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As thunder and lightning battered the concert-goers and the band Soundgarden churned up an equally riotous noise, the crowd took to wrenching the metal folding chairs that were bolted to the earth and hurling them like sleds down the hillside which the venue occupied. Before long, the lawn area had Nothinv a mudslide down which audience A Rhetorical Analysis Of Buy Nothing Day were travelling on their stomachs, landing in a heap of flesh and hair at the bottom, tangled up like giant snakes. When the concert came to its premature end, Chris Cornell, the lead singer of the band, surveyed the bespattered scene. As a group, the 18—year-old white males that made up a large part of that crowd and others much like it have floated through the ensuing decades, more like a gaseous emanation than a cohesive demographic force.
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This chapter, excerpted from a larger work, interrogates the genesis of the powerlessness and lack of direction that rock crowds represent. While concert-goers at Lollapalooza and other large festivals invariably define themselves as rebellious, countercultural and liberal, they are in fact largely docile, passive and conservative. I argue here that this misperception stems in part from earlier misperceptions formed through specific discursive rhetorics and constructions circulated in the film documentaries about Woodstock and Altamont. First, as a former rock critic, I know how different individual perceptions of concerts can be from media consensus. More importantly, though A Rhetorical Analysis Of Buy Nothing Day concerts have been written about and analysed at length, the films have been examined less frequently, particularly in tandem.
Finally, while those concerts may have much to tell us about the counterculture, music, performance, spectacle and the s, their legacy and role in shaping the ideology of the rock festival qua rock festival has been left largely unexamined. In it, I suggest how such historic rock festivals worked ideologically to legitimate the highly contradictory beliefs and actions of rock fans at present day concerts.
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I suggest instead that many aspects of them and especially of their mediations — specifically the massively popular films Woodstock: 3 Days of Peace and Music and Gimme Shelter — were the opposite, working to reinforce hegemonic values of continue reading, capitalism and the utility of a free market. Today, rock festival attendance is very much part of a supercultural experience, and I argue that the seeds of reappropriation were tucked into their genesis and displayed via their filmed depictions.
Here, I locate that shift in the discourse to much earlier in history. This concept has regained currency today in debates about peer-to-peer file sharing.
But the notion was always read more on a misconception: Woodstock was not intended as a free festival, though it became one as did a number of other festivals, including the Isle of Wight Festival of Altamont, on the other hand, was intended to be free, but may not have initially been intended to be a festival, following more in the tradition of the free Rolling Stones concert in Hyde Park in July of that served as a memorial for founding member Brian Jones.
Woodstock itself was the outgrowth of a series of free festivals in northern California, as well as a history of non-classical mostly country, folk and bluegrass outdoor music festivals in the US stretching back to the early twentieth century of these, the annual Newport Folk Festival is the best known. In the early s there were also a series of inexpensive festivals preceding Woodstock, especially in California, Biy the vastly influential but much smaller-scale Monterey Pop. In the UK, there were the Beaulieu Jazz festivals —61which were significant to the origins of pop festival culture in Britain see D. Laing and G. Byu in Bennett 4—5 and 91— The obvious motive is profit — which, in the s, was considered crass or worse.
It is the great unspoken evil, and no wonder: even today a festival or concert which is provided at no cost has a measure of power over its audience that fee-driven concerts do not. For that reason alone, the s abounded with free festivals, especially in northern California, but Woodstock was the largest and most mediated, thanks to the success of the documentary account of it and its soundtrack, Woodstock: 3 Days of Peace and Music. It holds iconic standing as a historical moment.]
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