The triad doesn t rock and why it should
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The Triad Doesn’t Rock ( and Why It Should). Presented by Kim Thore Jon Epstein FRESH Productions 12/15/09 Center for Design Innovation Idea Exchange. Please allow me to introduce myself. Who we are Why we care What should be How to make it happen

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The Triad Doesn’t Rock ( and Why It Should)

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The Triad Doesn’t Rock(and Why It Should)

Presented by

Kim Thore

Jon Epstein

FRESH Productions

12/15/09

Center for Design Innovation

Idea Exchange


Please allow me to introduce myself

  • Who we are

  • Why we care

  • What should be

  • How to make it happen

    “It’s not the size of the ship, it’s the size of the waves” Little Richard


What do these artists have in common?

  • John Coltrane

  • Thelonious Monk

  • Max Roach

  • Tori Amos

  • George Clinton

  • Charlie Daniels

  • Roberta Flack

  • Warren Haynes

  • James Taylor

  • Jermaine Dupree

  • Chris Daughtry

  • Kellie Pickler

  • Doc Watson


Comboland: The way it was

  • The NC scene in the 1980s was vibrant, relevant, diverse, and international.


1980s NC Music

  • Mitch Easter

  • Don Dixon

  • The Connells

  • The dBs

  • Flat Duo Jets

  • Othermothers

  • Corrosion of Conformity


1980s Winston Salem Rock Clubs

  • Ziggys

  • Baity’s Back Street

  • Rittenhouse Square

  • The College Pub


Winston Salem Rock Scene Now


Music “Scene” Defined

  • A music scene is “the context in which clusters of producers, musicians, and fans collectively share their common musical tastes and collectively distinguish themselves from others” through “modes of organizing cultural production and consumption…”

    Richard Florida. 2009


What’s happening elsewhere?

  • The rise of the “entertainment city”; where opportunities for consumption of unique artistic and cultural goods becomes increasingly important.”

    Lloyd and Clark 2001


Musical Mapquest?

  • “Live music is highly distance sensitive which means that producer and consumer need to meet in the same place for production and consumption to take place. This implies that the market place needs to be big enough to provide a sufficient number of meeting places.”Richard Florida 2009


Location Location Location


Austin, Texas

  • Population: 747,000

  • 46% ages 20-44

  • 37 Live Music venues

  • 24 Area specific music websites

  • Strong Community, Government and Media support.


Dayton, Ohio

  • Population: 144,000

  • 44% ages 20-44

  • 18 Live Music Venues

  • 3 area specific music websites

  • Strong Community, Government, and Media Support


Winston Salem, NC

  • Population: 216,000

  • 34% ages 20-44

  • 4 Live music venues (Narrow but deep. Genre Specific)

  • No Local music Websites.

  • No Tangible Community, Government, or Media support.


If you build it they will come

  • “While larger, incumbent regional centers clearly have had scale and scope advantages in music production and commercial distribution, they have suffered from inertia and inability to respond to new genres and sounds. This has intermittently enabled smaller locations with a constellation of talent and commercial interests willing to embrace new forms to gain a strategic advantage. “ Martin Prosperity Institute. University of Toronto. 2008.


  • "Rock and roll music - the music of freedom frightens people and unleashes all manner of conservative defense mechanisms." -Salman RushdieRead more at Suite101:


Elvis has left the building


References

  • Music Scenes to Music Clusters: The Economic Geography of Music in the U.S., 1970-2000Revised June 2009by Richard Florida, Charlotta Mellander and Kevin Stolarick

  • That’s Entertainment: Scale and Scope Economies in the Location and Clustering of the Entertainment EconomyApril 2009by Richard Florida, Charlotta Mellander and Kevin Stolarick

  • Sonic City: The Evolving Economic Geography of the Music IndustryRevised March 2009by Richard Florida and M. Scott Jackson

  • Music Clusters: A Preliminary AnalysisFebruary 2008by Richard Florida and Charlotta Mellander


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