And so I understood the difference between supporting something and liking it. The many bands that formed signalled a shift from one subculture to the next. 4 See Oakes Citation2009: 45; Threadgold Citation2017: 7, 8; Farrow Citation2020: 11; Haddon Citation2020; Pearson Citation2020: 7; Rogers and Whiting Citation2020: 6; Verbu Citation2021; cf. Register to receive personalised research and resources by email. The San Francisco sound refers to rock music performed live and recorded by San Francisco-based rock groups of the mid-1960s to early 1970s. (Personal communication, 28 February 2012). Some scholars have identified how the obligation to reciprocate (balanced reciprocity), can be perceived to constrain artistic freedom and creativity (Joseph Citation2002: 10311), however, it is notable that participants in the DIY scenes I studied favoured a general approach to reciprocity. The Dead Kennedys are often seen as one of the most influential hardcore punk bands of the 1980s, instrumental in the rebellion against the hippie movement of the preceding decades. Cate Blanchett as Lydia Tr | Courtesy of Focus Features Films about classical music go back to at least the 1930s. The various shows of the tour were put together by friends of the band, friends of their friends, and by people for whom the band had previously organised shows in Portland. "[16] Women, in a few cases, enjoyed an equal status with men as stars in the San Francisco rock scenebut these few instances signaled a shift that has continued in the U.S. music scene. Until they do away with capitalism we wont be able to escape it, but we can put the money back into our own hands. The journalist Ed Vulliamy wrote: "The Summer of Love had an empress, and her name was Janis Joplin. participation]. They not only organised house concerts, but also recorded their music projects in their own bedrooms, and organised art shows for the local DIY community on their premises. The San Francisco sound refers to rock music performed live and recorded by San Francisco-based rock groups of the mid-1960s to early 1970s.It was associated with the counterculture community in San Francisco, particularly the Haight-Ashbury district, during these years. And on the other hand, practical efforts toward, but also failures and difficulties in, embracing the reciprocal social and economic relations, which include collective networks of mutual aid, active participation, and DIY methods. We had this idea that it was a three-way tie [also the title of one of their albums] and not some hierarchy or aristocracy of guitar. However, while the link between DIY practice and lo-fi sound exists, it is also important to recognise that lo-fi aesthetics can reflect other causal factors, such as advanced studio manipulation, market calculation, and/or nostalgia for pre-modern simplicity (Hesmondhalgh Citation1999: 56; Oakes Citation2009; Sanden Citation2013: chapter 4). Second, the meanings and goals of these practices are often contested and constantly negotiated by different DIY individuals and groups, as they oscillate between hierarchical and egalitarian, individualist and collectivist, and pragmatic and idealist orientations. On the one hand, the ideological objective to reject the capitalist mode of organising cultural and social practices (individualism, consumerism, and profit- and success-oriented approaches). san francisco music venues 1980's - ritsolinc.com American DIY participants often talk about their own economic system, support-system, or self-sustaining trade and barter economy (Cometbus Citation2002; Danielson Citation2004; Debies-Carl Citation2014: 81, 14461; Hannerz Citation2015: 127, 128; Farrow Citation2020: 246). Moreover, some houses were more oriented towards drinking and partying than the needs of hosted performers, and sometimes the provision of meals, event promotion, or collection of donations were neglected (see also Makagon Citation2015: 13741). However, it is also possible to identify more hierarchical and individualist practices and outcomes in contemporary DIY music-making (Verbu Citation2021: 189; see below). Thats what they think. A whole society, with its own economic system even. They also reuse derelict and discarded capitalist products and in this way participate in transferring them from market to non-market value, consequently enabling their diversion from capitalist circulation. Due to the gradual musical and social diversification of punk and post-punk scenes in the last 40 years, and the redirection of attention from genre and sound to particular (DIY) ethos within these scenes, the DIY label started to be more commonly used as a synonym or a substitute for the term punk in reference to these scenes (ibid.). In this way, they consciously acknowledge that DIY shows can exist both outside the capitalist system (as temporarily enclaved rituals of decomoditization), and at the same time, within the larger capitalist regime of value.Footnote19 DIY shows thus simultaneously counter as well as co-constitute a capitalist economic system.Footnote20. SFJAZZ has been at the helm of the city's jazz scene since its founding in the 1980s. People would also in return help us out with things that we need. Get out your pens and spraypaint. The strong reciprocal relations between different houses of the DIY community was emphasised to me in an interview with Jai and Dylan from Glitterdome house, who explained that they had friends visit pretty constantly. 