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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. Furthermore, the ethnographic examples I have presented suggest that alternative DIY systems do not only exist at the level of utopian ideas, but also as innovative and extensive socio-cultural practices that materially integrate American DIY worlds, from micro to macro levels. They're smaller, more intimate, your gear is at stake because of this, but its worth it because were fucking punk [] Its louder, youre in the crowd, its in your face. For instance, several scholars argue there is a tendency for alternative communities from 1960s countercultures to contemporary neo-bohemians to reject the capitalist system in symbolic terms while simultaneously depending upon it materially (Braunstein and Doyle Citation2002: 102; Lloyd Citation2005). 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). The history of San Francisco is deep-rooted in its bond with the Black community. Third, the co-existence and interrelatedness of DIY/reciprocal and dominant/capitalist systems extends beyond a simplistic resistance vs power dichotomy. The many bands that formed signalled a shift from one subculture to the next. 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. 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. In this article, I examine the alternative economics of reciprocity in American DIY (do-it-yourself) culture. People from various N and NE Portland houses are folding cassette cases for the Goof Punx festival compilation, while a music jam session is happening at the same time. And I feel the same about house shows. 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. Culton and Holtzman Citation2010; Hannerz Citation2015: 128). TheHotel Nikko in Union Squarehouses the eponymous Feinsteins. DIY performers therefore usually approach and sustain the DIY scenes through the practice of communal reciprocity, by playing for their own fun, and for the interests of the DIY community (horizontal approach), and not for their own individual interests in financial gain and mainstream success (vertical approach). Every discussion of the San Francisco music scene eventually turns to The Fillmore, which has hosted such legends as James Brown, Ike and Tina Turner, and Otis Redding. 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). For example, as I also experienced, not all DIY house members helped organise shows or other activities in their spaces. Powered by hocalwire.com, We use cookies for analytics, advertising and to improve our site. 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. 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 not only organised house concerts, but also recorded their music projects in their own bedrooms, and organised art shows for the local DIY community on their premises. 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. 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. 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. The long-term ethnographic research on which this article is based was conducted between 2010 and 2014, mainly on the West coast of the USA. It features a house Hammond B-3 organ, played by the areas best organists, along with a huge record collection. 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). For example, the aesthetic and cultural notions of quality and individualism still remain present to some degree within American DIY scenes (i.e. Get out your pens and spraypaint. 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. No potential conflict of interest was reported by the author. Dylan from Glitterdome house, making a CD cover for their band Potsie (26 April 2012). 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. He is usually exploring the Bay Area hunting for that new and unique experience and good food too! 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 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. In Jennings account and Figure 5 we see how commodities such as records are diverted from the path of capitalist exchange and voided of market value during DIY shows to be transformed into objects of personal and collective use value (cf. 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. (Jennings Citation1998; see Figure 5)Footnote17, Figure 5. San Francisco is and always has been a city of music. 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. The new sound, which melded many musical influences, was perhaps heralded in the live performances of the Jefferson Airplane (from 1965 on), who put out an LP record earlier than nearly all the other new bands (August 1966). 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. Both Grace Slick (singing with Jefferson Airplane) and Joplin (singing initially with Big Brother & the Holding Company) gained a substantial following locally and, before long, across the country.[17]. 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. And so I understood the difference between supporting something and liking it. 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. When I give you $5 for a record, I am exchanging something of value (my money/effort) for something else of value (your record). The DIY scenes I studied were constituted materially through alternative economies of DIY practice, collective participation, and reciprocity. Moreover, he demonstrates the self-critical nature of this discourse, and the tendency among some American DIY participants to verbalise and theorise the specifics of this alternative (own) economic system. However, the present tense will be used when considering certain general specifics of the American DIY scenes. 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. Learn the dynamic history of San Francisco's Angel Island, the gateway for approximately 175,000 Chinese immigrants in the 1900s. Performances of an international super group like the Beatles were hosted in a huge venue like the Cow Palace. 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. Hesmondhalgh Citation1999; Rogers and Whiting Citation2020: 8, 9. Note the bands offer to exchange their records and merchandise either for money, or for a good conversation and a hug!!!!!!. 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. Therefore, these scenes have to consequently be understood as both challenging and co-constituting the dominant capitalist regime, and at the same time, being challenged and co-constituted by it. 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. 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. 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. 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). Known for fresh seafood, unique cocktails, and bay views, Pier 23 presents nightly live music from local jazz and blues artists, Latin jazz bands and New Orleans-inspired groups. 14 See Baumgarten Citation2012: 169; Threadgold Citation2017; Benham Citation2019; Martin-Iverson Citation2019. Jimi Hendrix lived in San Francisco in the 1960s and became one of the iconic musical talents of the Summer of Love. It is always advisable to contact the venues directly if you want to make the most of these cultural and musical avenues during your stay in San Francisco. 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). In other words, Levy rejects approaches to collective organising that employ balanced reciprocity, with its obligation to reciprocate, as individualistic and selfish. 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. 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. The early band venues, while the new SF scene was emerging from folk and folk-rock beginnings, were often places like the Matrix nightclub. To address this question, I first outline the contours of the alternative DIY economic system of reciprocity and some of its problems. The people who opened their homes to me, honestly, I guarantee, some people [] didnt like the music we played, [] I mean it helps [], if they like the music you play, but [thats not the main reason]. 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. This work was supported by Faculty of Humanities, Charles University in Prague, under grant SVV 26060702. Furthermore, alternative DIY socio-economic systems succeed in generating considerable symbolic, affective, material, and political value for DIY participants and scenes. And its time to show that creativity is still valued over money. However, it is also possible to identify more hierarchical and individualist practices and outcomes in contemporary DIY music-making (Verbu Citation2021: 189; see below). "[7] The entire tone of the new subculture was different. 3099067 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.