Marginal/minority popular music : the concept of the "third space" and the case for "hybridities" of cultures/identities /

The topic of this thesis is marginaVminority popular music and the question of identity; the term "marginaVminority" specifically refers to members of racial and cultural minorities who are socially and politically marginalized. The thesis argument is that popular music produced by members of cultural and racial minorities establishes cultural identity and resists racist discourse. Three marginaVminority popular music artists and their songs have been chosen for analysis in support of the argument: Gil Scott-Heron's "Gun," Tracy Chapman's "Fast Car" and Robbie Robertson's "Sacrifice." The thesis will draw from two fields of study; popular music and postcolonialism. Within the area of popular music, Theodor Adorno's "Standardization" theory is the focus. Within the area of postcolonialism, this thesis concentrates on two specific topics; 1) Stuart Hall's and Homi Bhabha's overlapping perspectives that identity is a process of cultural signification, and 2) Homi Bhabha's concept of the "Third Space." For Bhabha (1995a), the Third Space defines cultures in the moment of their use, at the moment of their exchange. The idea of identities arising out of cultural struggle suggests that identity is a process as opposed to a fixed center, an enclosed totality. Cultures arise from historical memory and memory has no center. Historical memory is de-centered and thus cultures are also de-centered, they are not enclosed totalities. This is what Bhabha means by "hybridity" of culture - that cultures are not unitary totalities, they are ways of knowing and speaking about a reality that is in constant flux. In this regard, the language of "Otherness" depends on suppressing or marginalizing the productive capacity of culture in the act of enunciation. The Third Space represents a strategy of enunciation that disrupts, interrupts and dislocates the dominant discursive construction of US and THEM, (a construction explained by Hall's concept of binary oppositions, detailed in Chapter 2). Bhabha uses the term "enunciation" as a linguistic metaphor for how cultural differences are articulated through discourse and thus how differences are discursively produced. Like Hall, Bhabha views culture as a process of understanding and of signification because Bhabha sees traditional cultures' struggle against colonizing cultures as transforming them. Adorno's theory of Standardization will be understood as a theoretical position of Western authority. The thesis will argue that Adorno's theory rests on the assumption that there is an "essence" to music, an essence that Adorno rationalizes as structure/form. The thesis will demonstrate that constructing music as possessing an essence is connected to ideology and power and in this regard, Adorno's Standardization theory is a discourse of White Western power. It will be argued that "essentialism" is at the root of Western "rationalization" of music, and that the definition of what constitutes music is an extension of Western racist "discourses" of the Other. The methodological framework of the thesis entails a) applying semiotics to each of the three songs examined and b) also applying Bhabha's model of the Third Space to each of the songs. In this thesis, semiotics specifically refers to Stuart Hall's retheorized semiotics, which recognizes the dual function of semiotics in the analysis of marginal racial/cultural identities, i.e., simultaneously represent embedded racial/cultural stereotypes, and the marginal raciaVcultural first person voice that disavows and thus reinscribes stereotyped identities. (Here, and throughout this thesis, "first person voice" is used not to denote the voice of the songwriter, but rather the collective voice of a marginal racial/cultural group). This dual function fits with Hall's and Bhabha's idea that cultural identity emerges out of cultural antagonism, cultural struggle. Bhabha's Third Space is also applied to each of the songs to show that cultural "struggle" between colonizers and colonized produces cultural hybridities, musically expressed as fusions of styles/sounds. The purpose of combining semiotics and postcolonialism in the three songs to be analyzed is to show that marginal popular music, produced by members of cultural and racial minorities, establishes cultural identity and resists racist discourse by overwriting identities of racial/cultural stereotypes with identities shaped by the first person voice enunciated in the Third Space, to produce identities of cultural hybridities. Semiotic codes of embedded "Black" and "Indian" stereotypes in each song's musical and lyrical text will be read and shown to be overwritten by the semiotic codes of the first person voice, which are decoded with the aid of postcolonial concepts such as "ambivalence," "hybridity" and "enunciation."

