(Jonathan Lee, originally published in HeartattaCk zine, quoted in Makagon Citation2015: 57; cf. It features a house Hammond B-3 organ, played by the areas best organists, along with a huge record collection. 11 See, for example, Forns, Lindberg, and Sernhede Citation1995; Berger Citation1999: 67; Toynbee Citation2000: 111, 112; Moore Citation2014a. San Francisco is and always has been a city of music. While it is still a great spot to enjoy cheap beer in a low-key setting, the Saloon is now best known as an intimate venue to enjoy some of the best jazz and blues in the city. Each San Francisco band had its characteristic sound, but enough commonalities existed that there was a regional identity. 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. 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. 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. Performances of an international super group like the Beatles were hosted in a huge venue like the Cow Palace. 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. 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. Taylor Citation2016: 15476). Recommended articles lists articles that we recommend and is powered by our AI driven recommendation engine. 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. 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). 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. (Jennings Citation1998; emphasis added). 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. I do it [organising shows] because I have a deep karmic debt to the scene []. "[15] In San Francisco, musical influences came in from not only London, Liverpool and Manchester, but also included the bi-coastal American folk music revival of the 1950s and 1960s, the Chicago electric blues scene, the soul music scenes in Detroit, Memphis, and Muscle Shoals, jazz styles of various eras and regions. Appadurai terms these kinds of processes rituals of decomoditization (Citation1986: 26). Learn about San Francisco's Jazz and Blues history and check out all the best places to see it performed live today. 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. 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. there is a diversity of possible causal factors that extend beyond the influence of the DIY system), as it is also implicated in the examples above. DIY ethics entail making things oneself, and thus obviating the need for commercial and institutional channels of production. 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. But well known stars of rock & roll "were being called fifties primitives" by this time. 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. Specialties: About the San Francisco Symphony: The San Francisco Symphony and Michael Tilson Thomas present more than 220 concerts each year from September through July in a variety of genres, with SFS musicians performing classical concerts, holiday favorites, summer pops events, free outdoor concerts, special series for families and children, plus presentations of visiting guest artists and . To some extent they also do this for wider society (e.g. 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. (David, in Maximum Rockandroll Citation1987; emphases added). 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. 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). 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. 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). Merchandise sign at the Portlands Punx house show, 18 April 2012. The downstairs music space features live music nightly from a wide variety of local and touring artists. In this article, I examine the alternative economics of reciprocity in American DIY (do-it-yourself) culture. Both emphasise that gift-giving is not a free activity, but that it bonds an individual to reciprocate (returning the favour). He also gives advice about how to straddle both worlds, and how to pay up (reciprocally) for what bands owe to the community. (Personal communication, 22 November 2011). With a bar built in 1949, Club Deluxe harkens back to San Franciscos live music scene of the 1950s and 60s. I still, I am returning the favour. Here are a dozen things to experience at Fort Mason Center right now. Furthermore, DIY participants often reject the implied individualism of the DIY label (do-it-yourself), and instead emphasise the collective nature of the DIY method, by relabelling it as DIT, i.e. Consequently, these communities keep their distinctive boundaries of belonging open and fluid.Footnote6 This liberal inclination is also related to the idea of general reciprocity as discussed in the beginning of this section. Booking shows for this tour was greatly facilitated by the established DIY friendships of one band member who had previously made eight tours of the US. However, several problems, complexities, and contradictions also emerge. Off the beaten path in the Outer Richmond and only a few blocks from Lands End, saxophonist Danny Brown and his family operate one of the citys best record stores and art galleries that features live jazz and jam sessions every Sunday afternoon. Culton and Holtzman Citation2010; Hannerz Citation2015: 128). Further, DIY venues also foster reciprocal relation with their performers and audiences. 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. (Personal communication, 28 February 2012). 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. DIY reciprocal economic relations described above not only materially support DIY communities and scenes, but also inform alternative types of culture, music, and aesthetics (Rice Citation1994). To request a reprint or commercial or derivative permissions for this article, please click on the relevant link below. 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. Outdoor performances, often organized by the band members themselves and their friends, also played their part. 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). 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). The city also continues to celebrate jazz and blues as an art form that is best experienced live and in the moment. "Rock & roll" was the point of departure for the new music. 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. "[4] Appadurai uses the term tournaments of value to refer to those, often calculative, movements of paths and diversions that actors instigate in order to negotiate the value of circulating commodities (Citation1986: 20, 21). With a bar built in 1949, Club Deluxe harkens back to San Francisco's live music scene of the 1950s and 60s. 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). 17 See also Ryan Citation1992: 53; Holtzman, Hughes, and Van Meter Citation2007; Taylor Citation2016: 155, 173. 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. Soon after, Ralph J. Gleason and Jann Wenner, based in San Francisco, established Rolling Stone magazine (first issue's date: November 1967). 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). Nevertheless, the system of general reciprocity also keeps these DIY boundaries open, as it works in a seemingly non-obligatory way, in which DIY individuals themselves decide how and when these debts should be reciprocated. Permission will be required if your reuse is not covered by the terms of the License. San Francisco offers live jazz and blues each and every night of the week in various settings. Thats what they think. 