7 For more on DIY touring in the US, and the notion of translocal reciprocity, see Verbu Citation2021 (chapter 8). He is usually exploring the Bay Area hunting for that new and unique experience and good food too! San Francisco has a long history with jazz music. Nicks and Buckingham went on to bring that San Francisco sound to established British rock band Fleetwood Mac when they both joined in 1975. Due to the gradual musical and social diversification of punk and post-punk scenes in the last 40 years, and the redirection of attention from genre and sound to particular (DIY) ethos within these scenes, the DIY label started to be more commonly used as a synonym or a substitute for the term punk in reference to these scenes (ibid.). In addition, I made multiple additional one-day trips to Oakland during my stay in Davis. 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). that is a positive thing. The many bands that formed signalled a shift from one subculture to the next. [18] Donahue was uniquely qualified, being savvy and enthusiastic about jazz, R&B, Soul, and ethnic music, besides the then-current rock music. underground market, co-op exchange, barter, informal economy (for alternative economies), and gift giving, state appropriations, gleaning, and poaching (for non-market economies). (Personal communication, 28 February 2012; see Figure 6; emphasis in original). 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. Yet I also highlight how these alternative economic systems of reciprocity coexist with capitalist ones. This tendency is highlighted in the liner notes to a 1987 compilation of Gilman bands entitled Turn it Around!, published in collaboration with Maximum Rockandroll, an internationally renowned DIY zine from San Francisco: These bands were chosen [to be on the compilation] because of their support of the [Gilman] Project [] The people in these bands can be found at Gilman at any given night [] They come to the meetings, work the shows, play the benefits and put just as much, if not more, into the club than they get out of it. Furthermore, I draw on Arjun Appadurais perspectives on the complex interrelationships between different economic systems and regimes of value, often connected through the movement of the same kinds of commodities between them (Citation1986). This zine is a business but its the idea of people running their own business, bands, labels, zines, etc. For instance, group solidarity, as a socio-musical pattern, is also manifested in blues, 1960s psychedelic rock, heavy metal, and other popular music genres that are not necessarily rooted in the ideas and practices of American DIY communities.Footnote11 Thus, DIY notions and approaches to musical group solidarity might partially be understood in terms of residualFootnote12 practices from 1960s counterculture (folk, folk-rock, psychedelic rock, jam rock), to which punk and DIY culture, while discursively often rejecting it, owe many of their stylistic and socio-cultural traits.Footnote13. And it might be to somebody else, but just to sort of keep the energy moving. KCSM is one of the few 24-hour non-commercial jazz radio stations in the country. 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. "[4] The light and charming One Hundred Men and a Girl, from 1937, starred Deanna Durbin as the daughter of an unemployed trombonist and the conductor Leopold Stokowski, whose character almost accidentally finds himself conducting an orchestra of the unemployed. Its really, its hard for a lot of people to understand it, but these bands are really satisfied just by people hearing their music. Cate Blanchett as Lydia Tr | Courtesy of Focus Features Films about classical music go back to at least the 1930s. 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). 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. Accordingly, in order to avoid foreclosing the discursive and material space from alternative openings and possibilities, some authors emphasise a need for the ontological reframing and creative re-reading of these alternative economic practices in their relations with capitalism and neoliberalism (Gibson-Graham Citation2008). [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. Experience the mark he left on the city. The history of San Francisco is deep-rooted in its bond with the Black community. participation]. This can include anything from the production, distribution, and promotion of music and arts, and self-organisation of spaces and concerts, to other social and daily activities such as making food and clothing, repairing or remodelling vehicles, and social and political self-organising (Holtzman, Hughes, and Van Metre Citation2007; Wehr Citation2012; Debies-Carl Citation2014). Note the bands offer to exchange their records and merchandise either for money, or for a good conversation and a hug!!!!!!. (Jennings Citation1998; emphasis added). According to an announcer for a TV show that Ralph J. Gleason hosted: "In his syndicated newspaper column, Mr. Gleason has been the foremost interpreter of the sounds coming out of what he calls 'the Liverpool of the United States.' 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). 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. 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. (Oakes Citation2009: 51; emphasis added)Footnote10. 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). 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. 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. DIY shows in the US are underscored by a complex conjunction of two economic regimes overlapping in one space and time. Acoustic music had had an avid following far and wide, but it was "a fading world of traditional folk and Brechtian art songs. Baumgarten Citation2012: v, 137). 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. 