For instance, group solidarity, as a socio-musical pattern, is also manifested in blues, 1960s psychedelic rock, heavy metal, and other popular music genres that are not necessarily rooted in the ideas and practices of American DIY communities.Footnote11 Thus, DIY notions and approaches to musical group solidarity might partially be understood in terms of residualFootnote12 practices from 1960s counterculture (folk, folk-rock, psychedelic rock, jam rock), to which punk and DIY culture, while discursively often rejecting it, owe many of their stylistic and socio-cultural traits.Footnote13. Hesmondhalgh Citation1999; Rogers and Whiting Citation2020: 8, 9. DIY performers therefore usually approach and sustain the DIY scenes through the practice of communal reciprocity, by playing for their own fun, and for the interests of the DIY community (horizontal approach), and not for their own individual interests in financial gain and mainstream success (vertical approach). 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]. For example, in her manual for booking DIY shows, Beck Levy (2013) an artist and musician who used to organise DIY shows in Washington, DC notes that among the bad reasons for organising shows is so that other bands will feel obligated to book your band in their cities. there is a diversity of possible cultural and aesthetic effects existing within DIY scenes, which are not necessarily derived from DIY material relations) while not all bad, weird, and different sounds necessarily result from DIY practices of reciprocity (i.e. Thats awesome! Black History Month at the best music venues in San Francisco. The new music was loud and community-connected: bands sometimes presented free concerts in Golden Gate Park and "happenings" at the city's several psychedelic clubs and ballrooms. Therefore, it is important to realise that the sum of all the aspects and dimensions of American DIY scenes comprise a complex and contradictory socio-cultural assemblage with its own potential for agency and affect. 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. And, if you go to a baseball game atOracle Park, there is nothing like hearing "I Left My Heart in San Francisco played after a Giants victory. This kind of rejection of the capitalist system, on the one hand, and the embracing of the DIY production and autonomy, on the other, is also apparent in a further quote by Jennings: by selling you things I make, I can avoid getting a real job, or at least minimize the work I do for the system, and therefore how much money they make from my effort. Figure 4. Rather, the two interact in complex, contradictory, and co-determining ways, as well as operating on multiple levels: ranging from DIY rejection of the dominant system, or the creation of temporary DIY enclaves, to various forms of partial co-dependence (pragmatic, hybrid, lateral, or tacit co-dependence). 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. 19 See also Jennings Citation1998; Chrysagis Citation2017; Threadgold Citation2017; Bennett Citation2018; Garland Citation2019; Seman Citation2019; Holt Citation2020: chapters 4 and 5; Pearson Citation2020: 183, 185. This kind of diversion from the capitalist market economy and experience is vividly expressed by DIY participant James from Davis, California: [at DIY house shows] we are experiencing music outside of the [dominant] modes of exchange that we are used to, even if we still pay donation money [] For me, something that exists outside the normal form of exchange you go to a venue, bar making money, going buying drinks; this [DIY show] is much more visceral, conducive to real interchange between people. Beyond preserving the history of this musical form so tied to the African-American experience, SFJAZZ now blazes a trail for the artists of the future in its permanent home on Franklin St. Few performance venues in the city have the sound quality of the SFJAZZ Center. 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. And so I understood the difference between supporting something and liking it. (Personal communication, 23 January 2011). A number of key San Francisco rock musicians of the era cited John Coltrane and his circle of leading-edge jazz musicians as important influences. DIY shows and records, bartering, borrowing, and DIY production of goods). It is always advisable to contact the venues directly if you want to make the most of these cultural and musical avenues during your stay in San Francisco. The DIY scenes I studied were constituted materially through alternative economies of DIY practice, collective participation, and reciprocity. 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. Learn the dynamic history of San Francisco's Angel Island, the gateway for approximately 175,000 Chinese immigrants in the 1900s. He is usually exploring the Bay Area hunting for that new and unique experience and good food too! For example, Gilman incorporates all-ages, non-alcohol, and safer space policiesFootnote5 alongside volunteer, collective, and consensus-based approaches to organisation. 