Sunday, June 14, 2009
Update!
I'm going to Lollapalooza 2009! The line-up was too good to pass up. Yes, it hurts my wallet a bit. But it will be worth it... Talking to friends at Bonnaroo now, sounds amazing. Can't wait to hear their stories when they come back.
Saturday, May 2, 2009
U.S. Destination Rock Festivals: “It’s about the Experience.”
“It was hot, there were palm trees, and a lot of great haircuts and sunglasses. I can’t wait to go back.” –Scott Avett of the Avett Brothers on Coachella (Brant 2008: 243)
The Question:
They're hot. They're crowded. There can be mud. There can be fires and riots. And people love them. Rolling Stone has put both Bonnaroo and Woodstock in the top 50 Moments that Changed the History of Rock and Roll. What makes the experience of a destination rock festival so different from normal concerts? And why are they important to rock?
The Crowds at Lollapalooza 2008 (Credit- Me):
The Disclaimer:
When I first set out to look into the topic of music festivals, I was unsure as to what direction I would head. The topic appeared too broad but I dove headfirst in, a little hesitant of what to expect but excited nonetheless. There were cool bands and people who loved music involved; what is there not to like? Although the experience of researching has lasted longer than the three days of Lollapalooza 2008, my first on what I hope will become a long list of festivals attended, it too has left me more knowledgeable and more excited about the music than ever before. I only hope that my great enthusiasm about these experiences has not completely tainted my views, but I include this paragraph in hopes that the reader knows to perhaps take my research with a grain of salt: I loved my (limited) experience with the destination rock festival, but not every person agrees with me.
The Definition:
In order to move forward, it is necessary to first define the terms. A destination rock festival must fall under Getz’s definition of a special event as “a onetime or infrequently occurring event outside the normal program or activities of the sponsoring or organizing body. To the customer, a special event is an opportunity for a leisure, social or cultural experience outside the normal range of choices or beyond everyday experience” (1991: 44). These cannot be an average, everyday happening.
In my first set of field notes, I further separate destination rock festivals from normal concerts in terms of size, physical barriers, and amount of planning involved. Additionally, these festivals must be at a certain destination and people have to take time out of their lives in order to attend.
In a personal interview, Alex, a 20-year old self-described festival-lover, defines festivals as being “a once a year thing” removing events such as the Vans Warped Tour from this definition. He further comments that “multiple days” are key to a fitting the definition of a rock festival.
And finally, a destination rock festival must include rock music, as defined by the listeners. Although all of the destination rock festivals include music genres and festivities other than rock, to not include this qualifier however obvious, would be impractical.
Brant defines Bonnaroo and Coachella as America’s current premier destination festivals (2008: xiii). From my research, these two, along with Austin City Limits, Lollapalooza, and South by Southwest also fit this definition. Although there may be other festivals that sound close to my definition termed here, the rest of this paper will focus on these five festivals.
The History:
One cannot write about US destination rock festivals without first mentioning both the three-day Monterey International Pop Music Festival in 1967 and Woodstock two years later (Brant 2008: xi). An estimated 200,000 people attended Monterey, held in California, with appearances by Jimi Hendrix, The Who, Janie Joplin, and Otis Redding. On the other side of the country in New York, artists such as Ravi Shankar, Santana, Joplin, the Grateful Dead, Creedence Clearwater Revival, The Band, Jefferson Airplane, and Hendrix played to almost 500,000 people at Woodstock. Rolling Stone calls 1969 Woodstock one of the top 50 Moments that Changed the History of Rock and Roll. Both festivals promoted the concept of the “hippie era”, Woodstock even carrying the motto of “3 days of peach and music”. Both mixed folk, blue, jazz, soul, rock, and other genres for a large crowd, clearly fitting the definition of a destination rock festival.
Jimi Hendrix at Woodstock '69 (Credit: Vladimir):
The Question:
They're hot. They're crowded. There can be mud. There can be fires and riots. And people love them. Rolling Stone has put both Bonnaroo and Woodstock in the top 50 Moments that Changed the History of Rock and Roll. What makes the experience of a destination rock festival so different from normal concerts? And why are they important to rock?
