look at what vinyl represented as a new medium, and how this is used as a cultural emblem now. Some things are simply cool or not, but this cognition often depends on temporality: which is one of the major agents at work in this discourse (Hayes 53-6). Reflecting on some of the topics addressed in the section on representation, ‘ diggers’ can be looked upon as musical archaeologists and their identity is formed through a larger empirical database through which they are piecing small pieces together to ask questions about humanity itself (Edgeworth 80-86; Yochim and Biddinger 193). Black culture has long been denigrated to afford white privilege in circles far wider than the music industry, but music has also validated Black culture to the mainstream and offered many agents of social change and acceptance (Charlton 73; Doane 162). Instead of repeating the ideals of white privilege, many politically aware citizens have rejected the Eurocentric hegemony by simply celebrating nonwhiteness, which offers an environment far more inclusive than simply celebrating Blackness (Doane 180; Hayes 67). This is delicately done through vinyl, although again careful attention must be refocused to digging as a practice, separate from vinyl as a product. The idea of white privilege is described as representative of a class structure that works to create exclusivity through access, and enforces power relations through ‘ anxious didacticism’ and ‘ corpo-real pleasure’ (Doane 159). This attaches to digging in the following ways: as the act of accumulating cultural labor and applying it for privilege, the opposition to mainstream practice through digging to oppose racism and white normativity, and by enabling the imagined space required for Jay Mogis 4216107 Mogis 9 diggers to connect through visceral interaction with the medium, i. e. performance (Shuker 112; Edgeworth 80-86). This explains how a collective resistance to mainstream practices has enable identity, and directly addresses the practice of digging as part of a mechanism for change, and the identity of the digger as a ‘ freedom fighter’ within this (Hayes 53; Farrugia and Swiss 38). How is digging produced and consumed? Once again it is important to remind ourselves that it is not vinyl that is being consumed. Vinyl is an integral physical component of digging, but digging as a practice is the metaphorical enactment of cultural archaeology that is being consumed, not vinyl. This has proven a bitter pill to swallow for this study, as it requires a high level of abstraction to be drawn into theoretical frameworks that had other intentions. So in the vain of a good David Lynch film, let’s start at the beginning, which is really the middle, but also the end. Simply, 1980s technical innovation has affect current practices through historical contexts. When DJ Kool Herc started isolating break beats and developed techniques involving two turntables maneuvered through an especially modified mixer, the origin of both hip-hop as a genre, and digging as a practice opened a proverbial Pandora’s box of diasporic reasoning (Charlton 288; Straw 175-85; Hess 30; Borschke 936; Pongsakornrungsilp and Schroeder 306-8). Digging is an integral part of hip-hop but is not exclusive to it. For example many punk, reggae, and independent artists ‘ dig’, but they all represent an opposition to the mainstream, and construct identity around this (Hayes 64). A ‘ war’ of taste between Eurocentric normativity designed to enable ‘ good wives’ and ‘ busy workers’ through the arts, has incited an expression of resistance in areas that have been historically suppressed by denigration from this normativity (Doane 156-7). For example think of how parents once feared for the safety of their children exposed to Jazz musicians (173). Elvis helped normalise Rock n Roll – and Black artists as mainstream idols – and the physical connection was made through vinyl (Charlton 49). The same could be said for the Beastie Boys and hip-hop in the late 1980s (Hess 22). Taste and distinction have long carried loaded meanings, and these meanings have created spaces for networks of independent minded individuals, quite often very creative types (Doane 160). Jay Mogis 4216107 Mogis 10 The act of subverting the current market standards as a form of social activism explains how a collective resistance to mainstream practices has enable identity, and directly addresses the practice of digging as part of a mechanism for change (Hayes 53; Borschke 938). What mechanisms regulate it? Digging is regulated by what could be considered two distinct economies. The first and most obvious is the idea of purchasing objects with disposable income, this dominated by large corporations, and enabled digging by flooding the market with digital formats, and restricting the supply of vinyl (Hayes 53-64). The second is the economy that enables garage sales, thrift stores, pawn stores, and countless other avenues that offer income and options for those in need of more affordable options (Straw 175-85). The fact that most of these outlets are traditionally cash based and outside the main systems of financial and informative regulation makes them interesting havens for escape from it (Straw 175-85; Hayes 64). Enter the ‘ freedom fighter’, this offers a frontier for the cultural intermediaries to pore over for its intrinsic value (Straw 175-85). Temporality is the most obvious agent in generating value, as it is not only ever-ending, it also ebbs and flows as time goes by (Hayes 53). What is ‘ strange’ today might be highly valued for its cultural irony in ten or twenty years. For example: A retro shirt can symbolise individuality from current