Hitting the high notes from the underground
By Beth Herzinger - The Daily Iowan
"Iowa has waited too long for this; let's show Derrick how we roll."
So urges the flier for what promises to be "a rave of epic proportions," and the magnitude of the event is hardly an exaggeration - an appearance by internationally renowned house master Carter in Iowa City certainly merits a war cry for involvement.
And while patrons who are more used to seeing matted hair and metal guitar strings grace the stage of Gabe's may be surprised to find the intimate space transformed into a sweaty, throbbing mass of flailing appendages grooving to bass beats with near-ritualistic frenzy, this show is by no means an anomaly within the local music culture but one moment in a constantly evolving scene that is both steeped in a rich tradition of Midwestern techno music and open to the possibility of change.
But Carter spinning in Iowa City for one night only is not the story - merely the most visible aspect of an underground effort that relies on a sheer common passion of the individuals who bring the music and the crowds who deeply hunger for the multi-sensory experience of an all-night dance party.
THE PROMOTER
For the music to arrive in Iowa City, it has to be invited, planned, and constantly stoked by a business-saavy risktaker who is both a behind-the-scenes administrator and an in-your-face marketing agent. To bring Carter to Iowa requires nothing short of a miracle - and the miracle worker who gets the job done is Coleman Greenhaw.
With nearly a decade of experience, Greenhaw has seen the negatives - the late nights turned early mornings, the money lost when turnout is low, and the constant pressure to persuade city administrators and venue owners that a legitimate cultural activity is happening here in the Midwest. But there are good times too - such as finally securing Carter after nearly a semester of intense preparation.
"I'd like to think that I'm a sort of gateway of exposure for the music, but I'm a pretty small part," he said. "I like to play a part in whatever show I'm involved in, to make it stand out."
THE TOWN
With its proximity to a plethora of larger cities - Chicago, Kansas City, Madison, and Minneapolis - Iowa City exists in an understated yet central location within the Midwestern electronica culture. While this provides fans starved for the music and excuses to road trip, it also means that big-name acts often skip Iowa in favor of larger venues with bigger crowds and meatier paychecks.
But Iowa City is rarely behind the beat of the national trends within the culture.
"It may be hard to get a well-known DJ to book in Iowa initially, but once they come here, they request to come back," Greenhaw said. "Iowa City is a bunch of Midwesterners who like the simple things in life, and artists know they will always receive a warm welcome."
And while other towns in Iowa might be larger, the 19-ordinance makes Iowa City unique. Although Greenhaw said that the policy does exclude the younger fans, it's still a step-up from the 21-only rules that dictate night life in other Iowa towns.
THE VENUE
In the early years, a night of local DJ rotation was housed at Gunnerz in Iowa City, and mid-size raves found shelter in fields, barns, warehouses, and even city halls across Iowa.
But as suitable venues slip away, Gabe's, 330 E. Washington St., has provided a stable and tolerant home for local and national acts and their fevered audiences. It's an intimate space, which seems appropriate for a tightly knit scene, one in which everyone knows each other, and word of mouth drives the turnout.
And turning what is essentially a rock 'n' roll joint with a gritty surface into a high-tech atmosphere of light and sound play does not require an extreme makeover because just having a venue is important.
THE DJ
Enter the DJ, bringer of music in mythical proportion. Perched high behind their turntables, the DJs bring the beats that get the people on their feet, relying on a intricate combination of intense practice and inspired improvisation to share their art en masse.
While corporate, consumer-driven music in America dilutes the purpose of the art into cold cash, DJs seem to be in it for the people.
Travis Stevens, a local spinner of records, has performed throughout America, Europe, and New Zealand, and while the atmosphere has varied widely, the fans always stand out.
"Whether I agree with them on any other issue, when the music touches somebody, it touches them," he said, adding that he remembers every nod of appreciation from dancing fans.
The most financially secure DJs are those who obtain some sort of mainstream appeal, but that success comes with the risk of perceived selling out. Carter has obtained such international celebrity that he can act like a member of the glitterati (he only gives interviews for the few requests that strike his fancy).
Locally, success is a dream that is always in sight if not in reach. Coleman, who also will make an appearance at Saturday's show as his DJ persona, The Goat, said he has seen many local DJs seek out greener pastures in bigger cities or even Europe, where DJs consistently get paid more.
THE FANS
The last to arrive at the show, fans make up the largest proportion of the scene's success - they are the ones who pay to experience what they love.
Randy Price, currently residing in the quiet Amana Colonies, lives to party and is willing to travel - the 29-year old has been going since he was 16, and two things bring him back - the people and the music.
"The people provide that vibe that pumps up the energy everyone is so wound up on," he said. "It's a sense of community."
A CHANGING COMMUNITY
When these forces combine, they can create a movement greater than the individual aspects, a power that is harnessed for good times. Electronic music in Iowa City has survived the shift from a decadent rave scene to club culture and, now, to a new underground that is still undefined.
Despite marginalization by the mainstream music industry, it is still a community that is eager to prove its legitimacy as a cultural form and entertainment outlet. Despite the negative publicity the all-night shows have gotten in the past, particularly with illegal drug use, Coleman said he strives to provide shows in legal venues where even alcohol is not necessary for a good time.
"One thing is constant here and everywhere: People always want to go out, to hear good music, and have a good conversation," he said. "Something gets stagnant -then something new comes along. It's a continuous process of taking the old way and adding new elements to stay innovative."
And ultimately, everyone is responsible for creating a viable expression that maintains an alternative cultural outlet.
"You've got to give credit to the fans, the promoters, and the DJs that go out and do it all night and then work their shit jobs in the morning," Stevens said. "They're the ones who should get the credit."
