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The Professional Dance Musician and His Audience Author(s): Howard S.

Becker Source: The American Journal of Sociology, Vol. 57, No. 2 (Sep., 1951), pp. 136-144 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/2772074 Accessed: 12/10/2010 19:06
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THE PROFESSIONAL DANCE MUSICIAN AND HIS AUDIENCE


HOWARD S. BECKER:

ABSTRACT Membersofserviceoccupationsare subject to the interference ofclientsat their work.In the meeting of a professional whose self is deeply involved in his work and a more casually involvedcustomerconflict that outsidersneither arisesfromthe professional's are capable nor possess the rightto judge their feeling performance. Dance musicians feelthemselves to be different from theiraudiences-people who lack understandingand who shouldhave no controlover theirworkbut who in fact exert great control.Musicians feelisolatedfrom a processofself-segregation. societyand increasethisisolationthrough

' I wishto thankProfessor on a draftof Dan Lortie,who read and commented Hughes, Prothis paper. Thanks are due Professor fessorW. Lloyd Warner,and Dr. Harvey L. Smith of the original fortheirguidancein the prosecution researchon whichthispaper is based.

are, in general, large American The serviceoccupations city. This occupation prein sents an extremely by thefactthattheworker favorable situationfor distinguished and per- studying themcomesintomoreorlessdirect such phenomena, since in it the of problem consumer withtheultimate sonalcontact is,to a greater degree thanin many whom occupations, for theclient ofhiswork, theproduct frankly facedand openlydisthe cussed.Musiciansfeelthat the onlymusic the service.Consequently, he performs to direct worthplayingis what they call "jazz," a clientis able to director attempt at histaskandto applysanctions term which canbe defined only as thatmusic theworker pres- whichis produced informal from ranging kinds, without reference to the ofvarious and demands ofhispatronage ofoutsiders. Yet they mustendure sureto thewithdrawal of it on some otherof the unceasing interference withtheir playing by the conferring theservice. and audience.The mostdistressemployer manypeoplewhoperform inthecareer oftheaverage mua person ingproblem This contact bringstogether of choosing between around sicianis the necessity is centered activity whosefull-time is to somede- conventionalsuccess and his "artistic" and whoseself theoccupation In orderto achieve successhe per- standards. in it and another greedeeplyinvolved it necessary to "go commercial," that more casual, finds to itis much relation sonwhose thatthetwoshould is, to play in accordwiththe wishesofthe and it maybe inevitable forwhomhe works;in so dooftheway in nonmusicians pictures varying have widely the respectof othermusiwhichthe occupationalserviceshould be ing he sacrifices inmostcases,hisself-respect. of such ciansandthus, It seemscharacteristic performed. the If he remainstrue to his standards, he is consider members thattheir occupations in thelarger Musociety. clientunableto judge the properworthof doomedto failure themselves to the according any attempt siciansclassify and resent bitterly the service to which the they giveinto outsiders; overthework. degree control onhispartto exercise the extreme rangesfrom "jazz" arisesas continuum and hostility A gooddeal ofconflict to the "commercial" musician.2 out- musician ofdefense andmethods against a result, willcenter around thefolof The discussion becomea preoccupation side interference which mulowing points:(i) theconceptions the members. and of the nonthedimensions sicianshave of themselves paperoutlines Thepresent and theconfor whomtheywork as observed musicians dilemma ofsuchan occupational in thisrelation, theyfeelto be inherent dance musiciansin a flict among professional thereac(2) thebasic consensus underlying E. C. Hughes and Mr.
2 A fulldiscussion of thissituationmay be found in the completestudyon whichthispaper is based: Dance MusiHoward S. Becker,"The Professional M.A. thesis,departcian in Chicago" (unpublished University of Chicago, I949). mentof sociology,