2 See for example Gibson-Graham Citation2008; Eriksen Citation2010: 160, 161, 201, 202, 216; Whiteley Citation2011; Giles Citation2014; Tausig Citation2014; Dean Citation2015; Otten Citation2015; Graham Citation2016; Kirsch Citation2017. This is further emphasised when there are no financial profits generated for performers or intermediaries of these shows, and DIY spaces and modes of organisation are employed in the process including the exchange of venues, items, favours, and equipment and participants not only symbolically but also palpably experience the affective intimacy of the DIY community (Verbu Citation2018, Citation2021; Garcia Citation2020). Off the beaten path in the Outer Richmond and only a few blocks from Lands End, saxophonist Danny Brown and his family operate one of the citys best record stores and art galleries that features live jazz and jam sessions every Sunday afternoon. When I asked what else they do communally, they mentioned collective chore charts, monthly cleaning days, and their communal craft supplies (sowing stations, craft materials, collage materials), which other DIY participants could borrow from them or use in Glitterdomes collective spaces (living room, kitchen, front porch, or backyard). Numerous scholars have discussed the coexistence of different economic systems within particular cultures and societies, mainly juxtaposing capitalism against alternative economic systems, such as a sustenance economy or gift-economy.Footnote16 While these latter systems may emerge as alternatives or in opposition to the dominant capitalist mode, many analysts also highlight the co-dependent and co-constitutive dimensions of this relationship. E.g. A DIY culture of reciprocity and collective action can be found in most places around the US. San Francisco offers live jazz and blues each and every night of the week in various settings. A place known to have shows go late into the night, welcoming artists who have finished shows at other venues, the Boom Boom Room is a laid-back venue that attracts a younger crowd looking to dance the night away. In turn, these decomoditized objects come to symbolise values of DIY creativity, independence, and community, whilst constructing boundaries of cultural (DIY) distinction and authenticity. Located in the Mission District, The Royal Cuckoo Organ Lounge is a kitschy bar that is both swanky and divey in just the right proportions. With a bar built in 1949, Club Deluxe harkens back to San Franciscos live music scene of the 1950s and 60s. This is how DIY participants themselves, in this case, DIY zine writer and publisher Tom Jennings, describe this process: Bands selling records at shows arent amassing capital to be used later to control more money but probably to buy beer, a T-shirt from the other band, gas to drive to the next show with, and if theyre lucky, rent. They explained that the area had a big enough pool [of houses] to be able to spread [the shows] out, so that no individual venue was made to feel overloaded (personal communication, 28 February 2012). Dylan, who lived in Northeast (NE) Portlands Glitterdome house during my research there in 2012 (see Figure 2), similarly talked about reciprocal collaboration between the various NE Portland DIY houses (I estimate there were around 13 there at that time). While this may not involve bonds of calculated economic exchange or one-for-one favours, it nonetheless creates a social bond (debt to the scene) and thus also sustains a community. Furthermore, I draw on Arjun Appadurais perspectives on the complex interrelationships between different economic systems and regimes of value, often connected through the movement of the same kinds of commodities between them (Citation1986). Additionally, there are numerous Jazz Festivalsthroughout the Bay Area during warmer months. ABSTRACT. I do it [organising shows] because I have a deep karmic debt to the scene []. Its sad but true, a lot of people who come to shows these days are all too willing to shell out big bucks for a show or a shirt. DIY organisers who are often also musicians), may later seek out the return of the same favour when they, in turn, go on tour. In other words, Levy rejects approaches to collective organising that employ balanced reciprocity, with its obligation to reciprocate, as individualistic and selfish. Lesh had developed his style on the foundation of having studied classical, brass-band, jazz, and modernist music on the violin and later the trumpet.