Rhino Records, an LA institution (the store, not the label), has closed its doors.
COLUMN: It takes Rhino skin not to be hurt by shop closure
By Chris Morris
LOS ANGELES (Hollywood Reporter) - They're throwing a wake of sorts for
the Rhino Records store Saturday and Sunday.
Founded in 1973, the venerable record shop officially closed its doors
after the turn of the year, hard on the heels of the folding of
crosstown competitor Aron's Records.
But, in a final gasp of Rhino tradition, old customers will gather at
the Westwood Boulevard location to paw through boxes of CDs, LPs, DVDs
and videocassettes at the store's final parking lot sale.
Rhino, a Westside institution for three decades, never recovered its
footing after moving into a large new space about five years ago. The
old shop, left open as an outlet for used and budget product, closed
within a year. A partnership with the Golden Apple comics store failed,
and an attempt to rebrand the shop as Duck Soup with the addition of
high-priced collectibles never caught fire.
These stabs at instilling new life into Rhino coincided with a
precipitous decline in the music business. Owner Richard Foos says: "As
bad as it is for everybody, it's much worse for independents. I don't
know all the reasons. It's so complicated. There's literally hundreds of
reasons."
Foos adds dispiritedly: "There's too many other things to do and too
many ways to get your music without paying $18 for a CD. . . . I don't
see a great future for physical product."
The demise of Rhino hits home on a very personal level for this writer.
For years, it was my neighborhood record store, conveniently located
between my Westwood Village apartment and the Santa Monica Boulevard
office of the film exhibitor I worked for.
It was the hip shop on the Westside -- one of the few places you could
buy that hot import album or that cool local punk 45. There, music
obsessives gathered to buy their records, socialize and, frequently,
argue with the store's highly opinionated clerks. In a gambit worthy of
"High Fidelity," Rhino for many years maintained a "Worst Customers
List," posted prominently behind the counter; the more obstreperous
patrons -- including, on more than one occasion, myself -- were duly
namechecked there.
As combative as things could get, the store also spawned its own tightly
knit community. When Rhino's fledgling record label wanted to promote
one of its early novelty acts, the Temple City Kazoo Orchestra, the
store drafted some of its regulars to march through Westwood Village,
where they serenaded passers-by with kazoo renditions of "Whole Lotta
Love" and other classic-rock chestnuts.
The era when music lovers on both sides of the retail counter bonded is
long gone. Foos notes with some astonishment that there are now no
free-standing independent stores selling music between West Hollywood
and Santa Monica. The options are Best Buy, Borders and Barnes & Noble.
"The days of going into a place like Rhino and saying, 'What's the cool
new import?' -- forget it," Foos says.
Things aren't any better for the big mall music operators: Witness the
bankruptcy filing last week of the 869-store Musicland chain.
Does this reflect a paradigm shift? Of course, but, if a new study from
England's University of Leicester is to be believed, it also reflects a
basic difference in the way consumers are looking at music. The school's
psychologists noted last week that music had "lost its aura," and was
now viewed as simply a commodity.
Says Foos with a sigh: "It's really sad and dangerous. Everybody's like
a silo."
Ave atque vale, Rhino Records. For some, you were a way of life.
(Chris Morris hosts "Watusi Rodeo" on Indie 103.1 in Los Angeles from 11
a.m.-1 p.m. every Sunday.
http://www.indie1031.fm/shows/watusi.php)
Reuters/Hollywood Reporter