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THE PROFESSIONAL DANCE MUSICIAN AND HIS AUDIENCE

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and jazz musicians tionsofbothcommercial ofisolation and (3) feelings to thisconflict, from audiofthemselves and thesegregating The analysisis based enceand community. on materials gathered during eighteen and participant obmonths ofinterviewing was disclosed to few My research servation. I was acceptedas just people. In general, youngpiano playerby mostofthe another was gathered. thismaterial whom menfrom youngcomesfrom The bulkofthematerial contactwas made with er men,but enough to permitthe analysisof othermusicians problems. basic occupational
I. MUSICIAN AND "SQUARE"

that an outsider work,it is unthinkable shouldbe allowedto do so. is generalized intoa feeling This attitude different thatmusicians arecompletely from and betterthan otherkindsof people and accordingly oughtnot to be subjectto the in any branchof life, controlof outsiders in theirartisticactivity.The particularly kind of person feeling of beinga different is deep-seatkindoflife wholeadsa different remarks indicate: ed, as thefollowing aredifferent I'm telling than you,musicians act difother people. Theytalkdifferent, they lookdifferent. ferent, they They're justnotlike
otherpeople,that'sall..
.

music business because togetoutofthe youfeel from others. about what so different The wholesystemof beliefs Musicians livean exotic likeina jungle life, musiciansare and what audiencesare is Theystart out,they're justordito orsomething. up in a wordused by musicians summed small oncethey towns-but kidsfrom get refer to outsiders-"square."It is used as a nary It's exlife like a into that they change. jungle, both a nounand as an adjective,denoting isa hot, bus.You their crowded cept that jungle and livethat and a qualityofbehavior kindofperson oflife kind long enough, youjustgetto to thekindofper- be completely refers objects.The term different. is, ofall themusician sonwhois theopposite a musician wasgreat, I'll never Being regret feeling, it.I'll understand or shouldbe, and a way ofthinking, that never will. things squares in materiand behaving (withitsexpression of this view is the beliefthat is theoppositeofthatval- An extreme al objects)which are sensitive onlymusicians and unconvenued by musicians. to be able to givereal sexual is conceived ofby thepro- tionalenough The musician to a woman. groupas an artistwhopossessesa satisfaction fessional Feeling theirdifference strongly, musiartisticgiftsettinghim apart mysterious he cians likewisebelieve that beingssuch as thisgift, people.Possessing all other from who theyare underno obligation by outsiders to follow control the from be free should behavior is something whichcannot conventional ofthesquares.From lack it. The gift theoutsider, theidea thatno onecan tella musician education; how through be acquired a member ofthe to play it follows cannever logically that no one can become therefore, howto do anything. playersaid, "You can't tella musician Accordgroup.A trombone behavior which flouts conventional soteacha guyto have a beat. Eitherhe's got ingly, is greatly admired. Stories reveal oneorhe hasn't.Ifhe hasn'tgotit,youcan't cial norms thisadmiration forhighly individual, sponteachit to him." activities; many feels thatunderno circum- taneous,"devil-may-care" The musician as be allowedto ofthemostnotedjazzmenare renowned stancesshouldany outsider and theirexploits are widely tellhimwhatto play or how to play it. In "characters," in the colleague recounted.For example, one well-known element fact,the strongest having jumpedona poagainsta musician jazzmanis notedfor code is the prohibition horse infront standing ofthenight to put liceman's orin anyother waytrying criticizing he worked and ridden it away. in the actual clubin which musician on another pressure musician likesto tellstories "on the job." Wherenot The ordinary of playingsituation ispermitted to influence the unconventional evena colleague things he has done:

. You knowit's hard

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THE AMERICAN JOURNALOF SOCIOLOGY incident theuncontrolled following behavior of a drummer loses a job foran orchestra; as theyare,theylendhimmoney yet,angry and refrain from punishing himin anyway. It wouldbe a breach ofcustom wereanyone him. to reprimand

