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. 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. 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. Since my research mostly covers years 20104, and therefore does not address any recent changes in the scene (e.g., due to COVID-19 or other factors), the ethnographic findings in this article will be discussed using the past tense. Phil Lesh, bassist with the Grateful Dead, furthered this sound. In other words, Levy rejects approaches to collective organising that employ balanced reciprocity, with its obligation to reciprocate, as individualistic and selfish. I therefore also employ both critical and constructive approaches to the alternative DIY economies in the US. 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. For more information please visit our Permissions help page. 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. 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. How much would you pay to hop into a time machine and visit San Francisco's long-gone Winterland Ballroom on Jan. 14, 1978, the night . San Francisco is and always has been a city of music. Acoustic music had had an avid following far and wide, but it was "a fading world of traditional folk and Brechtian art songs. A DIY culture of reciprocity and collective action can be found in most places around the US. By giving me your money, you are giving your money directly to the producer of the thing, and since the relationship is closer you get to give feedback right to the source. 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 . Therefore, both the side of socio-economic factors, and the side of cultural practices and aesthetic expressions in this equation should be seen as diverse and multidimensional. Gibson-Graham (Citation2008) lists some of these diverse economies/markets. Whether you're in a seat on the balcony or dancing on the main floor, you'll have a great concert experience. 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. [12] Among these British acts, according to music journalist Chris Smith, writing in his book on the most influential albums in American popular music, the Beatles inspired the emergence of the San Francisco psychedelic scene following their incorporation of folk rock on the 1965 album Rubber Soul, which reflected the reciprocal influences shared between the group and Bob Dylan. 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. I am also thankful to both anonymous reviewers for their astute comments, as well as to Henry Stobart for his generous help with the editing process. To be able to tour, bands rely on the help of local participants (who organise shows for them, in their houses, or elsewhere). 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. TheHotel Nikko in Union Squarehouses the eponymous Feinsteins. 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. 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. (David, in Maximum Rockandroll Citation1987; emphases added). (Jennings Citation1998; emphasis added). 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. The city also continues to celebrate jazz and blues as an art form that is best experienced live and in the moment. A whole society, with its own economic . DIY economics of reciprocity, collective participation, and DIY practice, DIY tensions and transitions between reciprocal and capitalist economic systems, https://doi.org/10.1080/17411912.2023.2180050, https://thecreativeindependent.com/people/the-paradox-of-life-affirming-death-traps/, https://www.youtube.com/watch?v=3gBcxR8NPUw, https://www.marxists.org/archive/marx/works/download/pdf/Capital-Volume-I.pdf, Medicine, Dentistry, Nursing & Allied Health. [Chris's friend added:] You could be naked, and no one will arrest you [i.e. Here, Scott describes the basic theory of reciprocity, as outlined by anthropologist Marcel Mauss in his classic study The Gift ([Citation1925] Citation1990). It is important to note here that any act of gift-giving (for instance, organising shows) is always also an act that ties individuals to community. Until a few years ago no bands sold T-shirts, people would just make their own. And so I understood the difference between supporting something and liking it. 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. One of the citys 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. 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. Here are a dozen things to experience at Fort Mason Center right now. In early 1967, Tom Donahuea veteran disc jockey, rock concert producer, songwriter, and music-act managerwas inspired to revive a moribund radio station, KMPX, and inaugurate the first FM-radio rock station, in San Francisco, in order to showcase this type of music. Register to receive personalised research and resources by email. 13 See, for example, Moore Citation2004b: 313; Oakes Citation2009; Wehr Citation2012: 14, 15; Worley Citation2017: 5261, 141, 174; Verbu Citation2021: 5, 8, 879, 136, 1401, 194. Band members often switch musical instruments and roles, and thus defy internal ensemble hierarchy (practiced already in the early 1980s by the Raincoats and Beat Happening see Baumgarten Citation2012: 78; Worley Citation2017: 188), and many foster collective group singing (following the example of Fugazi and similar bands). Performances of an international super group like the Beatles were hosted in a huge venue like the Cow Palace. Drawing on Arjun Appadurais theories of value and commodity (1986), alongside other authors who examine the co-existence of different economic systems, I chart how DIY practitioners tactically navigate the boundaries between these reciprocal and capitalist economic systems and worlds. 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. Real Estate Software Dubai > blog > san francisco music venues 1980's. san francisco music venues 1980's. Jun 12, 2022 . In addition, factors that shape more egalitarian music practices and sounds can be diverse. Working party at the Glitterdome house, in Portland, 2 April 2012. 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. 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). Figure 1. They are just consumers. 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. The historical building is large enough to comfortably accommodate more than 1,000 guests but small enough to ensure an intimate experience no matter where you watch the show. It features a house Hammond B-3 organ, played by the areas best organists, along with a huge record collection. 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. 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. 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. A musician who was a leading example of this, Jack Casady of Jefferson Airplane (and the offshoot Hot Tuna) pioneered the approach, perhaps best represented on the album Bless Its Pointed Little Head. 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. 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). These kinds of ideological tensions therefore often also serve as a form of micro-power to establish internal boundaries along the lines of ideological purity within the DIY communities and scenes (cf. By contrast, some groups only organise DIY house shows, and not much more (cf. 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. Today, the music continues with a packed event calendar that combines new talent and seasoned performers. 8 Dumpsterdiving is a practice of salvaging edible food from the garbage dumpsters of large stores and supermarkets. 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). 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. (Personal communication, 28 February 2012). Merchandise sign at the Portlands Punx house show, 18 April 2012. Moreover, it fosters reciprocal relations between the venue, bands, and audiences. Waffle house residents therefore engaged in collective gardening, and collective use of the various spaces of their compound (comprising a house and large separate garage) as a wood shop, art studio, welding area, bike shop, music rehearsal space, small greenhouse, and screen-printing area. [5] According to writer Douglas Brinkley, celebrated author Hunter S. Thompson, one of the Bay Area cultural-scene boosters, was a big early fan of the group: "Thompson extolled the sonic energy of the Jefferson Airplane as it pulsed around the California locales that nursed the psychedelic era"[6]. Figure 6. To learn about our use of cookies and how you can manage your cookie settings, please see our Cookie Policy. Appadurai terms these kinds of processes rituals of decomoditization (Citation1986: 26). 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). No potential conflict of interest was reported by the author. (Calvin Johnson, in Baumgarten Citation2012: 133; cf. 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). Its really, its hard for a lot of people to understand it, but these bands are really satisfied just by people hearing their music. 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. This led him to feel compelled to create a similar kind of community and alternative economic system when he moved to the Waffle house in Portland. 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). 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).

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