The Crowds at Lollapalooza 2008 (Credit- Me):
The Disclaimer:
When I first set out to look into the topic of music festivals, I was unsure as to what direction I would head. The topic appeared too broad but I dove headfirst in, a little hesitant of what to expect but excited nonetheless. There were cool bands and people who loved music involved; what is there not to like? Although the experience of researching has lasted longer than the three days of Lollapalooza 2008, my first on what I hope will become a long list of festivals attended, it too has left me more knowledgeable and more excited about the music than ever before. I only hope that my great enthusiasm about these experiences has not completely tainted my views, but I include this paragraph in hopes that the reader knows to perhaps take my research with a grain of salt: I loved my (limited) experience with the destination rock festival, but not every person agrees with me.
The Definition:
In order to move forward, it is necessary to first define the terms. A destination rock festival must fall under Getz’s definition of a special event as “a onetime or infrequently occurring event outside the normal program or activities of the sponsoring or organizing body. To the customer, a special event is an opportunity for a leisure, social or cultural experience outside the normal range of choices or beyond everyday experience” (1991: 44). These cannot be an average, everyday happening.
In my first set of field notes, I further separate destination rock festivals from normal concerts in terms of size, physical barriers, and amount of planning involved. Additionally, these festivals must be at a certain destination and people have to take time out of their lives in order to attend.
In a personal interview, Alex, a 20-year old self-described festival-lover, defines festivals as being “a once a year thing” removing events such as the Vans Warped Tour from this definition. He further comments that “multiple days” are key to a fitting the definition of a rock festival.
And finally, a destination rock festival must include rock music, as defined by the listeners. Although all of the destination rock festivals include music genres and festivities other than rock, to not include this qualifier however obvious, would be impractical.
Brant defines Bonnaroo and Coachella as America’s current premier destination festivals (2008: xiii). From my research, these two, along with Austin City Limits, Lollapalooza, and South by Southwest also fit this definition. Although there may be other festivals that sound close to my definition termed here, the rest of this paper will focus on these five festivals.
The History:
One cannot write about US destination rock festivals without first mentioning both the three-day Monterey International Pop Music Festival in 1967 and Woodstock two years later (Brant 2008: xi). An estimated 200,000 people attended Monterey, held in California, with appearances by Jimi Hendrix, The Who, Janie Joplin, and Otis Redding. On the other side of the country in New York, artists such as Ravi Shankar, Santana, Joplin, the Grateful Dead, Creedence Clearwater Revival, The Band, Jefferson Airplane, and Hendrix played to almost 500,000 people at Woodstock. Rolling Stone calls 1969 Woodstock one of the top 50 Moments that Changed the History of Rock and Roll. Both festivals promoted the concept of the “hippie era”, Woodstock even carrying the motto of “3 days of peach and music”. Both mixed folk, blue, jazz, soul, rock, and other genres for a large crowd, clearly fitting the definition of a destination rock festival.
Jimi Hendrix at Woodstock '69 (Credit: Vladimir):
2 Responses to a Questionnaire I Posted about Music Festivals
I've received two responses from a questionnaire I sent out to a few people that I knew had been to destination rock festivals in the past. I've labeled the responses A and B, for comparison. They both had extremely positive responses to the festival, and I'm interested in seeing if I can find someone who had an extremely negative response to a festival, due to poor conditions or weather. It seems as though many festival organizers have figured out that people need water and the experience of the festival, and have stopped making many of the same mistakes made in the past in terms of organization. Perhaps I would have to find someone who attended Woodstock '99.
1. How many music festivals have you been to? Which ones?
A) One. Lollapalooza 2008 in Chicago, Illinois.
B) SXSW 05, 07, 08
Bonnaroo 08
Lollapalooza 08
2. Are you planning on going to any in the future? Why or why not?
A) Absolutely, yes. Seeing many of my favorite musical acts in a place I’ve never been with friends was an incredible experience. Also, it’s more efficient financially to catch a festival rather then buying tickets for multiple concerts.
B) 100% yes, though I'll be going to a ton fewer now that I'm not running a radio station!
3. What was your favorite part (of each)?
A) Being around people from all over the country that enjoy similar music.
B) Hanging with friends and stringing together tons of zany antics. Adventures in new cities! Discovering incredible artists I'd never heard of previously.