thefirst JERRY: Whenwe got up there, thing that happened was that all his drumsdidn't showup. So the ownerdrivesall aroundtrying forhimand thentheowner somedrums to find a fender while it. So I knew smashes he wasdoing to a goodstart.And right away thatwe wereoff no Jack!Man,thebossis an oldDago, youknow, it is a pri- bulls This is morethanidiosyncrasy; about him,he runsa gambling joint; value, as indicatedby he don'ttakeanys mary occupational from anyone.So he says of a youngmusi- to Jack, "What are you gonna do without observation the following in the drums?" Jack says, "Be cool, daddio, everyheroes cian: "You know,the biggest the musicbusinessare the biggestcharacters. thing'llbe real gone,you know."I thought he is,the old guywouldblowhis top. What a wayto talk a guyacts,thegreater The crazier to the boss. Boy, he turnedaround,therewas likeshim." moreeveryone firein his eye. I knew we wouldn'tlast after to livein that. He says to me, "Is that drummer do notwishto be forced As they all do there?"I said, "I don't know,I neversaw him so musicians ofsocialconventions, terms on beforetoday." And we just got finished not attemptto forcetheseconventions telling others.For example,a musiciandeclared him we'd been playingtogether six months. So is wrong, since that helped,too. Of course,whenJackstarted that ethnicdiscrimination thatwas theend.So loud! Andhe don't is entitled to act and believeas playing, every person play a beat at all. All he uses thebass drumfor he wantsto: is accents. What kind of drumming is that? in anydiscrimination S , I don'tbelieve it was a good littleoutfit.... It was Otherwise, whether they're a good job. We could have been thereforever. like that.Peopleare people, orwhat. . . . Well, afterwe played a couple of sets,the orPolacks orIrishmen Dagos orJews are.It boss told us we werethrough. they carewhat religion bigsquares Only to me.Every perdon'tmeana f ingthing after BECKE.R:Whathappened yougotfired?

We played the dance and afterthe job was over we packed up to get back in thisold bus and make it back to Detroit.A littleway out to go. There was of townthe car just refused plentyofgas; it just wouldn'trun.These guys All of out and stoodaroundgriping. all climbed said, "Let's set it on fire!" a sudden,somebody So someonegot some gas out of the tank and a matchto it and it around,touching sprinkled it just wentup in smoke.What an exwhoosh, up and all theseguys The car burning perience! and clapping their standingaround hollering hands.It was reallysomething.

the hisownway, that's to believe son'sentitled I never go to wayI feelaboutit. Of course, holdit against anybutI don't church myself, if youlikethat bodywhodoes. It's all right ofthing. sort

The bossgaveus twenty JERRY: apieceand toldus togo home. So it costus seventeen dollarsfortransportation up and back,we made onthe three wesawplenty bucks job.Ofcourse, wedidn't oftrees. Three bucks, hell, even make oreight. that. seven We loaned Jack sex a friend's classified The same musician thusviewshimself the indiThe musician and his yet defended behavioras wrong, as peoplewith a specialgift which vidual's rightto decide what is rightand colleagues too makesthem different from nonmusicians and "Eddief- s around for himself: wrong or else get notsubject to their either inmusical control, much; he's gonna kill himself or in ordinary social behavkilledby some broad. And he's got a nice performance treather like that. ior. wifetoo. He shouldn't If The square,on theother hand,lacksthis , that'shis business. But whatthe f to live,ifhe'shappy special giftand any understanding of the that'sthewayhe wants do." musicorway oflifeofthosewhopossessit. that'sthewayhe oughta thatway,then ofas an ignorant, inMusicianswilltolerate quite extraordinaryThe squareis thought mak- tolerant whois to be feared, in a fellow-musician without sincehe person behavior In the produces thepressures orrestrain. themusician topunish forcing inganyattempt

