The Woodstock festival of 1969, which featured such groups and artists as the Who, Country Joe and the Fish, Ten Years After, Janis Joplin and Jimi Hendrix, is remembered as much for its 'bringing together' of the counter-cultural generation as for the music performed. The event represented a milestone in the use of music as a medium for political expression while simultaneously acting as a springboard for the more expressly commercial of rock and pop events which were to follow. In the thirty years since the festival took place, Woodstock has become the subject of many books, magazine articles and documentaries which have served to mythologise the event in the public imagination. These different aspects of the Woodstock festival will be discussed in this wide ranging book which brings together a number of established and new writers in the fields of sociology, media studies and popular music studies. Each of the five chapters which will focus on a specific aspect of the Woodstock festival and its continuing significance in relation to the music industry, the rock festival 'tradition', sixties nostalgia and the cultural impact of popular music.
'Recommended.' Choice ’… a thought-provoking range of both questions and answers which helps to preserve the memory of Woodstock as a site of study, and starting point for further discussion.’ Popular Music
Contents: Introduction, Andy Bennett; The three Woodstocks and the live music scene, Dave Laing; '1, 2, 3 What are we fighting 4?' Music, meaning and 'The Star Spangled Banner', Sheila Whiteley; 'This is your Woodstock': popular memories and political myths, John Street; 'Everybody's happy, everybody's free': representation and nostalgia in the Woodstock film, Andy Bennett; Reporting Woodstock: some contemporary press reflections on the festival, Simon Warner; The contradictory aesthetics of Woodstock, Allan F. Moore; 'Unsafe things like youth and jazz': Beaulieu jazz festivals (1956-61), and the origins of pop festival culture in Britain, George McKay; A public transition: acoustic and electric performances at the Woodstock festival, Dave Allen; Still picking children from the trees?: reimagining Woodstock in 21st century Australia, Gerry Bloustien; Afterword: Country Joe McDonald remembering Woodstock, Country Joe McDonald with Dave Allen. Index.
Popular musicology embraces the field of musicological study that engages with popular forms of music, especially music associated with commerce, entertainment and leisure activities. The Ashgate Popular and Folk Music Series aims to present the best research in this field. Authors are concerned with criticism and analysis of the music itself, as well as locating musical practices, values and meanings in cultural context. The focus of the series is on popular music of the twentieth and twenty-first centuries, with a remit to encompass the entirety of the world’s popular music.
Critical and analytical tools employed in the study of popular music are being continually developed and refined in the twenty-first century. Perspectives on the transcultural and intercultural uses of popular music have enriched understanding of social context, reception and subject position. Popular genres as distinct as reggae, township, bhangra, and flamenco are features of a shrinking, transnational world. The series recognizes and addresses the emergence of mixed genres and new global fusions, and utilizes a wide range of theoretical models drawn from anthropology, sociology, psychoanalysis, media studies, semiotics, postcolonial studies, feminism, gender studies and queer studies.