In this excerpt, Cometbus outlines the central discursive tension existing within American DIY scenes. Marx Citation1887). (Personal communication, 28 February 2012). It is the oldest nightclub in the neighborhood, and the dcor is reminiscent of turn-of-the-century splendor. Further, DIY venues also foster reciprocal relation with their performers and audiences. Located in the Fillmore District, Sheba Piano Lounge is an intimate bar and lounge where you can enjoy live music nightly to go with some of the areas best Ethiopian cuisine. This is exemplified below by Portland DIY participant Aaron Scott, who discusses the relations of reciprocity between performers and organisers of shows, and between the individual and the scene. Thus, the music promoted or listened to in DIY spaces is often less about whether anybody likes it, as Scott put it earlier in this article, than about community-building, and mutual support. Named for legendary saxophonist Charlie Bird Parker and Irish novelist Samuel Beckett, Bird & Beckett in Glen Park is a true neighborhood hotspot that features weekly jazz concerts, allowing you to hear and read about jazz at the same time. Thats as much of an end goal to them, just as it is for fans. This summer, the city, and region will host jazz and blues concerts, festivals, and numerous free outdoor events including: The award-winning SFJAZZ Center opened in Hayes Valley in 2013 and boasts the 700-seat Robert N. Miner Auditorium and the 100-seat Joe Henderson Lab, showcasing the biggest names in international music and the best of the Bay Areas local jazz scene. 10 Iconic San Francisco Eats & Drinks That Every Visitor Must Try, Trip Idea: Take a Jimi Hendrix-Inspired San Francisco Trip, Little Known Facts About The Golden Gate Bridge, Everything You Need to Know About the Castro Street Fair, San Francisco Music Venues Rich in Black History, Where to See Jazz and Blues in San Francisco, History of Angel Island: The Ellis Island of the West. 3 The research included several years of fieldwork in Davis, CA; nine months in Portland, OR; five days in Washington, DC; and 14 days each in Olympia, WA, Los Angeles, and Oakland, CA. The Warfield brings in all kinds of performers and every style of music. The US DIY communities I encountered during my fieldwork, most of which at least partially identify as DIY communities and scenes, utilised a DIY approach partly for ideological purposes, as they strived for creative and social autonomy. He is usually exploring the Bay Area hunting for that new and unique experience and good food too! Experience the mark he left on the city. underground market, co-op exchange, barter, informal economy (for alternative economies), and gift giving, state appropriations, gleaning, and poaching (for non-market economies). [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. And it might be to somebody else, but just to sort of keep the energy moving. Pier 23 Cafe is a time-honored restaurant and bar located right on the Embarcadero and San Francisco Bay. 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. People would also in return help us out with things that we need. that is a positive thing. 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. 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). (Personal communication, 28 February 2012; see Figure 6; emphasis in original). Thats what they think. Local DIY scenes often work as collective efforts, achieved through reciprocal relations between the venues, houses and organisers that sustain them. Wehr Citation2012: 146). I start with a quote by a well-known American DIY zine writer Aaron Cometbus, who articulates some of the main issues and concerns regarding the alternative economic practices of American DIY communities: Bands [] when they are successful, its because of how talented they are, how much they care, how hard theyve worked. Some stayed and became part of the scene. Great American Music Hall opened in 1907 as a symbol of San Francisco's rebirth after the devastating 1906 earthquake. Outdoor performances, often organized by the band members themselves and their friends, also played their part. I felt I was sort of a tourist in everybody elses scenes, when I was touring. Today, the music continues with a packed event calendar that combines new talent and seasoned performers. A louder, more prominent role for the electric basstypically with a melodic or semi-melodic approach, and using a plush, pervasive tonewas another feature. 18 It is important to note that DIY economy in itself is not a homogeneous system, but consists of various alternative and non-market economies. E.g. In other words, Levy rejects approaches to collective organising that employ balanced reciprocity, with its obligation to reciprocate, as individualistic and selfish. Here, Scott describes the basic theory of reciprocity, as outlined by anthropologist Marcel Mauss in his classic study The Gift ([Citation1925] Citation1990). Figure 6. ABSTRACT. 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? Established in 1986, it has served as a template and inspiration for many other DIY venues across the US and internationally (Hannon Citation2010: 37). The San Francisco bands' music was everything that AM-radio pop music wasn't. In this article, I examine the alternative economics of reciprocity in American DIY (do-it-yourself) culture. (Personal communication, 22 November 2011). 