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. 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. Other DIY participants I interviewed talked about similar approaches included in the roster of DIY reciprocal and collective activities. You can request songs from a library card catalog system. In this article, I examine the alternative economics of reciprocity in American DIY (do-it-yourself) culture. 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. 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. This kind of orientation toward egalitarian collective action and reciprocity is also discernible in the musical organisation, performance, and sound of many American DIY bands. 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. And I feel the same about house shows. 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. 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). 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. Numerous scholars have discussed the coexistence of different economic systems within particular cultures and societies, mainly juxtaposing capitalism against alternative economic systems, such as a sustenance economy or gift-economy.Footnote16 While these latter systems may emerge as alternatives or in opposition to the dominant capitalist mode, many analysts also highlight the co-dependent and co-constitutive dimensions of this relationship. The San Francisco bands' music was everything that AM-radio pop music wasn't. Similar venue-performer, venue-audience, and performer-audience relations and forms of boundary-making have been present at most DIY shows I have attended. A combination of commercial, second-hand, and scrap materials and tools were used in this DIY process. Its time we started showing by example that punk is still a community. 15 See Culton and Holtzman Citation2010, Citation2011; Taylor Citation2016: 165, 166; cf. For example, the aesthetic and cultural notions of quality and individualism still remain present to some degree within American DIY scenes (i.e. When I give you $5 for a record, I am exchanging something of value (my money/effort) for something else of value (your record). 6 For further discussion of the practices and ideologies of audience participation within American DIY scenes, see Verbu Citation2018. (Personal communication, 29 December, 2010; see Figure 2), House shows are better. 8 Dumpsterdiving is a practice of salvaging edible food from the garbage dumpsters of large stores and supermarkets. 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). 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. SFJAZZ has been at the helm of the city's jazz scene since its founding in the 1980s. Whether you're in a seat on the balcony or dancing on the main floor, you'll have a great concert experience. However, they were also often pressed into finding DIY alternatives for structural reasons, for example, because of the lack of appropriate public and non-commercial community spaces (Sorkin Citation2005; Lyle Citation2008: 2612), or due to age restrictions, barring people under the age of 21 from attending public concert spaces where alcohol is served (Stewart Citation2006, Citation2010). He has lived in San Francisco for over 9 years and has worked in Travel & Tourism for over 7 of those. 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. For several years now, Teague and his wife Melissa have run a small grassroots local urban farm business from their house, named Winslow Food Forest. In other words, Levy rejects approaches to collective organising that employ balanced reciprocity, with its obligation to reciprocate, as individualistic and selfish. American DIY venues and performers also form a translocal network of reciprocity, which is created through the reciprocal relation of playing and booking each others shows across the US (and beyond). 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. Moreover, they are also seen to engage in rituals of decomoditization by diverting capitalist products into enclaved zones of DIY spaces and shows. 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. To address this question, I first outline the contours of the alternative DIY economic system of reciprocity and some of its problems. DIY ethics entail making things oneself, and thus obviating the need for commercial and institutional channels of production. 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 . Furthermore, there exists a tension between these diverse activities within the DIY sphere, since more ideologically oriented DIY participants often foster a resentment towards more pragmatic and market-oriented DIY musicians. Reciprocally, these local participants (i.e. At first, the local Bay Area bands played in smaller ones. These socio-economic relations, I argue, also shape DIY sounds and aesthetics, as well as contribute to distinct musical values, discourses and practices. Select a holiday type to discover more or call us on 0161 888 5630 Offers; About Us; Brochures; Contact Registered in England & Wales No. 14 See Baumgarten Citation2012: 169; Threadgold Citation2017; Benham Citation2019; Martin-Iverson Citation2019. 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. 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). Great American Music Hall (859 O'Farrell St.). 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. 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. 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. Quality often does not matter as much as community and fucking family and the ways, like being emotional and playing [i.e. 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). However, there are also other ways in which DIY people enter into the relationship with capitalist modes of production. 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.
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