The scene article
In the grand tradition of the Internet I am going to talk about something I know little about and invite audience response: scenes – of the musical variety.
In the grand tradition of the Internet I am going to talk about something I know little about and invite audience response.
I spent the last week in Chicago. A band that I’m in, Fight the Big Bull, was invited there by avant-garde jazz luminary and Chicago scene-meister Ken Vandermark. Scene-meisters seem to abound there, or at least I’m assuming so because a scene certainly does. We played two shows in four days, both were respectably attended. Both were part of a continuously running, very successful series — an avant jazz series I might add (that to say that the sounds sometimes are “weird”). We attended another continuously running, even more well attended and successful, avant jazz series on our off night and in our short stay managed to miss at least one additional world class performance that was free and open to the public. Being a proud Richmond resident, concert promoter, performer, and interested citizen I am eternally curious as to what makes these things tick. What gets scenes started? What makes one continue to thrive? And what makes it die? Here are some factors that I’m going to bat around:
- Geographical proximity to “The Industry”
- Talent
- Venues
- Government
- History and tradition
- Strong leaders/personalities
- Pure grassroots work ethic
- Money
- Population and demographic
So, to really clamor on about all these would be a task that would put me over 1000 words – my limit according to my fascist boss. But let me just say a thing about each one and then we’ll see if the usually chatty constituents have anything to say.
Geographical proximity to “The Industry”
It certainly helps. New York, Nashville, and L.A. have it. Chicago doesn’t and neither did Seattle when it came out of nowhere to sucker punch the course of American pop music culture. You know who else doesn’t have it – Jamaica! In one of the greatest scene stories ever Jamaica’s music scene went from some humble beginnings, let us not understate how humble they truly were, to truly influencing music internationally***.
Talent
Probably a “must”. Although I could be convinced that marketing and social climate could be substituted for talent. At least a “must” if one is looking to sustain.
Venues
Hmmm. Not quite sure on this one. Ill tell you this. There was, in the 70’ and 80’s, what they call the “loft scene” in New York. As you might guess they didn’t have venues. Also, house shows?
Government
Also not sure where I line up on this one. I will say that some of the best “legitimate” venues I have ever played, as well as some of the most famous venues worldwide are bars that do not serve food. This is not possible in Richmond for some inexplicable reason – I bet it has to do with the Government.
History and tradition
Chicago does have this but so do some other places that have fallen by the wayside. Seattle didnt’t have it and neither did Jamaica.
Strong leaders/personalities
Seems like it could be a common thread although maybe not essential? maybe it is?
Pure grassroots work ethic
Probably a necessity but I don’t think it’s what turns the corner.
Money
Certainly doesn’t hurt and I can see it being the answer that is most simple and most true. There are still places that slip through the cracks. Jamaica, New York in the 50’s, and Paris in the early part of the 20th century all had a jaw-dropping amount of artists that had found their way there – but weren’t making any money.
Population and demographic
Sure, more people must help but that also means there’s more going on. And Demographic? I know that the suburban sprawl doesn’t have the most artistically integrous past and that soccer moms are not avid concert goers (minus Poison at innsbrook) but does demographic truly matter?
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Think about Richmond – it’s probably what you know and love best. In a lot of ways we stack up pretty well but sometimes it’s very hard to honestly self examine. Let us know your thoughts.
***So I could truly ramble about my fascination with Jamaican music culture. Somehow we take them for granted, those Jamaicans, but there music has permeated the entire world’s Pop Culture aesthetic. Seriously!!! Who else has done that…America, England — maybe — although, they are extremely close to just copying an already existing American aesthetic. Jamaica somehow created such a terribly fascinating thing out of dust…almost literally. LISTEN! Their peers are places like Barbados, Antigua, Trinidad, Saint Lucia, Grenada etc etc. How the hell did they do that! From a purely social, economic, racial, and cultural point of view it is one of the most fascinating turn of events that our community has had the chance to bare witness to.
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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 longer in Richmond for things to be accepted and embraced even if they are allowed to happen.
>>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)
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
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