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. 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). For example, participants funding of DIY shows and recordings is laterally supported by the larger capitalist framework, exemplified by their utilisation of consumer goods (computers, phones, music instruments, cars, gas), public infrastructure, and part-time jobs that help them cover the costs. Jessica from Arcata, describing the local DIY scene there as reciprocal, assured me that when particular houses get busted [are forced to close down], different [other] people open their houses [for shows] (personal communication, 20 June 2012). 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 December 1961, in the hotels famous Venetian Room, Bennett first sang "I Left My Heart in San Francisco. The song quickly became one of the citys official anthems. 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. For example, Gilman incorporates all-ages, non-alcohol, and safer space policiesFootnote5 alongside volunteer, collective, and consensus-based approaches to organisation. (Jonathan Lee, originally published in HeartattaCk zine, quoted in Makagon Citation2015: 57; cf. Baumgarten Citation2012: v, 137). Permission is granted subject to the terms of the License under which the work was published. By closing this message, you are consenting to our use of cookies. 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. Real Estate Software Dubai > blog > san francisco music venues 1980's. san francisco music venues 1980's. Jun 12, 2022 . For Teague and many other DIY participants in the US, music and other forms of reciprocity go hand in hand, each one engendering the other. A combination of commercial, second-hand, and scrap materials and tools were used in this DIY process. This work was supported by Faculty of Humanities, Charles University in Prague, under grant SVV 26060702. 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. He refers to the circulation of commodities in the dominant regime as paths, and to divergences from such paths to the alternative regimes of value as diversions. Nicks and Buckingham went on to bring that San Francisco sound to established British rock band Fleetwood Mac when they both joined in 1975. "[4] 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. 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. Its funny how people put on house shows and they do it because theyre compelled to create that space. McKay Citation1998. 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. SFJAZZ has been at the helm of the city's jazz scene since its founding in the 1980s. Taylor Citation2016: 15476). 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. The music regularly turns the bar into a dance party. 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. On this Wikipedia the language links are at the top of the page across from the article title. 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. Acoustic music had had an avid following far and wide, but it was "a fading world of traditional folk and Brechtian art songs. With the musicians perched high above the bar, you can hear live jazz nightly as you sip specialty cocktails along the 20-foot mahogany bar from 1907. Both James and Chris thus emphasise the added value of such enclaved DIY shows. Thereby, various goods and articles can, for example, be temporarily or permanently diverted from the capitalist market into enclaved non-capitalist zones, where they are often voided of market value while they simultaneously gain in symbolic value. It was associated with the counterculture community in San Francisco, particularly the Haight-Ashbury district, during these years. Thats awesome! In addition, factors that shape more egalitarian music practices and sounds can be diverse. 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). Hence, DIY participants often repair, reuse, and repurpose discarded music equipment (Flood Citation2016), or they utilise scrap materials for DIY production. 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. The many bands that formed signalled a shift from one subculture to the next. Merchandise sign at the Portlands Punx house show, 18 April 2012. 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]. To some extent they also do this for wider society (e.g. What is gained in this way is an experience of intimate and affective community (real interchange), creativity, active participation, and autonomy, and also a sense of active and productive opposition to a presumably non-effective and exploitative capitalist economic and social model existing in the larger society. Powered by hocalwire.com, We use cookies for analytics, advertising and to improve our site. KAOS [from Olympia] was a community radio station; it wasnt saying, Heres a lot of really good music; it was saying Heres a lot of different kinds of music, independent music. [Chris's friend added:] You could be naked, and no one will arrest you [i.e. However, there are also other ways in which DIY people enter into the relationship with capitalist modes of production. However, not all DIY bands ascribe to the same idea of DIY while many see it as an ideological principle to live by, others regard it as a pragmatic strategy that enables them to acquire skill, shows, and social connections in the beginning stages of their musical careers.Footnote15 Nevertheless, not all independent cultural activities should be seen as proto-markets (Toynbee Citation2000: 2532), but instead, as heterogeneous assemblages of diverse, non-market and proto-market, possibilities. 