4. Is there a difference between a music festival and a concert? If so, what makes them different? What makes them the same?
A) From my experience there is a large difference between the two. The majority of concerts I’ve been to are in smaller venues and the performances are much more intimate. Bands are able to connect with the audience more in a concert versus a festival atmosphere. Festival performances have to be bigger and broader in attempts to keep everyone entertained.
B) Absolutely. The atmosphere and pace of a music festival is unlike any concert, not even the day-long ones. With festivals, its like miniature cities rising up from nothing and then vanishing. I'll admit though, after some music festivals I was eager to go to more local concerts, just because it got me in the swing of seeing live acts.
5. What are the people like at music festivals? What is the atmosphere like?
A) The festival drew a mostly college aged crowd. For the most part, people were really pleasant, but the combination of drugs and the hot weather really put people on edge. During the performances the atmosphere was pure insanity. Tens of thousands of people singing and dancing their balls off.
B) People are usually friendly. It does help a lot to know other people that are going. The atmosphere is usually filled with excitement and music enthusiasm. It's a lot of fun to share tips about bands with people and get introduced to stuff you wouldn't otherwise know of.
6. About how many bands do you need to know before you choose to go to a music festival?
A) Before the festival I would have gone if I saw 3-4 great headliners in the lineup. Now that I know how drawn out the days are and how many acts can be seen in a single day, I’d say a minimum of 12.
B) Well, I'm a firm believer that the less concrete plans one makes, the more fun one has. It's helpful to know plenty of bands playing, but it's messy to have one's heart set on seeing a list of 10 specific bands. Schedules are too tight. Too many acts overlap. It turns a wonderful adventure into a rigorously structured thing. I've come to show up with 1 or 2 acts I know I want to see, and then wander semi-aimlessly otherwise. I wind up seeing many acts I'd like to and making plans day-of, and just soaking up the atmosphere of the concert, and interests of friends I'm with.
7. Have you seen any bands in both a concert and at a music festival? What made their shows different/the same?
A) Yes, I had seen several of the acts prior to the festival. One band in particular (Manchester Orchestra) had a lot more energy playing to the festival crowd. Another band (Bloc Party) seems to bring the same level of intensity to concert and festival sets.
B) Yeah. It can go both ways. Bands at festivals usually have shorter set times.. which can be good or bad. Personally, I'd rather see 10 bands play 50 minute sets than 5 bands play 2 hour sets. Even with my absolute favorite bands, I usually get bored at concerts after about an hour or so, though I'm known to catch 2nd wind.
Sometimes, seeing bands at festivals can be really special, and those sets can be particularly legendary. My Morning Jacket has a reputation for ripping a hole in every one of their Bonnaroo performances, and I just don't imagine a theater show would hold a candle.
8. What bands perform better at music festivals as opposed to their own shows? What bands perform worse?
A) I think the best bands can be versatile; it’s just a matter of adjusting to the crowd. I’d have to say more established acts have it easier due to the large crowds making it easy to put on a great show. Un-established acts, especially those that play music with a slower tempo, have a difficult time breaking through to the large crowds.
B) Sort of answered that one. In my opinion, bands with something to prove play really great short sets at festivals.
Worse? hmm. Maybe some of the bigger headliners. Because if you're a deep fan of their material, you might be less likely to get the deeper fan favorites, as they have a wider audience to appeal to.
9. In your opinion, what was the age distribution at the music festival you went to? What’s the age distribution at a normal concert you’d attend?
A) The ages were at both ends of the spectrum at the festival. A lot of young children and a good amount of people in their 40’s in 50’s. The majority of the crowd was in the 18-25 year old group which is the norm for most concerts I’ve attended.
B) I'd say that 16-34 is probably the festival distribution. SXSW skews a little more toward upper end, because it's chock full of industry types. Normal concerts are more like 16-28 or so..
then again these are mostly alternative type concerts.. the type of music really affects the demo
10. What was the substances (legal or illegal) scene like? Who was taking them at what bands? Did you partake? What was your experience with this? Did anyone care?