THE PROFESSIONAL DANCE MUSICIAN AND HIS AUDIENCE to play inartistically.The musicians' difficulty lies in the fact that the square is in a position to get his way: if he does not like the kind of music played, he does not pay to hear it a second time. Not understanding music, the square judges music by standards whichare foreign to musicians and not respected by them. A "commercial" saxophonist observed sarcastically: It doesn'tmakeanydifference whatweplay, the way we do it. It's so simple that anyone who's been playinglongerthan a monthcould on piano or somehandleit. Jackplaysa chorus thensaxes or something, all unison.It's thing, veryeasy. But thepeopledon'tcare.As longas theycan hear the drumthey're all right. They hearthedrum, thenthey knowto put their right oftheir footin front leftfootand their leftfoot oftheir in front foot.Then iftheycan hear right the melodyto whistleto, they're happy. What morecould theywant? The following conversation illustrates the same attitude: the stand and walkdown JOE: You'd get off the aisle,somebody'dsay,"Young man, I like your orchestra verymuch." Just because you playedsoftand the tenorman doubledfiddle or something like that,the squares liked it. ... DICK: It was likethatwhenI workedat the M Club. All the kids that I wentto high schoolwithused to comeout and digtheband. . . . That was one of the worst bands I ever onand they all thought worked itwas wonderful. JOE: Oh, well, they're just a bunch of squaresanyhow.

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and bespeech, sibly be. Everyitemofdress, that ofthe musifrom haviorwhichdiffers oftheinherent cianis takenas newevidence of the square. and ignorance insensitivity Since musicianshave an esotericculture are manyand serveonlyto theseevidences and theirconviction that musicians fortify kindsofpeople. squaresare twodifferent as well,sincehe But thesquareis feared is thoughtof as the ultimate source of It is thesquare'sigpressure. "commercial" themusician ofmusicthatcompels norance in order bad music to playwhathe considers to be successful. aboutthepeople BECKER: How do youfeel theaudience? youplayfor, a drag. DAVE: They're doyousaythat? BECKER: Why ifyou're ona commerworking DAVE: Well, likeit andso youhaveto play cialband,they If you're on a goodband, working more corn. thentheydon'tlikeit, and that'sa drag.If likeit, ona goodbandandthey working you're a drag, too.You hatethem anyway, that's then what don'tknow thatthey because youknow it'sall about. justa bigdrag. They're This last statementreveals that even to avoidbeing squareare thosewhoattempt so,becausetheystilllackthe stillconsidered whichonlya musiproperunderstanding, cian can have-"they don'tknowwhatit's all about." The "jazz fan"is thusrespected for no morethan othersquares. His liking and he acts understanding jazz is without just like the othersquares; he willrequest the musician's songs and try to influence squaresdo. just as other playing, as a crethussees himself The musician outside whoshouldbe free from ative artist and better a persondifferent from control, whounhe callssquares thanthoseoutsiders neither hismusic norhiswayoflife derstand in hemust perform andyetbecauseofwhom ideals. to hisprofessional a manner contrary

"Squareness" is felt to penetrate every aspect of the square's behavior just as its opposite, "hipness" is evident in everything the musician does. The square seems to do everything wrongand is laughable and ludicrous. Musicians derive a good deal of amusement from sitting in a corner and watching the squares. Everyone has stories to tell about the laughable antics of squares. II. REACTIONS TO THE CONFLICT One man went so far as to suggest that the musicians should change places with the We will now considerthe attitudesof toward and "jazz" musicians people sitting at the bar of the tavern he "commercial" in workedin; he claimed that theywerefunnier the audience, notingboth the variation and more entertainingthan he could pos- attitude underlying and thebasic consensus

