san francisco music venues 1980's

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. Learn about San Francisco's Jazz and Blues history and check out all the best places to see it performed live today. 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). Acoustic music had had an avid following far and wide, but it was "a fading world of traditional folk and Brechtian art songs. Figure 1. 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. Learn about our history and where to find it now, from festivals to clubs and bars. Music City San Francisco, home of the Music City Hotel and SF Music Hall of Fame, creates a guide of all guides of local music venues in SF. Jimi Hendrix lived in San Francisco in the 1960s and became one of the iconic musical talents of the Summer of Love. In turn, these decomoditized objects come to symbolise values of DIY creativity, independence, and community, whilst constructing boundaries of cultural (DIY) distinction and authenticity. The history of San Francisco is deep-rooted in its bond with the Black community. autonomy]. Some of the most important black artists of the 20th century have played on this stage, including jazz legends Duke Ellington and Sarah Vaughan. 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. 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. Its definitely a family. 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. 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. 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. 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). Taylor Citation2016: 15476). For example, Gilman incorporates all-ages, non-alcohol, and safer space policiesFootnote5 alongside volunteer, collective, and consensus-based approaches to organisation. 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. The music regularly turns the bar into a dance party. Other DIY participants I interviewed talked about similar approaches included in the roster of DIY reciprocal and collective activities. Registered in England & Wales No. Real Estate Software Dubai > blog > san francisco music venues 1980's. san francisco music venues 1980's. Jun 12, 2022 . Aaron is the Manager of Digital & Social Media Marketing at San Francisco Travel. 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. 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. In this excerpt, Cometbus outlines the central discursive tension existing within American DIY scenes. And it might be to somebody else, but just to sort of keep the energy moving. It was associated with the counterculture community in San Francisco, particularly the Haight-Ashbury district, during these years. 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. 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. 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. In addition, factors that shape more egalitarian music practices and sounds can be diverse. 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. 3 The research included several years of fieldwork in Davis, CA; nine months in Portland, OR; five days in Washington, DC; and 14 days each in Olympia, WA, Los Angeles, and Oakland, CA. San Francisco is and always has been a city of music. American DIY participants often talk about their own economic system, support-system, or self-sustaining trade and barter economy (Cometbus Citation2002; Danielson Citation2004; Debies-Carl Citation2014: 81, 14461; Hannerz Citation2015: 127, 128; Farrow Citation2020: 246). You dont feel that communion. there is a diversity of possible cultural and aesthetic effects existing within DIY scenes, which are not necessarily derived from DIY material relations) while not all bad, weird, and different sounds necessarily result from DIY practices of reciprocity (i.e. For instance, Johanna from the Box Candy Mountain house in Bellingham told me that when they lost a good venue [show house] in their town, it all fell back on us (personal communication, 14 April 2012). 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. For example, as I also experienced, not all DIY house members helped organise shows or other activities in their spaces. 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. 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. 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. Culton and Holtzman Citation2010; Hannerz Citation2015: 128). 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. [18] Donahue was uniquely qualified, being savvy and enthusiastic about jazz, R&B, Soul, and ethnic music, besides the then-current rock music. 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. Cate Blanchett as Lydia Tr | Courtesy of Focus Features Films about classical music go back to at least the 1930s. 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. Yet I also highlight how these alternative economic systems of reciprocity coexist with capitalist ones. Great American Music Hall opened in 1907 as a symbol of San Francisco's rebirth after the devastating 1906 earthquake. The many bands that formed signalled a shift from one subculture to the next. 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. 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. Phil Lesh, bassist with the Grateful Dead, furthered this sound. In this article, I examine the alternative economics of reciprocity in American DIY (do-it-yourself) culture. Thats as much of an end goal to them, just as it is for fans. Moreover, they are also seen to engage in rituals of decomoditization by diverting capitalist products into enclaved zones of DIY spaces and shows. 14 See Baumgarten Citation2012: 169; Threadgold Citation2017; Benham Citation2019; Martin-Iverson Citation2019. DIY ethics entail making things oneself, and thus obviating the need for commercial and institutional channels of production. 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. In addition, I made multiple additional one-day trips to Oakland during my stay in Davis. Powered by hocalwire.com, We use cookies for analytics, advertising and to improve our site. 