Comments on: The scene article http://rvanews.com/etc/the-scene-article/4296 All the news, none of that gross newsprint feel Thu, 24 May 2012 04:48:02 -0400 hourly 1 http://wordpress.org/?v=3.3.1 By: What Makes Scenes Tick? « Carey Sargent http://rvanews.com/etc/the-scene-article/4296#comment-10880 What Makes Scenes Tick? « Carey Sargent Tue, 28 Jul 2009 00:48:52 +0000 http://rvanews.com/?p=4296#comment-10880 [...] Makes Scenes Tick? 2008 April 8 by careysargent The Scene Article, written by avant-jazz musician Matt White of Richmond, provides thoughtful commentary on what it [...] [...] Makes Scenes Tick? 2008 April 8 by careysargent The Scene Article, written by avant-jazz musician Matt White of Richmond, provides thoughtful commentary on what it [...]

]]> By: CS http://rvanews.com/etc/the-scene-article/4296#comment-1849 CS Mon, 28 Apr 2008 21:39:48 +0000 http://rvanews.com/?p=4296#comment-1849 Thanks for this post Matt - I've been thinking about these same questions re: Richmond and Charlottesville. I think you are right on the money with all the factors you mention. I would just add that every city has a musical history, but not every place gets their music recognized - or recognizes the value of what they've got. In Richmond there are folks who are trying to document that history - in the Black History and Culture Museum on Clay St. there is a short film about Jackson Ward that includes the music life of two-street, 'the Harlem of the South.' And Brent Hosier of Arcania records was just on NPR's captive audio series the other day. He collects old garage and soul records from Va, a number of which came out of Richmond. Out of all the factors you mention, I'll side with proximity to the music industry because it creates the visibility that is implied by music scenes. It's what documents music history and makes local music known to outsiders. But today, I think there are far more opportunities to create our own industries without "The Music Industry" being anywhere in sight. We all just need to keep making it happen through our collectives, entertainment companies, venues, galleries and bands. I have a similar post about Charlottesville if you're interested: http://localmusicscenes.blogspot.com/2007/08/local-legacy-of-dave-matthews-band.html Thanks for this post Matt – I’ve been thinking about these same questions re: Richmond and Charlottesville. I think you are right on the money with all the factors you mention.

I would just add that every city has a musical history, but not every place gets their music recognized – or recognizes the value of what they’ve got. In Richmond there are folks who are trying to document that history – in the Black History and Culture Museum on Clay St. there is a short film about Jackson Ward that includes the music life of two-street, ‘the Harlem of the South.’ And Brent Hosier of Arcania records was just on NPR’s captive audio series the other day. He collects old garage and soul records from Va, a number of which came out of Richmond.

Out of all the factors you mention, I’ll side with proximity to the music industry because it creates the visibility that is implied by music scenes. It’s what documents music history and makes local music known to outsiders. But today, I think there are far more opportunities to create our own industries without “The Music Industry” being anywhere in sight. We all just need to keep making it happen through our collectives, entertainment companies, venues, galleries and bands.

I have a similar post about Charlottesville if you’re interested: http://localmusicscenes.blogspot.com/2007/08/local-legacy-of-dave-matthews-band.html

]]> By: Ed http://rvanews.com/etc/the-scene-article/4296#comment-1828 Ed Sat, 26 Apr 2008 22:27:14 +0000 http://rvanews.com/?p=4296#comment-1828 >>Pure grassroots work ethic...Probably a necessity but I don’t think it’s what turns the corner. Dunno, Jamaican music is famous for its hardworking, DIY culture (still making small batch vinyl 45s, lots of street marketing, good DJ culture)... A collaborative community of musicians who crossover into each other's works is another important component (I'm thinking of the Detroit rock scene or DC Go Go or even Richmond hardcore in the 80s) >>Pure grassroots work ethic…Probably a necessity but I don’t think it’s what turns the corner.

