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. This kind of orientation toward egalitarian collective action and reciprocity is also discernible in the musical organisation, performance, and sound of many American DIY bands. 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. Permission is granted subject to the terms of the License under which the work was published. Real Estate Software Dubai > blog > san francisco music venues 1980's. san francisco music venues 1980's. Jun 12, 2022 . Figure 2. 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, DIY performers also usually reject the notion of making it, which is a concept that refers to musicians efforts to succeed in the competitive capitalist music market. The journalist Ed Vulliamy wrote: "The Summer of Love had an empress, and her name was Janis Joplin. I am immensely grateful to all of the participants of this research, for accepting me in their spaces and scenes, and for their invaluable insights on the matters discussed herein. The DIY scenes I studied were constituted materially through alternative economies of DIY practice, collective participation, and reciprocity. According to biography author Robert Greenfield, "Jon McIntire [manager of the Grateful Dead from the late sixties to the mid-eighties] points out that the great contribution of the hippie culture was this projection of joy. 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. 6 For further discussion of the practices and ideologies of audience participation within American DIY scenes, see Verbu Citation2018. 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. To learn about our use of cookies and how you can manage your cookie settings, please see our Cookie Policy. These socio-economic relations, I argue, also shape DIY sounds and aesthetics, as well as contribute to distinct musical values, discourses and practices. Here, Scott describes the basic theory of reciprocity, as outlined by anthropologist Marcel Mauss in his classic study The Gift ([Citation1925] Citation1990). DIY shows and records, bartering, borrowing, and DIY production of goods). For several years now, Teague and his wife Melissa have run a small grassroots local urban farm business from their house, named Winslow Food Forest. The tactics that shape this alternative economic model (reciprocity, collective action, DIY methods) permeate DIY scenes on all levels: cultural, economic, and political; from music organisation, music performance, and sound aesthetics, to everyday social practices and interaction. On this Wikipedia the language links are at the top of the page across from the article title. Registered in England & Wales No. This tendency is highlighted in the liner notes to a 1987 compilation of Gilman bands entitled Turn it Around!, published in collaboration with Maximum Rockandroll, an internationally renowned DIY zine from San Francisco: These bands were chosen [to be on the compilation] because of their support of the [Gilman] Project [] The people in these bands can be found at Gilman at any given night [] They come to the meetings, work the shows, play the benefits and put just as much, if not more, into the club than they get out of it. 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. Through long term ethnographic study of local and translocal DIY scenes, including shows, spaces, and touring practices, I reveal a plethora of reciprocal musical and extra-musical activities that enable the creation of alternative DIY worlds. 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. Quality often does not matter as much as community and fucking family and the ways, like being emotional and playing [i.e. 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. This logic of capitalist subsumption also relates to other types of DIY tactics of diversion, from dumpsterdiving, to renting of houses in cheap and lower-income neighbourhoods, through which DIYers participate in gradual maximisation of market values of these commodities (Horton Citation1997; Giles Citation2014; Graham Citation2016: 559; Farrow Citation2020: 13); or by volunteering in a variety of cultural and charitable projects (for example, helping with the organisation of cultural and musical events, or participating in food distribution projects, e.g. 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. 12 I am referring here to Raymond Williamss theories of residual, emergent, and dominant practices (Citation1977: 1217). The Most Influential San Francisco Bands And Musicians - Culture Trip It is true that many of the San Francisco bands did record "three-minute" tracks when they desired pop-music station airplay for a song. In the above account he notes how he was inspired by the alternative economic systems of various communal DIY houses, which he visited on his early music tours around the US. (Personal communication, 29 December, 2010; see Figure 2), House shows are better. This article is about the alternative economic system that underscores American DIY (do-it-yourself) music scenes, and about how it relates to the American dominant capitalist economy. Mr. Gleason believes the San Francisco rock groups are making a serious contribution to musical history. Some DIY participants live in collective houses and engage in everyday sustainable and alternative economies, others open collectively run businesses, stores, coffee shops, and restaurants, and/or take part in collective grassroots political organising (Wehr Citation2012). Accordingly, my central question in this article is: how do American DIY participants manage the tensions and transitions between reciprocal and capitalist systems and worlds? Among the oldest venues in San Francisco, The Warfield has hosted a number of great black artists, including Louis Armstrong and Prince. autonomy]. By closing this message, you are consenting to our use of cookies. Its really, its hard for a lot of people to understand it, but these bands are really satisfied just by people hearing their music. Thornton Citation1996). 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. The house also incorporated four additional makeshift living spaces in the form of liveable rooms, three in the basement, and one in the garage. They wouldnt be anything without the punk rock network of independent distributors, independent promoters, independent fanzines, all operating for mutual benefit, usually with little hope (or desire) for personal gain [] [Bands, y]ou owe punk rock something, so start paying up. The city also continues to celebrate jazz and blues as an art form that is best experienced live and in the moment. DIY reciprocal relations were not restricted to the music sphere but pervaded all manner of everyday practices. Thats as much of an end goal to them, just as it is for fans. Further, DIY venues also foster reciprocal relation with their performers and audiences. Moreover, it fosters reciprocal relations between the venue, bands, and audiences. Named in honor of cornetist Bix Beiderbecke and located off an alley near Jackson Square, BIX has been described as a civilized speakeasy, a supper club, and an elegant saloon, offering modern American cuisine served in a soaring two-story dining room to the strains of live jazz nightly. Nicks and Buckingham went on to bring that San Francisco sound to established British rock band Fleetwood Mac when they both joined in 1975. (Cometbus Citation2002). 