san francisco music venues 1980's

Performances of an international super group like the Beatles were hosted in a huge venue like the Cow Palace. However, there are also other ways in which DIY people enter into the relationship with capitalist modes of production. DIY reciprocal relations were not restricted to the music sphere but pervaded all manner of everyday practices. This preference for musical collaboration, collective decision-making, and collective musical interplay is also evident in more recent musical endeavours (Verbu Citation2021: 325, 189). (Jennings Citation1998; see Figure 5)Footnote17, Figure 5. 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. Monterey, California is about 120 road miles south of San Francisco. 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. For example, participants funding of DIY shows and recordings is laterally supported by the larger capitalist framework, exemplified by their utilisation of consumer goods (computers, phones, music instruments, cars, gas), public infrastructure, and part-time jobs that help them cover the costs. 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. People would also in return help us out with things that we need. Both James and Chris thus emphasise the added value of such enclaved DIY shows. Figure 6. 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. Located in the Fillmore District, Sheba Piano Lounge is an intimate bar and lounge where you can enjoy live music nightly to go with some of the areas best Ethiopian cuisine. 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. 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. Here, Scott describes the basic theory of reciprocity, as outlined by anthropologist Marcel Mauss in his classic study The Gift ([Citation1925] Citation1990). Verbu Citation2018). Figure 2. 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. The early band venues, while the new SF scene was emerging from folk and folk-rock beginnings, were often places like the Matrix nightclub. A modern take on the vintage supper club, Black Cat is located in the heart of San Franciscos Tenderloin neighborhood, the historic arts and entertainment district once home to fabled jazz venues such as The Blackhawk. [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]. 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. 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. (Personal communication, 28 February 2012). However, in a seemingly contradictory way, this system possessively binds an individual to the scene, in turn creating social boundaries for DIY membership and belonging through the reciprocal expectation of active DIY participation (cf. 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. Furthermore, DIY performers also usually reject the notion of making it, which is a concept that refers to musicians efforts to succeed in the competitive capitalist music market. Hence, DIY participants often repair, reuse, and repurpose discarded music equipment (Flood Citation2016), or they utilise scrap materials for DIY production. 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). The San Francisco bands' music was everything that AM-radio pop music wasn't. 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. Acoustic music had had an avid following far and wide, but it was "a fading world of traditional folk and Brechtian art songs. 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 . DIY shows and records, bartering, borrowing, and DIY production of goods). KCSM is one of the few 24-hour non-commercial jazz radio stations in the country. Established in 1986, it has served as a template and inspiration for many other DIY venues across the US and internationally (Hannon Citation2010: 37). Thats awesome! At San Francisco's music venues, new-age artists share the same stages as some of music's most legendary black artists. Dedicated in 2016, the statue signifies the citys ongoing love affair with the song, the music, and the musicians who make it. 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. 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. The history of San Francisco is deep-rooted in its bond with the Black community. 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. In the above account he notes how he was inspired by the alternative economic systems of various communal DIY houses, which he visited on his early music tours around the US. In jazz it had been exuberantly pioneered by numerous musicians. In this article, I examine the alternative economics of reciprocity in American DIY (do-it-yourself) culture. Really thats just a fraction of why theyve been noticed. 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). 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. Working party at the Glitterdome house, in Portland, 2 April 2012. What is gained in this way is an experience of intimate and affective community (real interchange), creativity, active participation, and autonomy, and also a sense of active and productive opposition to a presumably non-effective and exploitative capitalist economic and social model existing in the larger society. While some houses (and DIY spaces) hosted festival shows, others provided shelter for out-of-town visitors and musicians (some guests erecting tents in the backyard of the Glitterdome house), and some collected and distributed donated or dumpster-dived food.Footnote8 Members from most of the DIY houses also either helped with cleaning, cooking for guests or with other small organisational tasks (see Figure 3), as well as actively participating as audiences at festival shows. 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). 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. [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. Full article: 'A whole society, with its own economic system': the 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. 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. (Personal communication, 28 March 2012; see Figure 4 for an example of DIY make-shift spaces). Real Estate Software Dubai > blog > san francisco music venues 1980's. san francisco music venues 1980's. Jun 12, 2022 . Marx Citation1887). Examples from the US, from the years of my fieldwork research (20104), include: Yellingham festival in Bellingham, House by House West festival in Denton, Texas, Word of Mouth festival in Portland, West side arts walk in Olympia, Bitchpork festival in Chicago, and The Gathering of Goof Punx in Portland. 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). They also reuse derelict and discarded capitalist products and in this way participate in transferring them from market to non-market value, consequently enabling their diversion from capitalist circulation. However, while the link between DIY practice and lo-fi sound exists, it is also important to recognise that lo-fi aesthetics can reflect other causal factors, such as advanced studio manipulation, market calculation, and/or nostalgia for pre-modern simplicity (Hesmondhalgh Citation1999: 56; Oakes Citation2009; Sanden Citation2013: chapter 4). Dylan, who lived in Northeast (NE) Portlands Glitterdome house during my research there in 2012 (see Figure 2), similarly talked about reciprocal collaboration between the various NE Portland DIY houses (I estimate there were around 13 there at that time). 