Because Chris Baricevic Is Putting St. Louis on the Musical Map
One of 75 reasons we love St. Louis in 2016
By Jaime Lees
Chris Baricevic is just 30 years old, but he’s already been the steady heartbeat of the south St. Louis music scene for more than a decade. The label he started eleven years ago, Big Muddy Records, is one of the region’s most revered musical organizations, the St. Louis equivalent to Jack White’s Detroit-born Third Man Records.
Big Muddy is not some vanity DIY project. It isn’t even a “boutique” label. Its artists are robust, well-practiced, world-class musicians ready to greet the world — Baricevic’s long roster has included Pokey LaFarge, Jack Grelle, Sidney Street Shakers, Rum Drum Ramblers, the Hooten Hallers, Southwest Watson Sweethearts, 7 Shot Screamers, Arson for Candy, the Monads and the Vultures.
Baricevic sees his role at the label as a hybrid of motivational producer and a spiritual mentor, but he’s more like a seasoned mountaineering guide, willing to carry the baggage so his artists can climb higher and claim their own victories. Baricevic often takes on the role of therapist or shaman (or maybe even mother) when leading his charges. He encourages them to develop their talents, embrace their community and to create art without ego.
His responsibilities go deeper than his current bands, though. He’s been the executor of beloved St. Louis musician/photographer Bob Reuter’s estate since Reuter’s 2013 death, and he’s also currently in the process of licensing the music of early 1960s local blues legend Henry Townsend for reissue. Baricevic does this all quietly and without fanfare. In fact, he’s so accustomed to staying out of the spotlight that he’s only now getting around to performing his own music with his new band, Kristo & the Strange Places.
Pure-hearted and a bit of a romantic, Baricevic’s humble exterior conceals a man who is naturally ambitious and seemingly inexhaustible. Authenticity is at the core of everything that he does, and he explains that he only cares to be involved with music that is “screaming from the soul.”
This St. Louis native has big plans for the city to “start to claim our creative landscape.” He promises, “If I get the resources I need, there is nothing to stop us.” Believe that.
link: Riverfront Times
St. Louis Ranked in Top 50 U.S. Cities for Music Fans
Posted By Jaime Lees
Fri, Jul 15, 2016
According to a recent report from consumer spending website ValuePenguin.com, St. Louis is ranked as the 42nd best city in the United States for music fans.
I’d never heard of Value Penguin, so I knew not to trust the results. What is a Value Penguin, anyway? It sounds like a new mascot for Aldi discount supermarkets. Still, in the little preview photo that I saw, it showed my beautiful city as “high ranking” (with a bright blue dot) so I expected us to be #1. I clicked over to bask in the warm glow of rocketing civic pride.
I glanced at the very top of the list and didn’t see St. Louis. I scrolled on down to #5. Still no St. Louis. By the time I got to #10 and didn’t see the Lou I knew that this list was crap and that Value Penguin was populated by morons.
Ranked #1 on the list is Nashville, so-called “Music City.” Well, that’s convenient. That’s like saying Chicago is the windiest city in the U.S. just because that’s what people call it. No, you lazy jerks, the windiest city in the U.S. is actually Jackson, Mississippi. And just because you call yourself something doesn’t make it true.
The rest of the nation might concede that Nashville is country music city, but that’s about it. I knew a guy who was an audio engineer in Nashville for a decade and he said that 95% of the studio recordings that get done there are either country or Christian or both. He was so starved for any version of rock & roll that he almost cried tears of joy when he was hired to work on a Paramore record. Yes, Paramore, that “band” that consists of one marginally attractive Hot Topic employee and whoever they pay to stand behind her while she grunts and fluffs her hair. That’s what passes for rock in Tennessee. No thank you.
I skimmed farther down the list and finally saw our ranking. Ah, #42. They say that 42 is a special number and that it’s the “answer to the ultimate question of life, the universe and everything.” I knew we were magical.
I also noticed that a city in Florida is a whole eighteen slots ahead of us. Florida? Florida is only good making the rest of the country feel smart. The only decent music that ever came out of Florida was from Tom Petty and he got the hell out of there as soon as possible. I feel so bad for music fans in that state. Its biggest stars are Marilyn Mason, Aaron Carter, Pitbull and Limp Bizkit. You poor, sad, floppy dick-shaped peninsula.
Value Penguin used fifteen categories to piece together this whack-ass list, each with their own weight and specifications. Cities were scored based on their performances in various arbitrary contests. Some of the categories made sense (how many record stores per 1,000 people) and some of them made use of wild card factors like the average amount of days with precipitation per year, average closing times at bars and the percentage of population using public transport to commute.
Yes, any of these things could influence the lives of music fans, but so could literally thousands of other factors. And as a statistics professor once taught me, correlation does not equal causation. You don’t have to be a numbers geek to see that this methodology is, at best, an elaborate game of pin the tail on the donkey.
