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(Jennings Citation1998; emphasis added). Wehr Citation2012: 146). 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. Gibson-Graham (Citation2008) lists some of these diverse economies/markets. 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. KCSM is one of the few 24-hour non-commercial jazz radio stations in the country. This is how Teague from Waffle house in NE Portland explained DIY reciprocity and communal living: Its about applying that kind of attitude to your whole lifesome people dont, some people are just like yeah, we have shows here but we dont apply that attitude toward anything else in our lives [], and sometimes you will play somewhere and its like really far-out neo-hippy communitywe have lands, and we grow our own foods, and have a lot of other community projects going on in [our] housea lot of houses that we played at [with his band] were really inspiring [in that sense] [] There would be people canning and processing food, making kombucha, making their own alcohol, [and having] screen printing shops, photo labs, art studio spaces built in the houses[there] would just be a house in a neighbourhood but there would be like nine people living there, and people [living] in the backyardjust every inch of house is utilized in a productive waylike in New York, it was like just a community living to an extreme in a couple of places I went to. 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. 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. We use cookies to improve your website experience. Moreover, it fosters reciprocal relations between the venue, bands, and audiences. 4 See Oakes Citation2009: 45; Threadgold Citation2017: 7, 8; Farrow Citation2020: 11; Haddon Citation2020; Pearson Citation2020: 7; Rogers and Whiting Citation2020: 6; Verbu Citation2021; cf. Culton and Holtzman Citation2010; Hannerz Citation2015: 128). 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). A hideaway on Fell Street, Mr. Tipples presents live jazz nightly alongside inventive cocktails in a dark and sophisticated space. 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. DIY participants in this regard often endeavour to reduce their contribution to the capitalist system by engaging in alternative economic models, some of them by dropping out of society, or at least partially diverting their consumption and exchange of commodities into alternative regimes of value (e.g. San Francisco's dearly departed nightclubs and music venues - SFGATE 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. Dylan from Glitterdome house, making a CD cover for their band Potsie (26 April 2012). Soon after, Ralph J. Gleason and Jann Wenner, based in San Francisco, established Rolling Stone magazine (first issue's date: November 1967). 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. 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). In North Beach, Comstock is a pre-Prohibition cocktail bar experience. 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. 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. 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. 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). 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. Figure 1. Merchandise sign at the Portlands Punx house show, 18 April 2012. In this way, they create alternative DIY systems that co-constitute capitalist ones, while simultaneously being co-constituted by them. Donations of money for live performances at DIY shows (a form of balanced gift economy) might be seen to function in a similar way, where a marketable exchange commodity (the live performance) is transformed into a DIY commodity with symbolic and material use value through a process of diversion and enclaving. 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. To request a reprint or commercial or derivative permissions for this article, please click on the relevant link below. 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. 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. Because there is no place for local bands to play, or what else [sic]. Note the bands offer to exchange their records and merchandise either for money, or for a good conversation and a hug!!!!!!. 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. [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. Steve Miller (who formed the Steve Miller Band) was from Wisconsin, by way of Chicago and New York City while bandmate Boz Scaggs originally called Texas home. 6 For further discussion of the practices and ideologies of audience participation within American DIY scenes, see Verbu Citation2018. Yet I also highlight how these alternative economic systems of reciprocity coexist with capitalist ones. [19] An important departure in this new era of "album oriented radio" (AOR) was that show hosts felt free to play lengthy tracks or two or more tracks at a stretch from a good record album. A DIY culture of reciprocity and collective action can be found in most places around the US. 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. 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. 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. This zine is a business but its the idea of people running their own business, bands, labels, zines, etc. San Francisco has a long history with jazz music. Its definitely a family. 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. 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). Ralph Gleason became one of the founders of what would become the rock-scene fan journal, Rolling Stone. In jazz it had been exuberantly pioneered by numerous musicians. However, since the simple fact of attending shows, or because still and quiet listening to music can also count as valid forms of audience participation at DIY shows (see Figure 2), I argue for an understanding of American DIY communities that is open to a variety of different approaches and interpretations of active audience participation. 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. (Calvin Johnson, in Baumgarten Citation2012: 133; cf. (Personal communication, 28 February 2012; see Figure 6; emphasis in original). Learn about San Francisco's Jazz and Blues history and check out all the best places to see it performed live today. Jai Milx performing at her house, Glitterdome, in Portland, 4 February 2012. 3099067 Pier 23 Cafe is a time-honored restaurant and bar located right on the Embarcadero and San Francisco Bay. Some of the country's biggest entertainers credit The Fillmore with launching their careers, including the Grateful Dead, Jefferson Airplane, and Santana. 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 . However, while capitalist commodities are seemingly transformed into non-market or DIY commodities, in a more tacit way they may be seen to co-constitute the capitalist economy. 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. Similar venue-performer, venue-audience, and performer-audience relations and forms of boundary-making have been present at most DIY shows I have attended. SAN FRANCISCO SYMPHONY - 699 Photos & 289 Reviews - Yelp Moreover, some venues and houses often collectively organised festivals and larger multi-venue events. According to cultural anthropologist Micaela di Leonardo, the San Francisco music scene was "a workshop for progressive soul", with the radio station KDIA in particular playing a role in showcasing the music of acts like Sly and the Family Stone.[20]. 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. As regards music, these processes emerged somehow organically through social and economic relationships established between DIY musicians and organisers. SCRAP) that co-constitute late capitalist circulation of money and commodities (Whiteley Citation2011; Giles Citation2014). The various shows of the tour were put together by friends of the band, friends of their friends, and by people for whom the band had previously organised shows in Portland. 11 See, for example, Forns, Lindberg, and Sernhede Citation1995; Berger Citation1999: 67; Toynbee Citation2000: 111, 112; Moore Citation2014a. The Saloon's history stretches all the way back to 1861, making it the oldest bar in San Francisco. 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. I do it [organising shows] because I have a deep karmic debt to the scene []. A seminal venue in this regard is Gilman 924 (known also only as Gilman) in Berkeley, California. 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. 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. 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. Hence, it could support a 'scene'. 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. San Francisco always honors its jazz and blues history while listening for what will push the music forward. Performances of an international super group like the Beatles were hosted in a huge venue like the Cow Palace. It is the oldest nightclub in the neighborhood, and the dcor is reminiscent of turn-of-the-century splendor. A louder, more prominent role for the electric basstypically with a melodic or semi-melodic approach, and using a plush, pervasive tonewas another feature. 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. Finally, this study highlights the value of a dialectical scholarship that approaches social phenomena, such as music scenes, as constituted in contradictory and non-deterministic ways, which operate on multiple levels, and which are riven with socio-cultural difference. (Personal communication, 28 March 2012; see Figure 4 for an example of DIY make-shift spaces). And its time to show that creativity is still valued over money. As audiences grew, and audience dancing became customary, performances moved into venues with more floor space, such as the Longshoreman's Hall, the Fillmore Auditorium, the Avalon Ballroom, Winterland, and the Carousel Ballroom (which was later renamed Fillmore West). 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. An ever-changing art gallery, Madrone presents local funk, jazz, and brass bands that play everything from James Brown to Brazilian samba. 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).

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