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. For example, Gilman incorporates all-ages, non-alcohol, and safer space policiesFootnote5 alongside volunteer, collective, and consensus-based approaches to organisation. Thats what they think. Dylan and Jai ended their reply with the following words: [Dylan] that was a goal, when we moved in, hoping that we will be able to provide for people to do whatever creative project they might have in mind[Jai]like pool our resources with that in mind[Dylan]and not only do we give out, but people also bring in so much. With a bar built in 1949, Club Deluxe harkens back to San Francisco's live music scene of the 1950s and 60s. Wehr Citation2012: 146). 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. We had a friend coming around named Peter [], he would come in and just do all of our dishes and leave, or hed come with a gallon jug of olive oil, he would just come and give us stuff. As regards music, these processes emerged somehow organically through social and economic relationships established between DIY musicians and organisers. "[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. 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). Furthermore, Cometbus also identifies contradictions within American DIY scenes regarding the coexistence of both alternative (reciprocal) and dominant (capitalist) systems within the same communities and scenes, where DIY individuals and bands often not only engage in collective and reciprocal relations, but also act as capitalist producers and consumers. But maybe they are that way, and they will remain that way, because we havent set examples for them to see, examples that we saw in others before us and followed. Monterey, California is about 120 road miles south of San Francisco. I know a lot of people that are making music strictly just for fun, or that is something that is compulsive for them, [that] they cant not do it. On similar lines, Marshall Sahlins differentiates between balanced reciprocity, defined by a tacit obligation to reciprocate, and general reciprocity or sharing, usually practiced among closer family members, where the reciprocation is non-obligatory (1972: 1939). Reviews on 80'S Music Clubs in San Francisco, CA - Barracuda '80's Decade Dance Party, Cat Club, Monroe, Bootie Mashup: SF, Butter, New Wave City, Bimbo's 365 Club, Club Gossip, Raven Bar, Oasis 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). 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. 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. Because San Francisco had an especially vibrant and attractive countercultural scene in the latter half of the 1960s, musicians from elsewhere (along with the famous hip multitude) came there. On the one hand, American DIY participants embrace independence, collectivism, and reciprocity as constitutive parts of the DIY economy, and foster them as rituals of decomoditization that enhance the symbolic and affective value of DIY shows. This is not only when they refer to the practices of DIY local participants helping touring bands with venues, accommodation, company, and food, or to the system of donations for music performances at DIY shows, but also in relation to everyday musical and non-musical collaborations among the DIY participants. Some DIY participants, for instance, argue that low-fee and non-profit oriented economic approaches to touring and shows also negatively affect the sustainability of American DIY scenes, because musicians and venues often struggle to survive or even have to abandon their activities due to a lack of adequate material support. 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. This research also reveals how American DIY participants engage in flexible and part time jobs, live in low-rent areas, and reuse derelict capitalist products and spaces, through which they materially co-constitute both DIY and capitalist worlds. Baumgarten Citation2012: v, 137). (Personal communication, 28 March 2012; see Figure 4 for an example of DIY make-shift spaces). People would also in return help us out with things that we need. Did you know that with a free Taylor & Francis Online account you can gain access to the following benefits? By contrast, some groups only organise DIY house shows, and not much more (cf. Ralph Gleason became one of the founders of what would become the rock-scene fan journal, Rolling Stone. For example, there is no expectation that all musicians will organise shows, or that all audience members will demonstrate their commitment to the scene by intensely moshing to punk bands in front of the stage or by singing along with indie-folk singers (cf. All these different kinds and degrees of reciprocity, as the examples above evidence, are interwoven areas of social, cultural, and economic activity that mutually engender each other, and thus also provide a material basis for the local and translocal DIY scenes across the US and internationally. Catch a show at one of San Francisco's legendary music venues, gems with a rich history and a lineup boasting fresh local artists and music's biggest names. Thats kind of special about underground music scene, that some people really are pure that way, and that [they] are having fun, making friends. [2] According to journalist Ed Vulliamy, "A core of Haight Ashbury bands played with each other, for each other"[3]. Learn about San Francisco's Jazz and Blues history and check out all the best places to see it performed live today. [13] San Francisco historian Charles Perry recalled that in Haight-Ashbury, "You could party hop all night and hear nothing but Rubber Soul",[14] and that "More than ever the Beatles were the soundtrack of the Haight-Ashbury, Berkeley and the whole circuit. However, there are also other ways in which DIY people enter into the relationship with capitalist modes of production. do-it-together (seattle diy.com Citation2009: 1). 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.
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