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. However, on the other, various DIY participants also often advocate for a more balanced strategy that acknowledges the impossibility of completely rejecting capitalist logic within American DIY scenes: The whole world runs on business, exchanging money for goods and services and a lot of people are going to try to sell and buy a lot of everything. 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. I felt I was sort of a tourist in everybody elses scenes, when I was touring. 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. Pier 23 Cafe is a time-honored restaurant and bar located right on the Embarcadero and San Francisco Bay. 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. 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. 2023 Hyderabad Media House Limited/The Hans India. McKay Citation1998. 14 See Baumgarten Citation2012: 169; Threadgold Citation2017; Benham Citation2019; Martin-Iverson Citation2019. The Saloon's history stretches all the way back to 1861, making it the oldest bar in San Francisco. 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. 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. Other DIY participants I interviewed talked about similar approaches included in the roster of DIY reciprocal and collective activities. Culton and Holtzman Citation2010; Hannerz Citation2015: 128). 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. (Josh Taylor from a band Friends Forever, personal communication, 27 September 2012; see also Chippendale Citation2016). 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). 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). To know more, see our. Both emphasise that gift-giving is not a free activity, but that it bonds an individual to reciprocate (returning the favour). At the June 1967 Monterey Pop Festival, Bay Area groups performed from the same stage as established and fast-rising musical groups and well-known individual artists from the U.S., the UK, and even India. 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). Nicks and Buckingham went on to bring that San Francisco sound to established British rock band Fleetwood Mac when they both joined in 1975. See international artists in state-of-the-art auditoriums or local artists in historic cocktail lounges, unique dive bars, iconic restaurants, modern art galleries, and off-the-beaten path record stores and bookstores. An ever-changing art gallery, Madrone presents local funk, jazz, and brass bands that play everything from James Brown to Brazilian samba. 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. With their aggressive, politically charged style of music, the Dead Kennedys were a giant middle finger to the status quo that many young punks learned to despise. "[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. Appadurai terms these kinds of processes rituals of decomoditization (Citation1986: 26). As regards music, these processes emerged somehow organically through social and economic relationships established between DIY musicians and organisers. (Personal communication, 29 December, 2010; see Figure 2), House shows are better. (David, in Maximum Rockandroll Citation1987; emphases added). 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. 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). 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. Additionally, there are numerous Jazz Festivalsthroughout the Bay Area during warmer months. Learn about our history and where to find it now, from festivals to clubs and bars. Learn the dynamic history of San Francisco's Angel Island, the gateway for approximately 175,000 Chinese immigrants in the 1900s. (Jennings Citation1998; emphasis added). Among the oldest venues in San Francisco, The Warfield has hosted a number of great black artists, including Louis Armstrong and Prince. 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. "[7] The entire tone of the new subculture was different. 10 Iconic San Francisco Eats & Drinks That Every Visitor Must Try, Trip Idea: Take a Jimi Hendrix-Inspired San Francisco Trip, Little Known Facts About The Golden Gate Bridge, Everything You Need to Know About the Castro Street Fair, San Francisco Music Venues Rich in Black History, Where to See Jazz and Blues in San Francisco, History of Angel Island: The Ellis Island of the West. 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. 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. Powered by hocalwire.com, We use cookies for analytics, advertising and to improve our site. 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. 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. In turn, this approach challenges the widespread assumption that DIY participants often contradict themselves in terms of what they do and what they say or, in other words, that their material realities contradict their ideological demands. 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. To address this question, I first outline the contours of the alternative DIY economic system of reciprocity and some of its problems. "[16] Women, in a few cases, enjoyed an equal status with men as stars in the San Francisco rock scenebut these few instances signaled a shift that has continued in the U.S. music scene. Its insulting to the other people in the community who volunteer to put a lot of the work in. 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). 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). Outdoor performances, often organized by the band members themselves and their friends, also played their part. 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. Figure 1. Reciprocally, these local participants (i.e. "Rock & roll" was the point of departure for the new music. 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. A few blocks from Union Square, Le Colonial serves French-inspired Vietnamese cuisine against the backdrop of live jazz, Monday to Friday, featuring music from the Django Reinhardt-influenced group, Le Jazz Hot, and the sultry soul sounds of Lavay Smith & Her Red Hot Skillet Lickers. 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). 6 For further discussion of the practices and ideologies of audience participation within American DIY scenes, see Verbu Citation2018. 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. A seminal venue in this regard is Gilman 924 (known also only as Gilman) in Berkeley, California. For example, as I also experienced, not all DIY house members helped organise shows or other activities in their spaces. The many bands that formed signalled a shift from one subculture to the next. 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. DIY ethics entail making things oneself, and thus obviating the need for commercial and institutional channels of production. 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.