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. DIY reciprocal relations were not restricted to the music sphere but pervaded all manner of everyday practices. To address this question, I first outline the contours of the alternative DIY economic system of reciprocity and some of its problems. 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. This community defines itself through active participation (at shows, and otherwise), therefore distinguishing itself from passive, apathetic, consumerist society (personal communication with a DIY participant from Oakland, 14 September 2012), or from lazy hipsters within the scene (see above). Moreover, it fosters reciprocal relations between the venue, bands, and audiences. 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. 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. Great American Music Hall (859 O'Farrell St.). TheHotel Nikko in Union Squarehouses the eponymous Feinsteins. 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. 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. Participation between different houses was further emphasised by doing things collectively, such as traveling together to shows, festivals, swimming trips, and karaoke nights, or through collective listening to music, work activities, or music and social event organising (see Figure 2). From the greatest jazz clubs in California to stages that hosted the debut of today's rock icons, San Francisco is home to countless live music venues filled with memorable performances and artist legacies. E.g. 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. The bohemian predecessor of the hippie culture in San Francisco was the "Beat Generation" style of coffee houses and bars, whose clientele appreciated literature, a game of chess, music (in the forms of jazz and folk style), modern dance, and traditional crafts and arts like pottery and painting. A whole society, with its own economic system even. Both James and Chris thus emphasise the added value of such enclaved DIY shows. To some extent they also do this for wider society (e.g. 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. 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. Enjoy a show and a cocktail at B-Side, the lounge in the SFJAZZ Center. Both emphasise that gift-giving is not a free activity, but that it bonds an individual to reciprocate (returning the favour). Learn the dynamic history of San Francisco's Angel Island, the gateway for approximately 175,000 Chinese immigrants in the 1900s. 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). 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. 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. Among the oldest venues in San Francisco, The Warfield has hosted a number of great black artists, including Louis Armstrong and Prince. 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. It features a house Hammond B-3 organ, played by the areas best organists, along with a huge record collection. The beatnik thing was black, cynical, and cold. They are just consumers. The history of San Francisco is deep-rooted in its bond with the Black community. 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. 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. 11 See, for example, Forns, Lindberg, and Sernhede Citation1995; Berger Citation1999: 67; Toynbee Citation2000: 111, 112; Moore Citation2014a. I am immensely grateful to all of the participants of this research, for accepting me in their spaces and scenes, and for their invaluable insights on the matters discussed herein. Here, Scott describes the basic theory of reciprocity, as outlined by anthropologist Marcel Mauss in his classic study The Gift ([Citation1925] Citation1990). No potential conflict of interest was reported by the author. Jai Milx performing at her house, Glitterdome, in Portland, 4 February 2012. In this article, I examine the alternative economics of reciprocity in American DIY (do-it-yourself) culture. It is true that many of the San Francisco bands did record "three-minute" tracks when they desired pop-music station airplay for a song. This work was supported by Faculty of Humanities, Charles University in Prague, under grant SVV 26060702. 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. Third, the co-existence and interrelatedness of DIY/reciprocal and dominant/capitalist systems extends beyond a simplistic resistance vs power dichotomy. [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. And I feel the same about house shows. They contain freely available discarded items that DIY participants desire to redirect into reuse by other DIY participants, who visit or pass by their houses. 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. Dylan from Glitterdome house, making a CD cover for their band Potsie (26 April 2012). In jazz it had been exuberantly pioneered by numerous musicians. 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. 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. 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. Permission will be required if your reuse is not covered by the terms of the License. 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. 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. 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, 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. 8 Dumpsterdiving is a practice of salvaging edible food from the garbage dumpsters of large stores and supermarkets. However, not all DIY bands ascribe to the same idea of DIY while many see it as an ideological principle to live by, others regard it as a pragmatic strategy that enables them to acquire skill, shows, and social connections in the beginning stages of their musical careers.Footnote15 Nevertheless, not all independent cultural activities should be seen as proto-markets (Toynbee Citation2000: 2532), but instead, as heterogeneous assemblages of diverse, non-market and proto-market, possibilities. As regards music, these processes emerged somehow organically through social and economic relationships established between DIY musicians and organisers. 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.

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