A) There were a lot of people on a lot of drugs. Alcohol was readily available throughout the day and there was little to no enforcement on drug usage. People could smoke in the middle of a crowd at any point without any second thoughts. The hip/hop and dance acts drew a lot of the drug using population. I consumed alcohol and smoked marijuana several times throughout the 3 days and the combination of not being an avid pot smoker and the temperature being an average of 95 degrees did not treat me well. In my group’s experience, the use of drugs was not frowned upon once. I’d go as far as to say it was advocated by most.
B) Concerts and consciousness alteration are pretty much hand in hand in our culture. I'd contend that most concert-goers are used to this. Drugs are everywhere and out in the open at Bonnaroo. I consider expansionary substances somewhat spiritual, and enjoy live performances best with a totally clear mind anyway, so I abstain.
SXSW can have a lot of dinnertime hangout and schmoozing, so I've enjoyed some mild drinking on those evenings.
11. Is there anything else you’d like to mention about this topic?
A) I just think that any true music fan has to attend a festival in their life. I can imagine it’s not for everyone, but the experience alone is worth it.
B) If you enjoy music and have the resources, go to one of these. On the whole, SXSW is my personal favorite, though I have wonderful stories to tell for life from each of these festivals. Maybe someday I'll make it to a Coachella, ATP, or Glastonbury!
1. How many music festivals have you been to? Which ones?
A) One. Lollapalooza 2008 in Chicago, Illinois.
B) SXSW 05, 07, 08
Bonnaroo 08
Lollapalooza 08
2. Are you planning on going to any in the future? Why or why not?
A) Absolutely, yes. Seeing many of my favorite musical acts in a place I’ve never been with friends was an incredible experience. Also, it’s more efficient financially to catch a festival rather then buying tickets for multiple concerts.
B) 100% yes, though I'll be going to a ton fewer now that I'm not running a radio station!
3. What was your favorite part (of each)?
A) Being around people from all over the country that enjoy similar music.
B) Hanging with friends and stringing together tons of zany antics. Adventures in new cities! Discovering incredible artists I'd never heard of previously.
4. Is there a difference between a music festival and a concert? If so, what makes them different? What makes them the same?
A) From my experience there is a large difference between the two. The majority of concerts I’ve been to are in smaller venues and the performances are much more intimate. Bands are able to connect with the audience more in a concert versus a festival atmosphere. Festival performances have to be bigger and broader in attempts to keep everyone entertained.
B) Absolutely. The atmosphere and pace of a music festival is unlike any concert, not even the day-long ones. With festivals, its like miniature cities rising up from nothing and then vanishing. I'll admit though, after some music festivals I was eager to go to more local concerts, just because it got me in the swing of seeing live acts.
5. What are the people like at music festivals? What is the atmosphere like?
A) The festival drew a mostly college aged crowd. For the most part, people were really pleasant, but the combination of drugs and the hot weather really put people on edge. During the performances the atmosphere was pure insanity. Tens of thousands of people singing and dancing their balls off.
B) People are usually friendly. It does help a lot to know other people that are going. The atmosphere is usually filled with excitement and music enthusiasm. It's a lot of fun to share tips about bands with people and get introduced to stuff you wouldn't otherwise know of.
6. About how many bands do you need to know before you choose to go to a music festival?
A) Before the festival I would have gone if I saw 3-4 great headliners in the lineup. Now that I know how drawn out the days are and how many acts can be seen in a single day, I’d say a minimum of 12.
B) Well, I'm a firm believer that the less concrete plans one makes, the more fun one has. It's helpful to know plenty of bands playing, but it's messy to have one's heart set on seeing a list of 10 specific bands. Schedules are too tight. Too many acts overlap. It turns a wonderful adventure into a rigorously structured thing. I've come to show up with 1 or 2 acts I know I want to see, and then wander semi-aimlessly otherwise. I wind up seeing many acts I'd like to and making plans day-of, and just soaking up the atmosphere of the concert, and interests of friends I'm with.
7. Have you seen any bands in both a concert and at a music festival? What made their shows different/the same?
A) Yes, I had seen several of the acts prior to the festival. One band in particular (Manchester Orchestra) had a lot more energy playing to the festival crowd. Another band (Bloc Party) seems to bring the same level of intensity to concert and festival sets.