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There aren't any jobs whereyou CHARLIE: mean,whatthe s , you can't make a living can blow jazz. You have to play rumbasand You can'tgetanywhere if you don't play forthe squares. How many pops4 and everything. all f aren't Outof blowingjazz. Man, I don't want to scuffle ing people youthink squares? ifI5 percent mylife. a hundred people you'dbe lucky I mean,maybeprofessional EDDIE: Well, you want to enjoy yourself, weren't squares. people-doctors, lawyers, like that-they might don't you? You won't be happy playingcomnotbe square, buttheaverage is justa mercial.You knowthat. person CHARLIE:I guess there'sjust no way fora showpeople big f ing square.Of course, ofshow aren't likethat. Butoutside and cat to be happy.'Cause it sureis a dragblowing people but it's an awfuldragnot everdoprofessionalpeople, everybody'sa f ing commercial, and playingjazz. ing anything square.3They don'tknowanything. I learned EDDIE: Jesus,why can't you be successful I'll tell you. This is something about three years ago.Ifyouwant tomake any playingjazz? ... I mean, you could have a and still play arrangements, money yougottapleasethesquares.They'rethe great littleoutfit ones thatpay the bills,and you gotta play for but good ones,you know. A goodmusician CHARLIE:YOU could neverget a job fora them. can'tgeta f ing job. You gotta ofs- . Butwhat the band like that. playa bunch EDDIE: Well, you could have a sexy little f- , let's face it. I want to live good. I want and singand shakeher I want a car,youknow. bitchto standup infront to make some money; ass at thebears.5 Then you couldget a job. And Howlong canyoufight it?... Ifyoucanmake Don'tgetmewrong. money you could stillplay greatwhenshe wasn'tsingplaying jazz, great.But how manyguyscan do ing. 's CHARLIE: Well, wasn't that what Q it? ... If you can play jazz, great,like I said.

squares, butwho thef- paysthebills? They I pay 'em,so yougottaplaywhatthey want.

a bunchoff to denythat.Sure,they're

I the two sets of feelings. Two themesrun sense fighting it, you gotta be commercial. so you yoursalary, through this conflict; (i) the desireof the mean,thesquaresarepaying theonesyou as wellgetused to it,they're musician toliveinterms ofthecreative prin- might ciple,and (2) therecognition ofmanyforces gottaplease. influencing him to abandonthat principle. It is to be noted that the speaker admits it The jazzman tendsto emphasizethe first, is more "respectable" to be independent of the commercial musicianthe second; but the squares, and expressescontemptforthe and feel the forceof each audience, whose squareness is made responboth recognize oftheseguiding influences. Common to the sible forthe whole situation. attitudes ofbothkindsofmusician is an inThese men phrase the problem primarily tensecontempt for and dislike ofthesquare in economic terms: "I mean, s , ifyou're audiencewhose faultit is that musicians playing fora bunch of squares you're playin order must"go commercial" to succeed. ing fora bunch of squares. What the fThe comnmercial musician, though he con- are you gonna do? You can't push it down ceivesoftheaudience as squares, chooses to theirthroats. Well, I suppose you can make sacrifice self-respect and therespect ofother 'em eat it,but afterall, theyarepayingyou." musicians (therewards ofartistic behavior) The jazzman feelsthe need to satisfythe forthe moresubstantial rewards of steady audience just as strongly,although mainand the prestige work,higher income, entaining that one should not give in to it. joyed by the man who "goes commercial." Jazzmen,like others,appreciate steady jobs One commercial musician commented: and good jobs and know that they must satThey've gota niceclassofpeople outhere, isfythe audience to get them,as the followI'm nottrying ing conversation between two young jazztoo.Ofcourse, they're squares, ing men illustrates:

But ifyou're on a bad f


3 Most

no ingjob,there's

tions.

musicianswould not admit these excep-

Popular songs.

s Synonym for"squares."