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. San Francisco always honors its jazz and blues history while listening for what will push the music forward. 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). Mr. Gleason believes the San Francisco rock groups are making a serious contribution to musical history. The beatnik thing was black, cynical, and cold. Appadurai terms these kinds of processes rituals of decomoditization (Citation1986: 26). With a bar built in 1949, Club Deluxe harkens back to San Franciscos live music scene of the 1950s and 60s. DIY reciprocal relations were not restricted to the music sphere but pervaded all manner of everyday practices. So, before you pack your bags to visit the Bay Area and once you return home, tune into KCSM/91.1 online to hear what is happening when you are in town and what you're missing after you have left your heart in San Francisco. Thats what they think. But in live performance, the bands would often share their improvisatory zest by playing a given song or sequence for as long as five or six minutes, and occasionally for as long as half an hour. I felt I was sort of a tourist in everybody elses scenes, when I was touring. Other DIY participants I interviewed talked about similar approaches included in the roster of DIY reciprocal and collective activities. The Church warehouse in Oakland, during a DIY show (14 December 2012). People would also in return help us out with things that we need. It features a house Hammond B-3 organ, played by the areas best organists, along with a huge record collection. Its [also] like that for fans, you know. Its funny how people put on house shows and they do it because theyre compelled to create that space. (Richard the Roadie, in Biel Citation2012: 28, 29), Thus, many DIY participants accept the limits of DIY reciprocity and espouse a more independent and autonomous, small-time or ethical capitalism (Biel Citation2012: 28, 29). American DIY venues and performers also form a translocal network of reciprocity, which is created through the reciprocal relation of playing and booking each others shows across the US (and beyond). Furthermore, there exists a tension between these diverse activities within the DIY sphere, since more ideologically oriented DIY participants often foster a resentment towards more pragmatic and market-oriented DIY musicians. For example, multiple north (N) and northeast (NE) Portland DIY houses joined together as a local DIY community to co-organise the second Gathering of Goof Punx festival in April 2012. Reciprocally, these local participants (i.e. Jennings Citation1998), At a certain level if you are accepted into a community, you shouldnt make more than a liveable wage [through DIY-related small businesses]. In turn, this approach challenges the widespread assumption that DIY participants often contradict themselves in terms of what they do and what they say or, in other words, that their material realities contradict their ideological demands. 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. Register a free Taylor & Francis Online account today to boost your research and gain these benefits: A whole society, with its own economic system: the reciprocal and capitalist configurations of American DIY music scenes, Department of Social and Cultural Anthropology, Faculty of Humanities, Charles University in Prague, Prague, Czech Republic, Introduction: Commodities and the Politics of Value, Noise Records as Noise Culture: DIY Practices, Aesthetics, and Trades, Conceptualizing the Relationship Between Youth, Music, and DIY Careers: A Critical Overview, A Sense of Togetherness: Music Promotion and Ethics in Glasgow, The Growth and Disruption of a Free Space: Examining a Suburban Do It Yourself (DIY) Punk Scene, Volunteering, the Market, and Neoliberalism, Feeling Pain/Making Kin in the Brooklyn Noise Music Scene, Feeling the Vibe: Sound, Vibration, and Affective Attunement in Electronic Dance Music Scenes, Amiguismo: Capitalism, Sociality, and the Sustainability of Indie Music in Santiago, Chile, Diverse Economies: Performative Practices for Other Worlds, The Anatomy of a Dumpster: Abject Capital and the Looking Glass of Value, Post-Punks Attempt to Democratize the Music Industry: The Success and Failure of Rough Trade, Indie: The Institutional Politics and Aesthetics of a Popular Music Genre, Do It Yourselfand the Movement Beyond Capitalism, Value, Waste, and the Built Environment: A Marxian Analysis, Performing the Common Good: Volunteering and Ethics in Non-State Crime Prevention in South Africa, Local Identity and Independent Music Scenes, Online and Off, Punk Positif: The DIY Ethic and the Politics of Value in the Indonesian Hardcore Punk Scene, The Logics at Work in the New Cultural Industries, Postmodernism and Punk Subculture: Cultures of Authenticity and Construction, Break on Through: The Counterculture and the Climax of American