B) Yeah. It can go both ways. Bands at festivals usually have shorter set times.. which can be good or bad. Personally, I'd rather see 10 bands play 50 minute sets than 5 bands play 2 hour sets. Even with my absolute favorite bands, I usually get bored at concerts after about an hour or so, though I'm known to catch 2nd wind.
Sometimes, seeing bands at festivals can be really special, and those sets can be particularly legendary. My Morning Jacket has a reputation for ripping a hole in every one of their Bonnaroo performances, and I just don't imagine a theater show would hold a candle.
8. What bands perform better at music festivals as opposed to their own shows? What bands perform worse?
A) I think the best bands can be versatile; it’s just a matter of adjusting to the crowd. I’d have to say more established acts have it easier due to the large crowds making it easy to put on a great show. Un-established acts, especially those that play music with a slower tempo, have a difficult time breaking through to the large crowds.
B) Sort of answered that one. In my opinion, bands with something to prove play really great short sets at festivals.
Worse? hmm. Maybe some of the bigger headliners. Because if you're a deep fan of their material, you might be less likely to get the deeper fan favorites, as they have a wider audience to appeal to.
9. In your opinion, what was the age distribution at the music festival you went to? What’s the age distribution at a normal concert you’d attend?
A) The ages were at both ends of the spectrum at the festival. A lot of young children and a good amount of people in their 40’s in 50’s. The majority of the crowd was in the 18-25 year old group which is the norm for most concerts I’ve attended.
B) I'd say that 16-34 is probably the festival distribution. SXSW skews a little more toward upper end, because it's chock full of industry types. Normal concerts are more like 16-28 or so..
then again these are mostly alternative type concerts.. the type of music really affects the demo
10. What was the substances (legal or illegal) scene like? Who was taking them at what bands? Did you partake? What was your experience with this? Did anyone care?
A) There were a lot of people on a lot of drugs. Alcohol was readily available throughout the day and there was little to no enforcement on drug usage. People could smoke in the middle of a crowd at any point without any second thoughts. The hip/hop and dance acts drew a lot of the drug using population. I consumed alcohol and smoked marijuana several times throughout the 3 days and the combination of not being an avid pot smoker and the temperature being an average of 95 degrees did not treat me well. In my group’s experience, the use of drugs was not frowned upon once. I’d go as far as to say it was advocated by most.
B) Concerts and consciousness alteration are pretty much hand in hand in our culture. I'd contend that most concert-goers are used to this. Drugs are everywhere and out in the open at Bonnaroo. I consider expansionary substances somewhat spiritual, and enjoy live performances best with a totally clear mind anyway, so I abstain.
SXSW can have a lot of dinnertime hangout and schmoozing, so I've enjoyed some mild drinking on those evenings.
11. Is there anything else you’d like to mention about this topic?
A) I just think that any true music fan has to attend a festival in their life. I can imagine it’s not for everyone, but the experience alone is worth it.
B) If you enjoy music and have the resources, go to one of these. On the whole, SXSW is my personal favorite, though I have wonderful stories to tell for life from each of these festivals. Maybe someday I'll make it to a Coachella, ATP, or Glastonbury!
Books I've found on Music Festivals
Dowd, Timothy J.; Kathleen Liddle, and Jenna Nelson. “Music Festivals as Scenes: Examples from Serious Music, Womyn’s Music, and SkatePunk.” Music Scenes: Local, Translocal, and Virtual. Bennett, Andy; and Richard A. Peterson, ed. Vanderbilt University Press; Nashville. 2004. p149-167.
Dowd et. al. begin this chapter by comparing everyday concerts to weekly church services. By this comparison a music festival becomes a pilgrimage destination , for both this pilgrimage and a religious one have the ability to “profoundly transform attendees”. They note the fact that festival organizers must choose who fits the festival, and at what times these groups can perform, creating whatever scene they want, instead of allowing boundaries to form “organically”.
Festivals can change the music industry from outside their own borders; perhaps by reviving a dying genre or causing a band to become more mainstream (which can be a positive or a negative contribution depending on your viewpoint).
The article then compares the Yaddo Music Festival (Classical music from 1932-1952), the Michigan Womyn’s festival (1976-present), and Vans Warped Tour (1994-present).
