Boese, Kent. “Then and Now: Lincoln Theatre – Greater Greater Washington,” April 27, 2009. http://greatergreaterwashington.org/post/2147/then-and-now-lincoln-theatre/.
Boese aims to show the structural differences of the Lincoln Theatre between its initial building in 1921 and the publishing of the article in 2009. He outlines some of the history of the building as well, giving context for the social barriers present within the building as well as its uses in the community.
While visiting the Lincoln Theatre, I took pictures of its outside features, and I plan on analyzing its evolution within my essay. Even though Google Maps can show me the building over the past few years, Boese’ article allows me to see its original form.
“Lincoln Theatre (Washington, D.C.).” Wikipedia, September 30, 2016. https://en.wikipedia.org/wiki/Lincoln_Theatre_(Washington,_D.C.)
In addition to some historical background on the theatre, Wikipedia includes many key points about its restoration and aquirerence by I.M.P in 2013.
Since my paper aims to prove how outdated the theatre is and how its structure is a hard sell to younger musicians, the information surrounding its revival is key to my argument. Through the article, I can find facts about its past financial struggles and recent notable performers, both of which I can use for evidence for how it is falling behind in today’s music world.
“The Lincoln Theatre.” The Lincoln Theatre. Accessed September 30, 2016. http://www.thelincolndc.com/.
The schedule on the front page of The Lincoln Theatre web page allows visitors to see who is heading to the venue over the next nine months.
The schedule is an important resource because it not only allows me to see the artist demographic but also allows me to gauge of the types of audiences the venue attracts. It is vital to my argument to know who goes into the venue (to see if they are appealing to the surrounding neighborhood or a more diverse group outside of the immediate area).
“9:30 Club.” Wikipedia, October 22, 2016.
The Wikipedia page for the 9:30 Club provides a thorough look at the venue’s history in both its former and present locations. A whole section is dedicated to ‘Significant Moments’ which gives a reader an idea of just who and what the club has hosted.
I plan on comparing and contrasting the musicians that have played at the Lincoln Theatre and the 9:30 Club in order to argue that the club hosts much newer and varied performances than the theatre. Since the article gives me such specific information about the club’s significant performances, I can utilize them as evidence to back up my claim.
Bray, Ryan, and Len Comaratta. “All Access: An Oral History of DC’s 9:30 Club.” Consequence of Sound, 19 May 2014. www.consequenceofsound.net/2014/05/all-access-an-oral-history-of-dcs-930-club/2/.
The article takes a new turn on the history of the 9:30 Club by getting the views from various professionals involved with the club (photographers, record label owners, etc). Each provides a unique narrative of the club as it evolved from a small venue in the 80s to a well known large scale club.
I found it very interesting that, despite its short life of forty years, the club has such a rich history and deep impact on the music community of D.C. In comparison to the Lincoln Theatre which has been open for almost a hundred years, more people seem to speak out more about the local scene of the club than the contributions of the theatre to ‘Black Broadway’. Therefore, I think that the article will provide evidence (and good quotations) for my argument surrounding the relevance of the two structures.
DeTogne, Greg. “Live Sound: Staple Of The Circuit: Inside The System At D.C.‘s 9:30 Club – Pro Sound Web.” ProSoundWeb, January 17, 2011. http://www.prosoundweb.com/article/print/the_staple_of_the_circuit.
The article on ProSoundWeb gives key insight into the technical aspects of the 9:30 Club. From the sound system to the lights, the author dives deep into why the Club’s set up is so unique.
Since the Lincoln Theatre and the 9:30 Club clearly differ so much in their interior, I want to utilize this article to back up my claim that the club is a superior technical venue in comparison (which makes it so popular for new acts). In addition to the written text, the article provides some interesting pictures of the sound equipment and layout of the club that I can use in my final essay post.
Fischer, Jonathan L. “I.M.P. Productions to Take Over Operations of Lincoln Theatre.” Washington City Paper, 27 June 2013. www.washingtoncitypaper.com/arts/music/blog/13079440/i-m-p-productions-to-take-over-operations-of-lincoln-theatre.
The Washington City Paper’s article includes an overview of I.M.P’s acquisition of the Lincoln Theatre’s operations in 2013. In addition to the write up, the author includes the official press release from the former mayor of D.C., Vincent C. Gray.
The shift of power to I.M.P Productions is an important part of why the Lincoln Theatre is still running today and what ties it to the 9:30 Club. I intend on using to press release to support the claim that the Lincoln Theatre is tied to the historical side of D.C. (since the mayor declared the shift) and that I.M.P. is shift it away from its roots.
Ramanathan, Lavanya. “Lincoln Theatre’s Revival Ushers in a Gilded Age for Music Fans – The Washington Post.” Washington Post, August 29, 2013. https://www.washingtonpost.com/goingoutguide/lincoln-theatres-revival-ushers-in-a-gilded-age-for-music-fans/2013/08/29/3535627a-09b6-11e3-b87c-476db8ac34cd_story.html.
Ramanathan provides information about The Lincoln Theatre’s shift into the 21st century concert world by diving into its history and comparing it to other venues. The author also dives into the business side of the venue, details it owners/renters over the years and methods of attracting customers in an age of spectacle and luxury.
I plan on utilizing this article as context for the Lincoln Theatre today and its inner operations. Also, the comparative part of the article may provide useful when talking about the theatre’s amenities.
Schweitzer, Ally. “On Its 35th Anniversary, Is The 9:30 Club Whitewashing Its
History?” WAMU Bandwidth, 7 Jan. 2016.
This opinion piece questions whether the 9:30 Club was erasing the black performers from its history during its 35th anniversary event which showcases the many memories of the venue. Schweitzer interviews Kristi Riggs, a long time attendant of the club, who was surprised by the lack of colored performers featured in the exhibit. The author also goes on to examine the venue’s place in the black cultural that has thrived in that neighborhood.
The article makes sure to explain that this diversity problem is not just one of the 9:30 Club but also of the Lincoln Theatre. I want to highlight how I.M.P. is causing both venues to erase vital parts of their history and move in the direction of the popular music world, a plan that does not seem to be working very well for the Lincoln,
West, Michael J., and Ally Schweitzer. “How Not to Screw up the Howard Theatre.” Washington City Paper, 6 Apr. 2012, www.washingtoncitypaper.com/news/article/13042334/how-not-to-screw-up-the-howard-theatre.
The article functions as an opinion piece where the author gives five tips for how the revival of the Howard Theatre in 2012 can be successful. From serving food and drink to investing in good PR, the article lays out the best way for the theatre to thrive in today’s D.C.
Even though the authors focus on the Howard Theatre, they do mention the Lincoln and its recent failures connect to the lack of PR, its city ties, and other aspects. Many of the suggestions that the authors bring up are key aspects that the Lincoln lacks, and I plan on bringing up as main points in my paper. I will definitely use the 9:30 Club as the example that does fulfill these suggestions, but I might research the Howard Theatre to see how it is functioning today (especially since it is so similar to the Lincoln).