Woodstock 94

Since August 1969, the Woodstock Music and Art Fair looms large when recounting the history and impact of the baby boom generation and the societal upheavals of the Sixties. Scholars study the sociological, political, musical, and artistic impact of the event and use it as a cultural touchstone when exploring alternative perspectives or seeking clarity. This interdisciplinary annotated bibliography records the details of over 400 English-language resources on the Festival, including books, chapters, articles, websites, transcriptions and videos. Divided into six main subsections―Culture & Society, History, Biography, Music, Film, Arts & Literature―for ease of consultation Woodstock Scholarship sheds light on all facets of a key happening in our collective history. Throughout the 1960s, popular music became increasingly reflective and suggestive of the rising political and social consciousness of the youth culture. Examples can be seen in the development of the protest song genre within the folk music boom of the early Sixties and the marriage of lifestyle to music first reflected by The Beatles with fashion, followed by psychedelic music with the emerging drug culture. Woodstock was where these themes coalesced, thus becoming the defining and last great moment of the 1960s. However, Woodstock also represented an abundant amount of experiences and ideas and moments. Thus, when exploring the complicated accounts and numerous facets of America during the turbulent Sixties one discovers scholarship on the key subjects, such as the Vietnam War or the Civil Rights Movement, often considering and debating the importance, relevance, and epic nature of Woodstock. Multiple narratives emerge: a radical engagement of the hippie movement, an overt commercial exploitation of youth culture, a political statement. Woodstock scholarship does not stand alone as field of study, but it is at the cross-road of a number of disciplines―music history, cultural studies, sociology, arts and literature, media studies, politics and economics. Providing full bibliographical details and concise, informative annotation for each entry, Woodstock Scholarship is an essential tool for students, scholars, teachers, and librarians in all these areas, as well as for anyone seeking a deeper understanding of both the Woodstock Music and Art Fair phenomenon and of the confluence of music, commerce and politics.

It defined a generation, exemplified an era: Woodstock was unlike anything that has ever happened before or since--and August 2009 marks the 40th anniversary of this seminal event. Relive the moment and "get back to the garden” with this day-by-day, act-by-act account of everything that went down on Yasgur’s Farm. With interviews and quotes from those who were there--the musicians, the fans, the organizers--and a wealth of photographs and graphic memorabilia, Woodstock is the ultimate celebration of a landmark in modern cultural history. Woodstock is organized in three parts: - Origins sets the stage by describing the counterculture of the time, along with the festival’s organization, fundraising, buzz-building tactics, ticket selling and publicity, and site building. - The Event--the heart of the project--includes a log with a run-down of each of the 32 acts, in the order they appeared, one spread to each name. Fans and politics are also featured prominently here. - The Aftermath focuses on media coverage, follow-up festivals, Michael Wadleigh and Thelma Schoonmaker’s documentary, and Woodstock’s enduring legacy.

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.

In August of 1969, a dairy farm in the state of New York hosted a pivotal moment in the history of pop music. Taking place only two years after the “Summer of Love” and one year after the tumultuous events of 1968, the Woodstock Music and Art Fair put an exclamation point on the transformational decade of the 1960s. Joni Mitchell did not attend Woodstock, but her song of the same name captures an opposition inherent to the turbulent and divisive era. “We are stardust . . . caught in the devil’s bargain,” Mitchell sings, “and we’ve got to get ourselves back to the garden.” In order to celebrate the 50th anniversary of Woodstock, Berklee College of Music hosted a week-long celebration that included conversations with luminaries from the era. Participants included Woodstock co-founder, Michael Lang; emcee, stage and lighting designer, Chip Monck; audio engineer, Bill Hanley; photographers Henry Diltz and Elliott Landy; public relations officer, Rona Elliot; and Gerardo Velez, drummer for Jimi Hendrix. Woodstock Then and Now commemorates the discussion between these Woodstock luminaries, making available the transcripts of this historic event.

Thomas Edward Harkin's Woodstock FAQ: All That's Left to Know About the Fabled Garden cuts through the lofty rhetoric and mythology surrounding the legendary festival. Rather than waxing philosophical about whether or not the Woodstock Music & Art Fair was the defining moment of the 1960s as so many have done before, Harkins places the focus on the music, solo artists, and bands who performed. Thirty-two acts took to the stage in Bethel, New York that weekend, and the book gives the performers and the music their due consideration. Who were they? Where did they come from? What songs did they play? What happened to them afterward? How did the festival impact their careers? Those are the questions explored in these pages. Further, the book attempts to restore the chronological arc of the festival from concept to concert to its aftermath and enduring legacy. Drawing on his experiences as a media scholar, Harkins ponders how the album releases and Michael Wadleigh's Academy Award-winning 1970 film Woodstock helped shape the narrative of the festival and in the bargain distort people's memories of the actual event.

Andrew Mueller is Australian by birth, a Londoner by choice, a wanderer by nature, and a journalist by profession. Unable to decide between being a rock critic, travel writer, or foreign correspondent, he hit upon the novel, if time-consuming, solution of trying to be all three at once. In Rock and Hard Places, published originally in the U.K. in 1999, now re-envisioned and updated and available for the first time in the United States, he travels to Lebanon with the Prodigy, comes to America with Radiohead, and goes all over the place with U2. He ventures to Bosnia Herzegovina with an aid convoy in the middle of the war, sees Def Leppard play in a cave in Morocco, and attempts to ask the Taliban not only what they think they’re up to, but who they fancy for the World Cup. He flings himself head first down the Cresta Run, sits in Stalin’s armchair, chases ambulances through Moscow, chases some kind of lost tribe in India, wakes up at least once in a park in Reykjavik, and strongly advises avoiding the seafood salad in Sapporo Airport. He’s funny. Occasionally he makes a point.