THE PROFESSIONAL DANCE MUSICIAN AND HIS AUDIENCE band was like? Did you enjoy that? Did you like the way she sang? EDDIE: No, man, but we played jazz, you know. CHARLIE: Did you like the kindof jazz you wereplaying? It was kindofcommercial, wasn't it? EDDIE: Yeah, but it could have beengreat. CHARLIE: Yeah, if it had been great, you wouldn'thave kept on working. I guess we'll alwaysjust be unhappy. It's just thewaythings are. You'll always be drug6 withyourself.... There'llneverbe any kindof a reallygreatjob fora musician. In addition to the pressure to please the audience which emanates from the musician's desireto maximize salary and income, there are more immediate pressures. It is to maintain an independent often difficult attitude. For example: on the SouthI workedan Italian wedding Ponzi. We west Side last nightwith Johnny playedabout halfan hour,doingthespecialarrangements theyuse, whichare pretty uncommercial. Then an old Italian fellow(the fatheras we laterfoundout) bein-lawof the groom, gan hollering, "Play some polkas, play some Italian music. Ah, you stink,you're lousy." Johnny always triesto avoid the inevitableon off thesewedding jobs, putting playingthefolk musicas longas he can. I said,"Man, whydon't we play some of that stuff now and get it over with?"Tom said, "I'm afraidif we startdoing that we'll be doingit all night."Johnny said, "Look, Howard,the groomis a real greatguy. He told us to play anything we wantand notto pay any attentionto what the people say, so don't worry about it...." and pretty soon The old fellow kepthollering I thegroomcame up and said, "Listen,fellows. knowyou don'twantto play any ofthatsand I don't want you to, but that'smyfatherin-law,see. The only thingis, I don't want to embarrass forhim,so play someDago my wife music to keep him quiet, will yuh?" Johnny ofresiglookedaroundat us and madea gesture nation. He said, "All right, let's play theBeerBarrel Polka." Tom said, "Oh s ! Here we go." We played it and thenwe played an Italian dance, the Tarentelle.
6Unhappy.

I4I

applies pressure Sometimesthe employer which makes even an uncompromising jazzman give in, at least forthe duration ofthe job: overat the I wasplaying solofor onenight The second rdSt. Whata drag! Y~~ on melothe Side, I played Squnny I wasplaying set, jazz.All a little I played then onechorus, dyfor thesideofthe over ofa sudden thebossleaned ass ifanybody "I'll kissyour barandhollered, playing!" you're tune what in this placeknows in the place heardhim,too. And everybody Whata bigsquare! WhatcouldI do? I didn't wasa drag. Sure sayanything, justkept playing. the musician Somewhatinconsistently, theaudience thatheis reaching wantsto feel some enjoyment and that theyare getting and thisleads himto givein his work, from One man said: to audiencedemands. someone I enjoy playing more when there's much isn't offeel like there toplayfor. Youkind to there if there's nobody in playing purpose music's what all,that's hearyou.I mean, after from. andgetenjoyment tohear for-for people too corny That's whyI don'tmindplaying ofgeta I kind it,then enjoys much. If anyone ofa ham.ButI I'm kind kick outofit.I guess thatway. people liketo make happy but is somewhat extreme; This statement enoughto feel it strongly most musicians wantto avoid the active dislikeof the audience: "That's why I like to workwith Tommy.At least when you get off the in the place doesn'thate stand,everybody you. It's a drag to workunderconditions in the place like that, where everybody just hates the wholeband."
III. ISOLATION AND SELF-SEGREGATION

Musiciansare hostileto theiraudiences, their beingafraidthat theymustsacrifice artistic to the squares.They exstandards and belief ofbehavior hibitcertain patterns to this which maybe viewedas adjustments to here as situation;theywill be referred and are "isolation"and "self-segregation" and situation intheactualplaying expressed of in the social intercourse in participation function Theprimary thelarger community.