Henry Hope & Sons of Canada Ltd. Letter, 1916

Henry Hope & Sons of Canada Ltd. were located at 45 King Street West, Toronto, Ont. at the writing of this letter in 1916. The company specialized in “weathertight casements in iron steel or gun-metal, unbreakable steel windows, fanlight opening-gear, leaded lights and stained glass, patent glass roofing, locks and door furniture, rainwater goods in cast lead and cast iron”. The letter is addressed to Mr. H.Y. [Harry Young] Grant, c/o Fenwick Farm, Lundy’s Lane, Niagara Falls, Ont. from R.W. Smith. The letter is in reply to a query about casement windows. Harry Young Grant (1860-1934), son of Sir James Alexander Grant and Maria Malloch of Ottawa, Ont. was a medical doctor specializing in the treatment of the eye, ear, nose and throat. After his retirement he became a member of the Niagara Parks Commission. He was married to Grace A. Smith, daughter of James R. Smith of Buffalo.

Copy of poster advertising “Grand Buffalo Hunt at Niagara Falls” with Bill Hickok, August, 1872

James Butler Hickok (1837-1876), also known as “Wild Bill” Hickok, was an American gun-fighter, scout and spy. He was involved in altercations with others while working for the famous express company Russell, Majors and Waddell (in 1861), and later while working as a wagon master, scout, and spy for the Union forces during the Civil War. These altercations resulted in the deaths of 4 people, but Hickok was acquitted in all cases. An embellished article written about him in Harper’s magazine helped contribute to his reputation as a western hero. He served as a deputy U.S. marshal and sheriff in Kansas in the late 1860’s, helping to bring law and order to a previously lawless area. He gambled considerably, and during a card game on August 2, 1876, was shot and killed. The cards he was holding (two aces, two eights, and a jack) became known as the "dead man's hand."

Interrogation of Prisoner - Heaquarters 1st Division, American Expeditionary Forces, 27 May 1918

A prisoner interrogation report dated 27 May 1918. The report reads: "I. PRISONER X. 1st. Battalion, 272 Res. Rogt., 82d Res. 1. CIRCUMSTANCES OF CAPTURE; Captured, while attempting to raid our trenches, at point 1719 at about 7A.M. 2. INFORMATION OBTAINED FROM PRISONER (a) Between point 1814 and point 175242 the German trenches appear to be held by three companies, each numbering 3 platoons, each platoon numbering about 40 men. Each company has 4 light machine guns in the first lines, these machine guns distributed along the first trench (one of them in particular is located at bond in hostile trench at point 17215 and another at about 17245. Each company, furthermore, has one platoon (weak in numbers) in support in the ravine north of Cantigny. These platoons are in dugouts dug into the side of the hill approximately between points 28215 and 2223. Each of these support platoons has two light machine guns at its disposal. Company commanders dugout is at some point along the line of dugouts occupied by the support platoons. Another company commander's dugout (Co.3) is at point 1815 about 15 meters behind the German trench which runs along the edge of the town of Cantigny. There is a communication trench between the cemetery at 2018 and the front line at 18179. It is believed that there is a machine gun at point 17245 kept in a dugout dug under the road. The reserve battalion is believed to be at a fairly great distance from the front (near Bouillancourt). The prisoner, on the other hand, states that it may have been moved up."

First Field Artillery Brigade Observer, 1 July 1918

The report mentions that General Pershing presented Distinguished Service Crosses to soldiers in the First Field Artillery Brigade. It also describes a Sergeant and 3 men finding an enemy soldier asleep with a machine gun. They brought him back to the American lines. Also included is a list of destruction that took place over the the last three days.

Tintype - William Knapp Cleveland dressed as cowboy

Tintype, 9 cm x 6 ½ cm, of William Knapp Cleveland (Julia Woodruff’s brother) described in a note at the bottom by R. Band. William is dressed in cowboy attire in front of a fence and brandishing a gun while holding a rifle. He is posing in front of a house.

Memo about the Point Pelee Marsh

Memo about the Point Pelee Marsh in which the writer [S.D. Woodruff] states that a considerable portion of this marsh is a Government Naval Reserve which the South Essex Gun Club has leased from the Dominion Government for a period of 21 years. The club is comprised of several men who have applied for and act of incorporation by the Long Point and Turkey Point Companies, n.d.