Important Quotes:
Brant, Marley. “Join Together: Forty Years of the Rock Music Festival.” Hal Leonard Corporation; 2008. p. i-1,239-251.
In this recently published book, Brant looks at the history of Rock Music Festivals very in-depth, including Woodstock, Ozzfest, Altamont, Live Aid, Vans Warped Tour, Lollapalooza, Coachella, Bonnaroo, and many others. (Personal Note: Wow, I’d love to go to all of the festivals she mentions in the 294 page of this book.)
The book begins by describing the community that rock festivals can form, and how different aspects may change over time, but how many aspects remain the same. He states that most of the participants are under 25, or “young at heart.” Brant talks about festivals that are broadcast on televisions, such as Ozzfest or Live Aid, but my topic is already large enough, and I have decided to not talk about these aspects of festivals. I mainly used this book for quotes from artists and bands who performed at festivals.
Important Quotes:
Dowd et. al. begin this chapter by comparing everyday concerts to weekly church services. By this comparison a music festival becomes a pilgrimage destination , for both this pilgrimage and a religious one have the ability to “profoundly transform attendees”. They note the fact that festival organizers must choose who fits the festival, and at what times these groups can perform, creating whatever scene they want, instead of allowing boundaries to form “organically”.
Festivals can change the music industry from outside their own borders; perhaps by reviving a dying genre or causing a band to become more mainstream (which can be a positive or a negative contribution depending on your viewpoint).
The article then compares the Yaddo Music Festival (Classical music from 1932-1952), the Michigan Womyn’s festival (1976-present), and Vans Warped Tour (1994-present).
Important Quotes:
“Drawn together from geographically dispersed locations and away from the expectations of everyday life, fans and performers can immerse themselves in a particular culture and experiment with different identities.” (149)
“It also demands commitment from attendees, as they must be willing to immerse themselves in festival culture, as well as make arrangements for travel, vacation time, and attendance fees.” (149)
Brant, Marley. “Join Together: Forty Years of the Rock Music Festival.” Hal Leonard Corporation; 2008. p. i-1,239-251.
In this recently published book, Brant looks at the history of Rock Music Festivals very in-depth, including Woodstock, Ozzfest, Altamont, Live Aid, Vans Warped Tour, Lollapalooza, Coachella, Bonnaroo, and many others. (Personal Note: Wow, I’d love to go to all of the festivals she mentions in the 294 page of this book.)
The book begins by describing the community that rock festivals can form, and how different aspects may change over time, but how many aspects remain the same. He states that most of the participants are under 25, or “young at heart.” Brant talks about festivals that are broadcast on televisions, such as Ozzfest or Live Aid, but my topic is already large enough, and I have decided to not talk about these aspects of festivals. I mainly used this book for quotes from artists and bands who performed at festivals.
Important Quotes:
“As music artists are introduced to new audiences, fans can follow their musical tastes by attending festivals that cater to their specific preferences or sample new music through a wide variety of performances, and people can gather together for the sheer joy of celebrating each other and savoring the music itself” (preface, xi)
“Just before we were introduced, the compere made some remark about women in the audience showing their breasts, and then introduced us. The audience was in no mood for anything but hard rock. In the comedy world, the technical termis we “died.” […] We had been on stage for no longer than ten seconds before they started yelling for us to ‘get off!’” – The Umbilical Brothers on going on after moe at Woodstock ‘99. (239)
“When I was going on to the stage, with the rest of the band, there were all these people standing backstage along the way, kind of like a reception line. […] it was very hard to focus on any one person. And we just kept walking on to the stage and started the show like we start any other show, and so all of a sudden I’m in the middle of a song and I look up and out into the biggest sea of people I had ever seen in my life, all focusing their energy on our music, dancing and screaming. And at that moment I felt I was almost physically lifted off of the ground from the inside. It was such an up-swell and rush of energy and astonishment and ‘how did I get here?’” – Liz Berlin of Rusted Root on Woodstock ’99 (240)
“I remember […] the revolving stage and Perry [Ferrell] wearing my clothes for the gig. Carlos Santana blessed my pick before the performance.” – Peter DiStefano of Porno for Pyros on Woodstock ’99 (240)
“I remember Godsmack’s playing just before we went on and they were incredible.” – David Ellefson of Megadeth, talking about Godsmack going big after their performance at Woodstock ’99. (240)