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there. said,"No, man.Just leave them of thisbehavioris to protectthe musician Jerry me from the to protect from theinterference ofthesquareaudience That's mybarricade squares." and, by extension, of the conventional society. avoid esMany musicians almostreflexively The musicianis, as a rule,spatiallyiso- tablishing ofthe aucontactwithmembers lated from the audience, beingplaced on a dience. When walkingamong them,they platform which, beinginaccessible to them, habitually avoidmeeting theeyesofsquares provides a physical barrier thatprevents any for thatthiswillestablish fear somerelationThisisolation is welcomed ship on the basis of whichthe square will direct interaction. because the audience,being made up of thenrequest wayatsongsor in someother squares,is feltto be potentially dangerous. tempt themusical to influence performance. with Someextend The musicians fearthatdirect contact their to their behavior ordinary the audiencecan lead onlyto interferencesocialactivity, outsideofprofessional situait tions.A certain withthemusical performance. Therefore, amount ofthisis inevitable, and havenothing to do since the conditions is safer to be isolated of work-late hours, withthem.Once,where suchphysical isola- great and so on-make geographic mobility, a player tionwas notprovided, commented: socialparticipation oftheprofessionoutside If one works difficult. whileothers man. You're al group Another thing about weddings, is to have it difficult ordinary social sleep, rightdownon the floor, rightin the middleof withthem.This was citedby a them.It's intercourse thepeople.You can't get away from whohad left theprofession, inpardifferent if you'replayinga dance or in a bar. musician In a dancehallyou'reup on a stage where they tialexplanation ofhisaction:"Andit'sgreat can't get at you. The same thingin a cocktail to work youcan see regular hours, too,where lounge,you'reup behindthe bar. But a wed- peopleinstead ofhaving to go to work every in themiddleofthem. night."Some younger ding-man, you'reright musicians complain makeithardfor them ofwork Musicians,lackingthe usuallyprovided thatthehours with girls, since to establish contacts "nice" often their physical barriers, improvise own the date. they preclude conventional and effectively segregate themselves from ofthisbehavior But much develops outof their audience. is thehostility toward squares.The attitude I had a Jewish Sundaynight. seenin its extreme wedding job for Aveamongthe"X ... When I arrived, the restof the boys were nueBoys,"a cliqueofextreme jazzmenwho The wedding had taken alreadythere. place late, reject the Americanculturein toto.The so that the people werejust beginning to eat. towardthe outside qualityof theirfeeling with the We decided, after I had conferred is man'sprivate world one title indicated by groom, to play during dinner. We setup in a far histheme song:"If You Don't Like My corner ofthehall. Jerry pulledthepianoaround for ing so that it blockedoff a small space, whichwas Queer Ways You Can Kiss My Fmakeupofthegroupindithusseparated from therestofthepeople.Tony Ass." The ethnic oftheseexthattheir set up his drumsin this space, and Jerry adoption and catedfurther Johnny stood therewhilewe played. I wanted treme and socialattitudes was part artistic to move the piano so thattheboyscouldstand ofa totalrejection ofconventional American out in front of it and be nextto the audience, society. themencame Withfewexceptions but Jerry said,half-jokingly, "No, man. I have from assimilated national older,morefully to have someprotection from the squares." So and German, groups:Irish,Scandinavian, we leftthings as theywere.... English. Further, manyofthemwerereputofthepiano Jerry had movedaroundinfront and the ed to come fromwealthy families had put two chairs but,again half-humorously, In classes. their rejection higher social short, in front of him,whichseparatedhim from the inmusic and squares insoaudience.Whena couple took the chairsto sit ofcommercialism of the life the aside of cial was part casting in set two more their on, Jerry place. Johnny cultureby men who could said, "Man, whydon'twe sit on thosechairs?" total American

