11 See, for example, Forns, Lindberg, and Sernhede Citation1995; Berger Citation1999: 67; Toynbee Citation2000: 111, 112; Moore Citation2014a. Secondly, I discuss the cultural and aesthetic levels of this phenomenon, before finally focusing on the complexities and contradictions surrounding the coexistence of both alternative and dominant economic systems within American DIY scenes (highlighting some of the co-dependencies involved with italics, for greater conceptual clarity). 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). 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). San Francisco offers live jazz and blues each and every night of the week in various settings. 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. The DIY scenes I studied were constituted materially through alternative economies of DIY practice, collective participation, and reciprocity. 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). 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. With a bar built in 1949, Club Deluxe harkens back to San Francisco's live music scene of the 1950s and 60s. Moreover, they are also seen to engage in rituals of decomoditization by diverting capitalist products into enclaved zones of DIY spaces and shows. 2023 Hyderabad Media House Limited/The Hans India. However, the above examples demonstrate that at least some DIY participants in the US do not so much contradict themselves as consciously embrace their material condition, often working or negotiating with it creatively, in order to achieve and optimise their ideological and political goals. Thats what really contributes to that communal feeling you get at shows. Quality often does not matter as much as community and fucking family and the ways, like being emotional and playing [i.e. And it might be to somebody else, but just to sort of keep the energy moving. Live music performances and music records/cassettes as standardised commodities are in this way diverted from their regular paths in the market economy to an alternative economic regime of value, often through the incorporation of alternative exchange systems (cf. 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. From the psychedelic sounds of the '60s to the boundary-breaking DJs of today, the City by the Bay has a treasured history of performances with a significant lineage to black influences. "[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. (Jennings Citation1998; see Figure 5)Footnote17, Figure 5. It doesnt feel as a community so much when you have a show, when a bands a bunch of millionaires, and you have a bunch of people that just idolize them. 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. 3099067 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]. 5 Howick Place | London | SW1P 1WG. 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. Recommended articles lists articles that we recommend and is powered by our AI driven recommendation engine. 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. 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. 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. We use cookies to improve your website experience. 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. 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. Ralph Gleason became one of the founders of what would become the rock-scene fan journal, Rolling Stone. To know more, see our. 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. DIY zines, comic books, and blogs from the whole US).Footnote3 This particular DIY culture is an outgrowth of late 1970s British and US punk culture, which later expanded into more transnational and heterogeneous scenes that today also encompass aspects of indie rock, experimental music and certain singer-songwriters.Footnote4 It also has ties to other similar formations, most particularly 1960s counterculture, and various historical and contemporary anarchist, feminist, and sustainability movements (cf. When I give you $5 for a record, I am exchanging something of value (my money/effort) for something else of value (your record). However, it is also possible to identify more hierarchical and individualist practices and outcomes in contemporary DIY music-making (Verbu Citation2021: 189; see below). To learn about our use of cookies and how you can manage your cookie settings, please see our Cookie Policy. Hesmondhalgh Citation1999; Rogers and Whiting Citation2020: 8, 9. 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. 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. 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. Therefore, in this article, I argue that on one level American DIY participants discursively reject capitalism and materially constitute alternative DIY economic systems of reciprocity, but on another they become entangled through their everyday lives with capitalist practices and worlds. Even if participants endeavour to detach DIY music making from the capitalist motives of larger society, traces of the dominant economy persist within DIY scenes. This community defines itself through active participation (at shows, and otherwise), therefore distinguishing itself from passive, apathetic, consumerist society (personal communication with a DIY participant from Oakland, 14 September 2012), or from lazy hipsters within the scene (see above). The house also incorporated four additional makeshift living spaces in the form of liveable rooms, three in the basement, and one in the garage. 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. Dedicated in 2016, the statue signifies the citys ongoing love affair with the song, the music, and the musicians who make it. Moreover, some venues and houses often collectively organised festivals and larger multi-venue events. Its really, its hard for a lot of people to understand it, but these bands are really satisfied just by people hearing their music. Celebrate San Francisco's deep-rooted black history at these music venues that have hosted some of music's most legendary black artists. 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 . 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. Figure 4. The city also continues to celebrate jazz and blues as an art form that is best experienced live and in the moment. 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. Its funny how people put on house shows and they do it because theyre compelled to create that space. 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 1. 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. 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. Soon after, Ralph J. Gleason and Jann Wenner, based in San Francisco, established Rolling Stone magazine (first issue's date: November 1967). Established in 1986, it has served as a template and inspiration for many other DIY venues across the US and internationally (Hannon Citation2010: 37). Jimi Hendrix lived in San Francisco in the 1960s and became one of the iconic musical talents of the Summer of Love. Learn the dynamic history of San Francisco's Angel Island, the gateway for approximately 175,000 Chinese immigrants in the 1900s. 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. 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. DIY shows and records, bartering, borrowing, and DIY production of goods). They contain freely available discarded items that DIY participants desire to redirect into reuse by other DIY participants, who visit or pass by their houses. 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. However, several problems, complexities, and contradictions also emerge. My argument draws on Arjun Appadurais theories of value and commodity (Citation1986), and other scholarship focused on the social implications of the co-existence of, and of contradictions between, different economic systems.Footnote2 Moreover, I ground my interpretations in the materialist, political-economy approach to the study of culture, which also seeks to understand the complexities within and between particular economic systems, and in their relation to the sphere of cultural production and aesthetics (Mige Citation1987; Ryan Citation1992; Hesmondhalgh Citation1997, Citation1999, Citation2018). American DIY shows similarly function as enclaved zones and rituals of decomoditization. Figure 6. For example, as explained by their bass player, Mike Watt, South Californian 1980s punk/DIY band Minutemen in this way adapted the ideas of collaborative equality to their music practice and sound: D. Boon [Minutemen guitarist] played really heavily with trebly new power chords and left all this room for the bass guitar [], and then worked with Georgie [the drummer] to make sure he had all these fills and parts to jam to and add movement to the songs. 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 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. McKay Citation1998. As regards music, these processes emerged somehow organically through social and economic relationships established between DIY musicians and organisers. 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. 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. [2] According to journalist Ed Vulliamy, "A core of Haight Ashbury bands played with each other, for each other"[3]. Appadurai terms these kinds of processes rituals of decomoditization (Citation1986: 26). A seminal venue in this regard is Gilman 924 (known also only as Gilman) in Berkeley, California. But well known stars of rock & roll "were being called fifties primitives" by this time. A hideaway on Fell Street, Mr. Tipples presents live jazz nightly alongside inventive cocktails in a dark and sophisticated space. Verbu Citation2018). 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.
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