Dunno, Jamaican music is famous for its hardworking, DIY culture (still making small batch vinyl 45s, lots of street marketing, good DJ culture)…

A collaborative community of musicians who crossover into each other’s works is another important component (I’m thinking of the Detroit rock scene or DC Go Go or even Richmond hardcore in the 80s)

]]> By: Scott Burger http://rvanews.com/etc/the-scene-article/4296#comment-1808 Scott Burger Fri, 25 Apr 2008 15:43:22 +0000 http://rvanews.com/?p=4296#comment-1808 Well, Jamaican music came from a new found pride in their independence from U.K., a rich culture that included Africanisms that survived slavery, a music school that taught discipline, basic ideas, and supplied instruments, a 'working environment' - tourist boats that supplied musicians with decent jobs as well as an import of new ideas, but most of all, an eagerness to experiment, combine, and cultivate new ideas. One other thing- commercial necessity- when American R&B gave way to rocknroll, the Jamaican kids had to come up with their own R&B- the djs/dance halls could no longer get the American R&B records from New Orleans and other U.S. sources so they recruited locals to make their own brand- the Skatalites- ska then reggae. The music gradually became accepted even by more conservative black middle class and became a symbol of national consciousness. That's a very simplified explanation of how the Jamaican music scene. What's holding back Richmond? Well, you cetainly touched on a lot and many of us have discussed it in the past. But in a nutshell, Richmond has a very top-down culture that is fearful of new ideas. It takes longer in Richmond for things to be accepted and embraced even if they are allowed to happen. Well, Jamaican music came from a new found pride in their independence from U.K., a rich culture that included Africanisms that survived slavery, a music school that taught discipline, basic ideas, and supplied instruments, a ‘working environment’ – tourist boats that supplied musicians with decent jobs as well as an import of new ideas, but most of all, an eagerness to experiment, combine, and cultivate new ideas. One other thing- commercial necessity- when American R&B gave way to rocknroll, the Jamaican kids had to come up with their own R&B- the djs/dance halls could no longer get the American R&B records from New Orleans and other U.S. sources so they recruited locals to make their own brand- the Skatalites- ska then reggae. The music gradually became accepted even by more conservative black middle class and became a symbol of national consciousness. That’s a very simplified explanation of how the Jamaican music scene.

What’s holding back Richmond? Well, you cetainly touched on a lot and many of us have discussed it in the past. But in a nutshell, Richmond has a very top-down culture that is fearful of new ideas. It takes longer in Richmond for things to be accepted and embraced even if they are allowed to happen.

]]> By: Scott Burger http://rvanews.com/etc/the-scene-article/4296#comment-1806 Scott Burger Fri, 25 Apr 2008 15:40:06 +0000 http://rvanews.com/?p=4296#comment-1806 Well, Jamaican music came from a new found pride in their independence from U.K., a rich culture that included Africanisms that survived slavery, a music school that taught discipline, basic ideas, and supplied instruments, a 'working environment' - tourist boats that supplied musicians with decent jobs as well as an import of new ideas, but most of all, an eagerness to experiment, combine, and cultivate new ideas. One other thing- commercial necessity- when American R&B gave way to rocknroll, the Jamaican kids had to come up with their own R&B- the djs/dance halls could no longer get the American R&B records from New Orleans and other U.S. sources so they recruited locals to make their own brand- the Skatalites- ska then reggae. The music gradually became accepted even by more conservative black middle class and became a symbol of national consciousness. That's a very simplified explanation of how the Jamaican music scene. What's holding back Richmond? Well, you cetainly touched on a lot and many of us have discussed it in the past. But in a nutshell, Richmond has a very top-down culture that is fearful of new ideas. It takes a while for things to be accepted even if they are allowed to happen. Well, Jamaican music came from a new found pride in their independence from U.K., a rich culture that included Africanisms that survived slavery, a music school that taught discipline, basic ideas, and supplied instruments, a ‘working environment’ – tourist boats that supplied musicians with decent jobs as well as an import of new ideas, but most of all, an eagerness to experiment, combine, and cultivate new ideas. One other thing- commercial necessity- when American R&B gave way to rocknroll, the Jamaican kids had to come up with their own R&B- the djs/dance halls could no longer get the American R&B records from New Orleans and other U.S. sources so they recruited locals to make their own brand- the Skatalites- ska then reggae. The music gradually became accepted even by more conservative black middle class and became a symbol of national consciousness. That’s a very simplified explanation of how the Jamaican music scene.

What’s holding back Richmond? Well, you cetainly touched on a lot and many of us have discussed it in the past. But in a nutshell, Richmond has a very top-down culture that is fearful of new ideas. It takes a while for things to be accepted even if they are allowed to happen.

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