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. Soon after, Ralph J. Gleason and Jann Wenner, based in San Francisco, established Rolling Stone magazine (first issue's date: November 1967). Select a holiday type to discover more or call us on 0161 888 5630 Offers; About Us; Brochures; Contact These socio-economic relations, I argue, also shape DIY sounds and aesthetics, as well as contribute to distinct musical values, discourses and practices. 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). It features a house Hammond B-3 organ, played by the areas best organists, along with a huge record collection. 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. 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. 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. 12 I am referring here to Raymond Williamss theories of residual, emergent, and dominant practices (Citation1977: 1217). 11 See, for example, Forns, Lindberg, and Sernhede Citation1995; Berger Citation1999: 67; Toynbee Citation2000: 111, 112; Moore Citation2014a. Both emphasise that gift-giving is not a free activity, but that it bonds an individual to reciprocate (returning the favour). Its definitely a family. "[15] In San Francisco, musical influences came in from not only London, Liverpool and Manchester, but also included the bi-coastal American folk music revival of the 1950s and 1960s, the Chicago electric blues scene, the soul music scenes in Detroit, Memphis, and Muscle Shoals, jazz styles of various eras and regions. 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). Punk rock included [] I mean, every DIY record label is a business you dont give your records away and you cant produce them for free. All Rights Reserved. DIY shows in the US are underscored by a complex conjunction of two economic regimes overlapping in one space and time. 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 While some houses (and DIY spaces) hosted festival shows, others provided shelter for out-of-town visitors and musicians (some guests erecting tents in the backyard of the Glitterdome house), and some collected and distributed donated or dumpster-dived food.Footnote8 Members from most of the DIY houses also either helped with cleaning, cooking for guests or with other small organisational tasks (see Figure 3), as well as actively participating as audiences at festival shows. 9 The idea of support aesthetics is similar to the notion of participatory aesthetics (Turino Citation2008: 335) or relational aesthetics (Bourriaud [1998] Citation2006), which find the value and quality of art not in art objects or music sounds themselves, but in the level of social participation/interaction that they generate. Yet I also highlight how these alternative economic systems of reciprocity coexist with capitalist ones. 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. 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. However, as I demonstrate above, these same shows and recordings are also manifestations of alternative economic relations established within and outside these events. In turn, these decomoditized objects come to symbolise values of DIY creativity, independence, and community, whilst constructing boundaries of cultural (DIY) distinction and authenticity. (Calvin Johnson, in Baumgarten Citation2012: 133; cf. 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). Figure 1. Register to receive personalised research and resources by email. The history of San Francisco is deep-rooted in its bond with the Black community. 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. San Francisco is and always has been a city of music. 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. Other DIY participants I interviewed talked about similar approaches included in the roster of DIY reciprocal and collective activities. While it is possible to see a connection in given examples between the DIY socio-economic relations of reciprocity and the DIY ideas and aesthetics of support that reject the dominant values of quality (good vs bad performers), it is also important to extend the analysis beyond the simplistic (homologic) interpretations of the cause-and-effect links between material (socio-economic) and cultural (aesthetic) levels (cf., Hesmondhalgh Citation1999: 36; Toynbee Citation2000: 1105). Verbu Citation2018). 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). 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. Appadurai uses the term tournaments of value to refer to those, often calculative, movements of paths and diversions that actors instigate in order to negotiate the value of circulating commodities (Citation1986: 20, 21). participation]. For example, as I also experienced, not all DIY house members helped organise shows or other activities in their spaces.
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