THE PROFESSIONAL DANCE MUSICIAN AND HIS AUDIENCE

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enjoyprivileged statusbutwhowereunable A young Jewish musician, who definitely to achieve a satisfactory personaladjust- identified himself with the Jewishcommunimentwithin it.7 ty, neverthelessfelt this professionalisolaEveryinterest of thisgroupemphasized tion stronglyenough to make the following their isolation from thestandards and inter- statements. estsoftheconventional society. Theyassociis a dangerous You know,a littleknowledge atedalmost exclusively with other musicians thing. That's whathappenedto me whenI first and girls whosangor dancedin night clubs started I just feltlikeI knewtoo much. playing. in the NorthClark Streetarea of Chicago I sortofsaw,orfelt, from the thatall myfriends and had littleor no contactwiththe con- neighborhood werereal square and stupid.... Whenyou sit on that You know,it's funny. ventional world. Theyweredescribed politifrom others. youfeelso different ofgovern- standup there, callythus:"They hate thisform feel how Gentiles Like I can even understand ment anyway and think it's realbad." They wereunremittingly ofbothbusiness towardJews.You see thesepeoplecomeup and critical or theyhave a littlebit of an and labor,disillusioned withthe economic theylook Jewish, and theyask fora rumba accentor something, structure, and completely cynical aboutthe or some damn thinglike that, and I just feel, political process and contemporary political "What damn squares,theseJews,"just like I parties. Religion and marriage wererejected was a goymyself. That's what I mean whenI as wereAmerican completely, popularand say you learn too much being a musician.I and theirreadingwas con- mean,you see so many thingsand get such a seriousculture, linedsolelyto themoreesoteric avant garde broad outlookon life that the average person and philosophers. In art and sym- just doesn'thave. writers also in On another occasion the same man rephonicmusicthey wereinterested In ev- marked: onlythemostesoteric developments. erycase theywerequick to pointout that sinceI've beenout ofwork DICK: You know, interests werenotthoseoftheconventheir tional societyand that theywerethereby I've actuallygottenso that I can talk to some differentiated from it. It is reasonable to as- of theseguysin the neighborhood. BECKER: You mean you had trouble talking sumethattheprimary ofthesein- to thembefore? function was to makethisdifferentiation unterests DICK: Well, I'd just stand aroundand not mistakably clear. knowwhat to say. It still sobersme up to talk Althoughisolationand self-segregation theysay seemsreal to thoseguys. Everything found their most extreme development sillyand uninteresting. Avenue Boys," they among the "X is evident The process of self-segregation weremanifested by less deviantmusicians in expressions, particularly certain symbolic as well. The feeling of beingisolatedfrom therestofthesociety was often quitestrong; in the use of an occupational slang which thefollowing conversation, which tookplace readily identifiesthe man who can use it between twoyoung two properly as someone who is not square and jazzmen,illustrates as quickly reveals as an outsider the person sense reactions to the ofisolation. who uses it incorrectlyor not at all. Some EDDIE: You know, man,I hate people.I words have grownup to referto unique prome can'tstand tobearound squares. Theydrag fessional problems and attitudes of musiso much I justcan'tstand them. be likethat, man. cians, typical of them being the term CHARLIE: You shouldn't Don't let them dragyou.Just laughat them. "square." Such words enable musicians to I do.Just That'swhat at everything laugh they discuss problemsand activities forwhich ordo. That'stheonly wayyou'llbe ableto stand dinarylanguage provides no adequate termiit. nology. There are, however, many words
7 Professor David Riesman first called my attention to theseimplications of the data.

which are merely substitutes for the more common expressions without adding any

I44

THE AMERICAN JOURNALOF SOCIOLOGY

the emphasizing audience, new meaning.For example,the following siciansand their formoney: "loot," "gold," hostility are synonyms arisesout oftheinteraction which to as of professional arereferred "geetz,"and "bread."Jobs and laymanin the working for situation. synonyms has also been paid to Attention "gigs."Thereareinnumerable feelthemselves musicians "gauge," the way in which common being themost marijuana, *" )18 isolated fromthe largersocietyand how "pot," "charge," "tea," and "s various through thatisolation is pointed theymaintain The function ofsuchbehavior who was quitting modesofself-segregation. out by a youngmusician thebusiness: conflicts thatsimilar It maybe suggested service occupations other are be in to found I'm glad I'm gettingout of the business, in suchareascouldprofitsick of beingaroundmusi- and thatresearch though.I'm getting as theprofessionon suchmatters cians. There's so much ritual and ceremony ablyfocus dress al's conception junk.Theyhave to talka speciallanguage, in the manner of his client, kind of glasses. whichthe clientimpinges different, and wear a different the on (or,from And it just doesn'tmean a damn thingexcept professional's with) pointofview,interferes "we're different." onproofsuchconflicts theeffects hiswork, IV. CONCLUSION refwithparticular fessional organization, tacticsemployed by to thedefensive This paper has exploredcertaindimen- erence and the relation of such didancemu- the profession, between sionsoftherelationship in participation 8These wordswill probablybe out of date soon lemmasto the individual's society. some alreadyare. They change the lifeofthelarger afterthisis written;
as musicians feel that they have gained currency CHICAGO amongoutsiders.

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