[10]. Examples from the US, from the years of my fieldwork research (20104), include: Yellingham festival in Bellingham, House by House West festival in Denton, Texas, Word of Mouth festival in Portland, West side arts walk in Olympia, Bitchpork festival in Chicago, and The Gathering of Goof Punx in Portland. It would be make-shift [spaces]like, divide room in half, [] cubbies that people are living in, and so this house it supposed to be for a couple, like a small studio apartment, [but] divided into like eight or nine [liveable] spacesand just insane things like that. Pier 23 Cafe is a time-honored restaurant and bar located right on the Embarcadero and San Francisco Bay. Did you know that with a free Taylor & Francis Online account you can gain access to the following benefits? On this Wikipedia the language links are at the top of the page across from the article title. A combination of commercial, second-hand, and scrap materials and tools were used in this DIY process. Its insulting to the other people in the community who volunteer to put a lot of the work in. Cited by lists all citing articles based on Crossref citations.Articles with the Crossref icon will open in a new tab. The Saloon's history stretches all the way back to 1861, making it the oldest bar in San Francisco. Coming of age in the San Francisco Bay Area, famed singer/songwriter Stevie Nicks gained her first performing experience there in the 1960s with Lindsey Buckingham and his band. Aaron is the Manager of Digital & Social Media Marketing at San Francisco Travel. To some extent they also do this for wider society (e.g. (Oakes Citation2009: 51; emphasis added)Footnote10. Experience the mark he left on the city. 16 See, for example, Hesmondhalgh Citation1997, Citation1999; Gibson-Graham Citation2008; Eriksen Citation2010: 160, 161, 201, 202, 216; Giles Citation2014; Tausig Citation2014; Dean Citation2015; Otten Citation2015; Graham Citation2016; Taylor Citation2016: 15476; Kirsch Citation2017; Simoni Citation2019; Rawitsch Citation2020. Oakes Citation2009: 88; emphasis added), I would book a lot ofwouldnt say bad shows, but bad bands, cause I just wanted to have a rule of, like, any kind of music is allowed to be played here, because, when I was a teen in high school [] it was so hard to get a show. Ralph Gleason became one of the founders of what would become the rock-scene fan journal, Rolling Stone. There are evidently numerous innovative practices existing within American DIY scenes that work persistently and continuously, on a daily basis, and in multiple interconnected locales, toward demystification and destabilisation of capitalist processes, both on discursive and material levels, but which they also simultaneously sustain the capitalist system in different ways. 12 I am referring here to Raymond Williamss theories of residual, emergent, and dominant practices (Citation1977: 1217). I certainly played far more shows that Ive put on, and Ive put on a great number of shows over the past 10, 15 years, but I felt like I owed, not necessarily [to] anybody in person, but just [as a] sort of a mentality of hosting people who are traveling. (Aaron Scott, personal communication, 11 April 2012). Food not bombs), DIY participants thus also enable the neoliberal premise of outsourcing of public services and governmental responsibilities to private entities and individuals (Dean Citation2015: Kirsch Citation2017). Music City San Francisco, home of the Music City Hotel and SF Music Hall of Fame, creates a guide of all guides of local music venues in SF. The bohemian predecessor of the hippie culture in San Francisco was the "Beat Generation" style of coffee houses and bars, whose clientele appreciated literature, a game of chess, music (in the forms of jazz and folk style), modern dance, and traditional crafts and arts like pottery and painting. DIY shows and records, bartering, borrowing, and DIY production of goods). The music regularly turns the bar into a dance party. The house also incorporated four additional makeshift living spaces in the form of liveable rooms, three in the basement, and one in the garage. DIY participants in this regard often endeavour to reduce their contribution to the capitalist system by engaging in alternative economic models, some of them by dropping out of society, or at least partially diverting their consumption and exchange of commodities into alternative regimes of value (e.g. This DIY reciprocal cultural system endeavours to transcend the mainstream aesthetics of quality and individual competition, and instead fosters the idea of support aesthetics, based on reciprocal communal solidarity.Footnote9 Consider, in this regard, the following evaluative criteria offered by various DIY participants: OP [fanzine from Olympia] wasnt about loving a lot of weird kinds of music; it was about supporting the idea that you could put out lots of weird kinds of music. Further, DIY venues also foster reciprocal relation with their performers and audiences. For instance, Johanna