If you have an inclination towards music, you will be startled to visit these music venues which were formed on the foundation of African-American culture. 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. 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). Some scholars have identified how the obligation to reciprocate (balanced reciprocity), can be perceived to constrain artistic freedom and creativity (Joseph Citation2002: 10311), however, it is notable that participants in the DIY scenes I studied favoured a general approach to reciprocity. 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. Pacific Coast Music Trail | America | First Class Holidays 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 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. All rights reserved. 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. For example, in her manual for booking DIY shows, Beck Levy (2013) an artist and musician who used to organise DIY shows in Washington, DC notes that among the bad reasons for organising shows is so that other bands will feel obligated to book your band in their cities.
San Francisco Music Venues 1980's, Why Did Janine Leave Rock Fm, Articles S
San Francisco Music Venues 1980's, Why Did Janine Leave Rock Fm, Articles S
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