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. I show in this article how American DIY participants establish a whole alternative and parallel society with its own economic model, but which also reveals itself as very heterogeneous and in different ways interconnected with the dominant capitalist one. Pier 23 Cafe is a time-honored restaurant and bar located right on the Embarcadero and San Francisco Bay. Moreover, some venues and houses often collectively organised festivals and larger multi-venue events. Permission is granted subject to the terms of the License under which the work was published. So, before you pack your bags to visit the Bay Area and once you return home, tune into KCSM/91.1 online to hear what is happening when you are in town and what you're missing after you have left your heart in San Francisco. There are evidently numerous innovative practices existing within American DIY scenes that work persistently and continuously, on a daily basis, and in multiple interconnected locales, toward demystification and destabilisation of capitalist processes, both on discursive and material levels, but which they also simultaneously sustain the capitalist system in different ways. As regards music, these processes emerged somehow organically through social and economic relationships established between DIY musicians and organisers. 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. [Chris's friend added:] You could be naked, and no one will arrest you [i.e. In turn, these decomoditized objects come to symbolise values of DIY creativity, independence, and community, whilst constructing boundaries of cultural (DIY) distinction and authenticity. For example, in the Glitterdome house in NE Portland, these included sharing, borrowing, and exchanging items, goods and even spaces between houses and participants, be it food, free box items (clothes, shoes, books), tapes, or music equipment. Accordingly, my central question in this article is: how do American DIY participants manage the tensions and transitions between reciprocal and capitalist systems and worlds? 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. Today, the music continues with a packed event calendar that combines new talent and seasoned performers. To learn about our use of cookies and how you can manage your cookie settings, please see our Cookie Policy. (Aaron Scott, personal communication, 11 April 2012). Ralph Gleason became one of the founders of what would become the rock-scene fan journal, Rolling Stone. (Oakes Citation2009: 51; emphasis added)Footnote10. 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 . 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. (Cometbus Citation2002). 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]. Figure 6. 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. 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. Its funny how people put on house shows and they do it because theyre compelled to create that space. For example, Gilman incorporates all-ages, non-alcohol, and safer space policiesFootnote5 alongside volunteer, collective, and consensus-based approaches to organisation. He is usually exploring the Bay Area hunting for that new and unique experience and good food too! Figure 3. And so I understood the difference between supporting something and liking it. Among the oldest venues in San Francisco, The Warfield has hosted a number of great black artists, including Louis Armstrong and Prince. When I give you $5 for a record, I am exchanging something of value (my money/effort) for something else of value (your record). (Jennings Citation1998; see Figure 5)Footnote17, Figure 5. Experience the mark he left on the city. [1] 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 spread out like Los Angeles. Baumgarten Citation2012: v, 137). Local DIY scenes often work as collective efforts, achieved through reciprocal relations between the venues, houses and organisers that sustain them. 8 Dumpsterdiving is a practice of salvaging edible food from the garbage dumpsters of large stores and supermarkets. The tactics that shape this alternative economic model (reciprocity, collective action, DIY methods) permeate DIY scenes on all levels: cultural, economic, and political; from music organisation, music performance, and sound aesthetics, to everyday social practices and interaction. 2023 Hyderabad Media House Limited/The Hans India. 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). The history of San Francisco is deep-rooted in its bond with the Black community. 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. 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. To be able to tour, bands rely on the help of local participants (who organise shows for them, in their houses, or elsewhere). 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). These included sharing of food and equipment among DIY houses, local and translocal exchange of venues, the system of free boxes (see Figure 1),Footnote1 donations at shows, and participatory organiser-performer-audience interactions practices that enabled the creation of alternative cultural DIY worlds, and which in turn informed DIY sounds and aesthetics. 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. DIY shows and records, bartering, borrowing, and DIY production of goods). The Boom Boom Room hosts local and international blues, funk, jam bands, and everything in between. First, engagement with DIY practices and worlds often results in value and status assertions that are employed by DIY participants to establish their cultural authenticity and social distinctions within their scenes and in relation to outsiders. No potential conflict of interest was reported by the author. Free box at the show at Grandmaz house, Olympia, 7 August 2012. [2] According to journalist Ed Vulliamy, "A core of Haight Ashbury bands played with each other, for each other"[3]. 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. 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). underground market, co-op exchange, barter, informal economy (for alternative economies), and gift giving, state appropriations, gleaning, and poaching (for non-market economies). Until a few years ago no bands sold T-shirts, people would just make their own. However, as I demonstrate above, these same shows and recordings are also manifestations of alternative economic relations established within and outside these events. The history of San Francisco is deep-rooted in its bond with the Black community. The San Francisco bands' music was everything that AM-radio pop music wasn't. 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). For more information please visit our Permissions help page. In jazz it had been exuberantly pioneered by numerous musicians. Monterey, California is about 120 road miles south of San Francisco. An ever-changing art gallery, Madrone presents local funk, jazz, and brass bands that play everything from James Brown to Brazilian samba.
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