from the Box Candy Mountain house in Bellingham told me that when they lost a good venue [show house] in their town, it all fell back on us (personal communication, 14 April 2012). The people who opened their homes to me, honestly, I guarantee, some people [] didnt like the music we played, [] I mean it helps [], if they like the music you play, but [thats not the main reason]. Because there is no place for local bands to play, or what else [sic]. No potential conflict of interest was reported by the author. [1] San Francisco is a westward-looking port city, a city that at the time was 'big enough' but not manic like New York City or spread out like Los Angeles. The downstairs music space features live music nightly from a wide variety of local and touring artists. Hence, it could support a 'scene'. Therefore, to end this section I wish to highlight one more contradiction regarding the coexistence of DIY and capitalist economic systems, as it relates to practices that seemingly reject capitalism, while simultaneously and tacitly reinforcing it. Apart from the discursive dimensions embedded in Cometbus quote, I have observed how the notion of collective reciprocity has materially permeated both cultural and economic aspects of American DIY communities. Enjoy a show and a cocktail at B-Side, the lounge in the SFJAZZ Center. Its funny how people put on house shows and they do it because theyre compelled to create that space. In this article, I examine the alternative economics of reciprocity in American DIY (do-it-yourself) culture. Sly & the Family Stone, a San Francisco-based group that got its start in the late 1960s, was an exception, being a racially integrated hippie band with a hefty influence from soul music, hence making use of brass instrumentation. DIY participant Ben Wiesel, for example, observes that the DIY approach to the show/touring economy, where anything above gas money [as a payment to performers] is immoral, constitutes a twisted DIY ethics (Wiesel, in Makagon Citation2015: 56). Furthermore, the ethnographic examples I have presented suggest that alternative DIY systems do not only exist at the level of utopian ideas, but also as innovative and extensive socio-cultural practices that materially integrate American DIY worlds, from micro to macro levels. At San Francisco's music venues, new-age artists share the same stages as some of music's most legendary black artists. I still, I am returning the favour. 1511 Haight St. One of the city's live music gems, Club Deluxe, located at the famed corner of Haight and Ashbury Streets, presents a wide array of local jazz and blues bands, as well as monthly burlesque and comedy shows. DIY shows in the US are underscored by a complex conjunction of two economic regimes overlapping in one space and time. Furthermore, DIY participants often reject the implied individualism of the DIY label (do-it-yourself), and instead emphasise the collective nature of the DIY method, by relabelling it as DIT, i.e. (Jennings Citation1998; emphasis added). This can include anything from the production, distribution, and promotion of music and arts, and self-organisation of spaces and concerts, to other social and daily activities such as making food and clothing, repairing or remodelling vehicles, and social and political self-organising (Holtzman, Hughes, and Van Metre Citation2007; Wehr Citation2012; Debies-Carl Citation2014). Founded by the Ambassador of the American Songbook, Michael Feinstein, Feinsteins at the Nikko presents top Broadway artists, cabaret singers, and todays best interpreters of the Great American Songbook. "[8] The Beats tended to be cagey, keeping their lives discreet (save for the few who published, in literary bursts, about their perceptions, enthusiasms, and activities); in a word, they generally kept cool. The young hippies were far more numerous, less wary, and had scarcely any inclination to keep their lifestyles concealed. Brinkley, Douglas 1999 "Introduction" in Hunter S. Thompson's, Learn how and when to remove this template message, book on the most influential albums in American popular music, List of bands from the San Francisco Bay Area, Love Is the Song We Sing: San Francisco Nuggets 19651970, "April 8, 1967: Ralph Gleason TV Interview", "Show 41 The Acid Test: Psychedelics and a sub-culture emerge in San Francisco", Jerry Garcia and Phil Lesh 1967 Interview, Youtube, Discographies of San Francisco bands (1965-1973) at the Grateful Dead Family Discography, https://en.wikipedia.org/w/index.php?title=San_Francisco_sound&oldid=1109796155, Articles with dead external links from May 2018, Articles with permanently dead external links, Articles needing additional references from August 2016, All articles needing additional references, Articles needing additional references from September 2014, Creative Commons Attribution-ShareAlike License 3.0, This page was last edited on 11 September 2022, at 22:37.
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