major clothing brands, but may have been unpopular, or on the fringe thirty years ago. This subjectivity is a challenge to observe without a carefully planned ethnographical study. The fact that digging is an opposition to the mainstream industry, an identity away from categories, or at least on the fringe some form of externally governed ‘ wholesome’ normativity, deepens the nostalgia created in temporality (Doane 162; Yochim and Biddinger 184-9; Borschke 936). Digging is quite competitive and this adds to the thrill of the chase, an imagined audience, and ultimately some kind of performance (Schloss 4; Shuker 112). Hess also talks of how DJ Kool Herc would dip his vinyl records into a bathtub full of water to disguise the labels. This would stop other beat makers finding the same records or even knowing what record companies’ desirable artists came from (12). The idea of record labels as identifiers of quality is something that will require some depth in its own right, further into the study. Jay Mogis 4216107 Conclusion: Mogis 11 So far some interesting research possibilities have been described in great detail. Looking at digging through the circuit of culture has been a rewarding and interesting adventure that has opened up many possibilities for further research. Digging is a very abstract nexus of cultural construction that deserves immense respect as a form of interpersonal communication, and in its integration to the arts. I have demonstrated that digging is an agora of cultural inquiry that invites a deeper level of research to understand its full intrinsic value. Jay Mogis 4216107 Works Cited Mogis 12 Borschke, Margie. ” Disco Edits and their Discontents: The Persistence of the Analog in a Digital Era.” New Media & Society 13. 6 (2011): 929-44. Print. Charlton, Katherine. Rock Music Styles: A History. Boston: McGraw-Hill, 2008. Print. Yochim, Emily, and Megan Biddinger. ” It Kind of Gives You that Vintage Feel’: Vinyl Records and the Trope of Death.” Media, Culture & Society 30. 2 (2008): 183-95. Print. Damien, Arthur. ” Authenticity and Consumption in the Australian Hip Hop Culture.” Qualitative Market Research 9. 2 (2006): 140. Print. Doane, Randal. ” Bourdieu, Cultural Intermediaries and: A Case Study of Middlebrow Musical Taste.” Journal of Consumer Culture 9. 2 (2009): 155-86. Print. Du Gay, Paul, and Open University. Doing Cultural Studies: The Story of the Sony Walkman. Thousand Oaks, Calif: Sage Publications in association with the Open University, 1997. Print. Edgeworth, Matt. ” Follow the Cut, Follow the Rhythm, Follow the Material.” Norwegian Archaeological Review 45. 1 (2012): 76-92. Print. Farrugia, Rebekah, and Thomas Swiss. ” Tracking the DJs: Vinyl Records, Work, and the Debate Over New Technologies.” Journal of Popular Music Studies 17. 1 (2005): 30-44. Print. Hayes, David. ” Take those Old Records Off the Shelf: Youth and Music Consumption in the Postmodern Age.” Popular Music and Society 29. 1 (2006): 51-68. Print. Hess, Mickey. “ Icons of Hip Hop [Two Volumes]: An Encyclopedia of the Movement, Music, and Culture. ” Westport: ABC-CLIO, 2007. Print. Jay Mogis 4216107 Mogis 13 Moore, Ryan. ” Friends Don’t Let Friends Listen to Corporate Rock: Punk as a Field of Cultural Production.” Journal of Contemporary Ethnography 36. 4 (2007): 438-74. Print. Pongsakornrungsilp, Siwarit, and Jonathan E. Schroeder. ” Understanding Value CoCreation in a Co-Consuming Brand Community.” Marketing Theory 11. 3 (2011): 303-24. Print. Schloss, Joseph Glenn. Making Beats: The Art of Sample-Based Hip-Hop. Middletown, Conn: Wesleyan University Press, 2004. Print. Shuker, Roy. Wax Trash and Vinyl Treasures: Record Collecting as a Social Practice. Farnham: Ashgate Publishing Ltd, 2010. Print. Straw, W. ” Exhausted Commodities: The Material Culture of Music.” Canadian Journal of Communication 25. 1 (2000): 175-85. Print. Jay Mogis 4216107 Bibliography Mogis 14 Basu, Dipannita, and Sidney J. Lemelle. “ The Vinyl Ain’t Final: Hip Hop and the Globalization of Black Popular Culture. ” London: Pluto, 2006. Print. Burgess, Jean. ” High Culture as Subculture: Brisbane’s Contemporary Chamber Music Scene.” Dissertation/Thesis 2004. St. Lucia, Qld. Print. Dijk, Jan van. “ The Network Society: Social Aspects of New Media. ” Thousand Oaks, Calif: SAGE, 2006. Print. Gelder, Ken. “ The Subcultures Reader. ” New York, NY: Routledge, 2005. Print. Lister, Martin et al. “ New Media. ” Milton Park, Abingdon, Oxon: Routledge, 2009. Print. A Critical Introduction . Liversidge, Anthony. ” Analog Versus Digital: Has Vinyl been Wrongly Dethroned by the Music Industry?” Omni 17. 5 (1995): 28. Print. Misty Harris. ” Vinyl’s Bounceback; Numbers Confirm Sales Soaring for Last Analog Format.” The Ottawa Citizen: C. 5. Print. 2012. Negroponte, Nicholas. “ Being Digital. ” New York: Vintage Books, 1995. Print. Peters, Mitchell. ” Making Records: How to make Money from Vinyl Fetishists.” Billboard 120. 47 (2008): 10. Print. Roy Furchgott. ” From Vinyl to Digital, Hold the Crackle.” New York Times: G. 8. 2004. Print. Jay Mogis 4216107 Schloss, Joseph Glenn. Making Beats: The Art of Sample-Based Hip-Hop. Middletown, Conn: Wesleyan University Press, 2004. Print. Mogis 15 Sterling, Marvin. “ Babylon East: Performing Dancehall, Roots Reggae, and Rastafari in Japan. ” Durham, NC, USA: Duke University Press, 2010. Web. Straw, Will. “ Communities and Scenes in Popular Music. ” the Subcultures Reader. Ed. Ken Thornton. Gelder, Sarah. London: Routledge, 1997. Print. Thornton, Sarah. Club Cultures: Music, Media, and Subcultural Capital. Cambridge: Polity Press, 1995. Print. Jay Mogis 4216107
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