Modernism, Accession and Association: The Effect of European Integration and Neoliberalism on Rising Inequality and Kin-neighbor Reciprocity in the Republic of Macedonia, Seeing Sapa: Reading a Transnational Marketplace in the Post-Socialist Cityscape, If There Isnt Skyscrapers, Dont Play There! Rock Music Scenes, Regional Touring, and Music Policy in Australia, Punk Rock Entrepreneurship: All-Ages DIY Music Venues and the Urban Economic Landscape, Neoliberalisms Moral Overtones: Music, Money, and Morality at Thailands Red Shirt Protests, Creativity, Precarity, and Illusio: DIY Cultures and Choosing Poverty, Theory and Ethnography of Affective Participation at DIY (Do-It-Yourself) Shows in the US. Figure 2. Collective reciprocity is also manifested in the structure of shows, where DIY organisers and performers often reject the hierarchical notion of openers and headliners (Verbu Citation2021: 219). However, the present tense will be used when considering certain general specifics of the American DIY scenes. Whether you're in a seat on the balcony or dancing on the main floor, you'll have a great concert experience. 15 See Culton and Holtzman Citation2010, Citation2011; Taylor Citation2016: 165, 166; cf. These included sharing of food and equipment among DIY houses, local and translocal exchange of venues, the system of free boxes (see Figure 1),Footnote1 donations at shows, and participatory organiser-performer-audience interactions practices that enabled the creation of alternative cultural DIY worlds, and which in turn informed DIY sounds and aesthetics. Booking shows for this tour was greatly facilitated by the established DIY friendships of one band member who had previously made eight tours of the US. 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.). Culton and Holtzman Citation2010; Hannerz Citation2015: 128). Your guide to one of San Francisco's biggest LGBTQ community events outside of Pride. (Calvin Johnson, in Baumgarten Citation2012: 133; cf. they potentially contribute to social change, albeit in implicit, gradual, and/or piecemeal ways), even if often perceived by outsiders as insignificant, ineffective, or as conflicting fringe social phenomena. (Personal communication, 28 February 2012; see Figure 6; emphasis in original). However, Scott also clarifies that DIY reciprocity is not about direct one-for-one reciprocation but can apply to anybody (somebody else), as long as participants are dedicated to sustaining the scene (keep the energy moving). 10 For another example of DIY egalitarian approach to music-making, by the 1980s and 1990s US group Fugazi, see Azerrad Citation2001: 392, 386, 401, 402. Figure 3. Several scholars have discussed how DIY methods of music production result in lo-fi (low fidelity) sounds and aesthetics that reflect a DIY materiality of scarcity, independence, self-reliance, and amateurism (Fonarow Citation2006: 3950; Kruse Citation2010: 633). Pier 23 Cafe is a time-honored restaurant and bar located right on the Embarcadero and San Francisco Bay. San Francisco has a long history with jazz music. I therefore also employ both critical and constructive approaches to the alternative DIY economies in the US. The San Francisco bands' music was everything that AM-radio pop music wasn't. This recycling approach is highlighted by Jai from Glitterdome house, in Portland: We make all merch[andise] by ourselves, we can cut costs by collecting shirts from [free] boxes, [or by] using SCRAP, which stands for School and Community Resource Action Project [local community store selling scrap materials], we can use that to get different materials for making our merch, that helps us so whenever we do make money from that, we can make money to put in our gas tank, to keep going, or to put out more records. As regards music, these processes emerged somehow organically through social and economic relationships established between DIY musicians and organisers. Moreover, they are also seen to engage in rituals of decomoditization by diverting capitalist products into enclaved zones of DIY spaces and shows. Their performances contrasted with the "standard three-minute track" that had become a clich of the pop-music industry, due to the requirements of AM radio, to the sound capacity of the 45 RPM record, and to the limited potentials of many pop songs and song treatments. The above examples demonstrate how certain economic models and regimes of value can be refashioned into hybrid assemblages that combine approaches from two different economic spheres, and thus optimise the dominant system for the needs of local DIY participants (Sahlins, in Eriksen Citation2010: 185). autonomy]. In addition, factors that shape more egalitarian music practices and sounds can be diverse. Much has been written about the historic jazz clubs from the 1950s and 60s Jazz Workshop, The Blackhawk, Basin Street West, Todd Barkans Keystone Kornerand the classic jazz albums recorded in the city, including Thelonious Monks 1959 albumAlone in San Francisco,the 1961 Miles Davis albumIn Person Friday and Saturday Nights at the Blackhawk,Complete, and Duke EllingtonsConcert of Sacred Musicat Grace Cathedral from 1965. For more information please visit our Permissions help page. (Jennings Citation1998; emphasis added). how many calories in 1 single french fry; barbara picower house; scuba diving in florida keys without certification; how to show salary in bank statement 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. However, several problems, complexities, and contradictions also emerge. 