So suck it, Value Penguin. We think that a good city for a band is also a good city for a fan. A good music city has multiple concert events to choose from each night. A good music city sees huge draws for local musicians. A good music city has volunteers and organizers and valued event planners. A good music city has cheap door prices. A good music city has affordable housing and a low cost of living. A good music city has musicians who support and celebrate each other. A good music city has dedicated and active fans. A good music city has small shows with big turnouts.
A good music city looks a lot like St. Louis, thank you very much.
– link: Riverfront Times
St. Louis Earth Day Festival Digs Deep This Year for Impressive Local Music Lineup
By Jaime Lees
Tue, Apr 19, 2016
Concert season in St. Louis has arrived. Each year as the temperatures rise our fine city shakes off its deep winter sleep and blossoms into a major hub of quality musical entertainment. At the first hint of spring we start looking forward to months of free outdoor public concerts: the Whitaker Music Festival at the Missouri Botanical Garden, the Jungle Boogie concert series at the zoo, the major headliners at Fair St. Louis and all of the wonderfully crappy cover bands provided by smaller local festivals and carnivals.
This year the St. Louis Earth Day Festival is really getting in on the action. Taking place this Sunday, April 24 in Forest Park, the musical talent for the event is decidedly local, original and diverse. Instead of offering just the usual expected Americana, folk or jam bands, the schedule features DJs, punk rockers, general weirdos and representatives of many different styles and genres of the St. Louis music scene.
Scheduled to perform: Swear Beam, the Vanilla Beans, DJ Needles, CaveofswordS, Illphonics, Matt Wynn, Bruiser Queen, JOIA World Percussion Ensemble, the Griddle Kids, Steely James, Arson for Candy, Tortuga, Gary Schoenberger with Perfect Strangers and the Funs.
The most common reaction for local music fans reading this lineup has been delighted shock. How, we wondered, did the St. Louis Earth Day crew manage to seek out and book some of our city’s best musicians and bands? Clearly, somebody with extensive knowledge of the local music scene had some sort of influence there.
We didn’t have to dig long to find out that the little seed that grew this lineup was Jenn DeRose. In addition to being the program manager of the Green Dining Alliance, DeRose has played many roles over the years in St. Louis music culture: She’s done time at Vintage Vinyl, been a DJ at KDHX, worked with Big Muddy Records and is an avid concert-goer. (And — full disclosure — an occasional RFT Music contributer.)
DeRose says she simply suggested bands that she wanted to see and that she felt represented St. Louis as a whole.
“Most of the bands that we contacted were very stoked to do it,” DeRose says. “If we would’ve asked these same kinds of bands ten years ago, I don’t know that they would’ve been as enthusiastic, but I think that everybody is kind of on board now. Global warming is real; climate change is real. It’s an important issue. We’re losing species like crazy. Also, it’s a really fun festival. And 50,000 people showed up last year, so I think the entertainers were really excited to jump on board.”
Mike Leahy of Tortuga (and long-time St. Louis favorite 7 Shot Screamers) is one of those excited for a chance to perform. “I was shocked by how solid the lineup is for this festival,” Leahy explains. “Forest Park is such a beautiful place with such a great history — to be playing a well-organized festival there is an honor. Tortuga is stoked to play Earth Day Fest because it feels like a real homegrown event. It’s so much fun playing around St. Louis these days; so many great bands, organizers, venues and events like this. We’re a lucky town.”
Also using the word “solid” to describe the lineup, musician Sunyatta McDermott of CaveofswordS says that she’s excited to “get the chance to see so many great artists in one day” while also supporting the cause. McDermott has carried a passion for environmentalism since she was a teenager, and she jokes that she even sacrificed her Aqua Net Extra Super Hold for the ozone. In addition to performing at the festival, she and the rest of CaveofswordS express their commitment to a more livable world through simple everyday decisions like recycling, embracing a plant-based diet, driving used cars and finding their clothes in thrift shops.
Musicians as a group, in fact, are actually fairly green naturally. They buy used instruments, they carpool frequently, they share practice spaces, they lend each other equipment and they DJ with previously owned records. This sharing of resources is not only essential to growing a scene, it also helps to keep the planet clean. According to DeRose, so does supporting your local scene.
“I think promoting local music is an important part of sustainability,” DeRose says. “If a city is more dense, it is more sustainable. Which is maybe counter-intuitive, but with shared resources, our carbon footprint is lower. And the way to attract younger, active people to the city is through promoting local music and letting it thrive. That’s part of why we need to start including local bands — to really showcase what St. Louis can do.”
Find out more information about the St. Louis Earth Day Festival at stlouisearthday.org
– link: Riverfront Times