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. Free box at the show at Grandmaz house, Olympia, 7 August 2012. Wehr Citation2012: 146). Its insulting to the other people in the community who volunteer to put a lot of the work in. 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). Real Estate Software Dubai > blog > san francisco music venues 1980's. san francisco music venues 1980's. Jun 12, 2022 . 2023 Hyderabad Media House Limited/The Hans India. Monterey, California is about 120 road miles south of San Francisco. Learn about San Francisco's Jazz and Blues history and check out all the best places to see it performed live today. Great American Music Hall (859 O'Farrell St.). However, it is also possible to identify more hierarchical and individualist practices and outcomes in contemporary DIY music-making (Verbu Citation2021: 189; see below). However, they were also often pressed into finding DIY alternatives for structural reasons, for example, because of the lack of appropriate public and non-commercial community spaces (Sorkin Citation2005; Lyle Citation2008: 2612), or due to age restrictions, barring people under the age of 21 from attending public concert spaces where alcohol is served (Stewart Citation2006, Citation2010). The music regularly turns the bar into a dance party. Yet I also highlight how these alternative economic systems of reciprocity coexist with capitalist ones. They are just consumers. February is Black History Month that celebrates the contributions and present-day existence of a community that remain unapparelled in the collective victory of humankind. In turn, these decomoditized objects come to symbolise values of DIY creativity, independence, and community, whilst constructing boundaries of cultural (DIY) distinction and authenticity. The city also continues to celebrate jazz and blues as an art form that is best experienced live and in the moment. Examples include the Sir Douglas Quintet, whose music took on more of the character of the San Francisco sound, while yet retaining some of its original Texas flavor, Mother Earth, fronted by female lead singer Tracy Nelson, who relocated to the Bay Area from Nashville, and the Electric Flag, bringing Chicago blues to the Bay Area care of former Paul Butterfield Blues Band guitarist Mike Bloomfield. Until they do away with capitalism we wont be able to escape it, but we can put the money back into our own hands. participation]. SCRAP) that co-constitute late capitalist circulation of money and commodities (Whiteley Citation2011; Giles Citation2014). By 1967, fresh and adventurous improvisation during live performance (which many heard as being epitomized by the Grateful Dead and by the "cross-talk" guitar work of Moby Grape) was one characteristic of the San Francisco sound. However, the poles of reciprocal vs capitalist economy (and use vs exchange value), as reflected also in the organisation of shows (egalitarian vs hierarchical), and in the DIY aesthetics (support vs quality), are not so much in opposition as they are in dialogue with each other within the American DIY scenes and communities (as a dialogue between the forms of emergent and residual practices, respectively). [2] According to journalist Ed Vulliamy, "A core of Haight Ashbury bands played with each other, for each other"[3]. All Rights Reserved. "[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. Quality often does not matter as much as community and fucking family and the ways, like being emotional and playing [i.e. 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. According to Jai we have people over to eat all the time, we make a lot of food for people, we get a lot of free food too, people will come and donate (personal communication, 28 February 2012). When I give you $5 for a record, I am exchanging something of value (my money/effort) for something else of value (your record). You can request songs from a library card catalog system. However, in a seemingly contradictory way, this system possessively binds an individual to the scene, in turn creating social boundaries for DIY membership and belonging through the reciprocal expectation of active DIY participation (cf. A modern take on the vintage supper club, Black Cat is located in the heart of San Franciscos Tenderloin neighborhood, the historic arts and entertainment district once home to fabled jazz venues such as The Blackhawk.
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