“It was a scorching hot day; the sun was blaring in my face. My in-ear monitors had a loud high-pitched squeal to go along with the barely audible music we were playing in it.” – Jim Bogios of Counting Crows on Woodstock ’99. (241)
“Woodstock ’99 was a bit of a wreck. You can’t charge a premium for tickets and put people on a cement runway in the middle of the summer. Water and food were overprices. People felt cheated and obviously they reacted in a negative way by the end of the weekend.” – Will Turpin of Collective Soul (242)
“It was hot, there were palm trees, and a lot of great haircuts and sunglasses. I can’t wait to go back.” –Scott Avett of the Avett Brothers on Coachella (243)
"I thought I was going to be the laughing stock of the festival. I
knew I was on during the Chili Pepper's set, but I thought there would
be enough people who didn't like them to get my a decent audience by
default. [...]" - Mike Relm , a DJ, on looking out just before his set
and seeing 50 people in the crowd. (He ended up playing a great set,
and got the tent packed.) (246)
"I can't get the heat off my mind. You know, coming from ice cold Sweden straight out in the desert." - Mats Bjorke of Mando Diao on Coachella (247)
"So many new acts are exposed to an audience who would not normally get to see them" - Mike Relm (247)
"[Coachella] has become one of the most popular destination festivals in the country." (247)
"Coachella had demonstrated that destination festivals could be well-organized and a lot of fun to attend. [...] By 2002, the rock festival had once again become central to the rock music experience." (248)
"At [Bonnaroo's] inception, the festival's primary focus was on jam bands, but by 2007 the acts are primarily rock with alternative, hip hop, country, fold, gospel, electronica, reggae, and almost every other style of music known to man thrown into the mix. People travel from all over the country to see their favorite bands and to be exposed to music they may have never heard or experienced. [...] Artisans and craftsmen display their wares in the Bonnaroo Market. large tents feature comedy, movies, and arcade games - continuously for twenty-four hours - at 'Centeroo.'" (249)
"The one thing that stood out to me at Bonnaroo was how electric the crowd felt." - Aesop Rock (250)
"There are those who save all year for the Bonnaroo experience and others who attend on a whim. There are as many white collar workers as those employed in blue collar jobs. Everyone is welcome at Bonnaroo."(251)
Friday, May 1, 2009
Does the Music Matter?
The article came in!
Basically the article talks about understanding visitor's motivations to music festivals, using a study of Celebrate Fairfax! to obtain data. They looked at factors such as race and income. This information, while interesting and worth taking note of, is probably too specific to include in a paper about destination rock festivals.
The most relevant point that the authors point out is that while many of the people at music festivals are there for the music, a good amount are there for socialization reasons, such as a friend asking them to go.
Basically the article talks about understanding visitor's motivations to music festivals, using a study of Celebrate Fairfax! to obtain data. They looked at factors such as race and income. This information, while interesting and worth taking note of, is probably too specific to include in a paper about destination rock festivals.
The most relevant point that the authors point out is that while many of the people at music festivals are there for the music, a good amount are there for socialization reasons, such as a friend asking them to go.
Thursday, April 30, 2009
Another Scholarly Source I Hope Arrives Soon.
Bowen, Heather; and M.J. Daniels. “Does the Music Matter? Motivations for Attending a Music Festival.” Event Management. Vol. 9, 155-164.
I’ve requested this article from the library, since we currently do not have access to this journal. I’m hoping it will arrive soon, since the abstract looks quite promising:
Abstract
Music festivals are unique special events that attract audiences for a variety of reasons; however, research exploring the motivations of music festival visitors is sparse. Recognizing the potential for music festivals to contribute to host communities, this study aims to explore motivations for attending a large, multi-day music festival. On-site visitor interviews were conducted at Celebrate Fairfax!, an annual music festival held in Virginia (USA). Cluster analysis of attendance motivations revealed four groupings of visitors, which were given the following names based on their patterns of motivations: "Just Being Social," "Enrichment Over Music," "The Music Matters," and "Love It All." These groups differed based on race, marital status, and household income. Marginal sex differences were also found. The results of this study suggest that music festival planners can use different marketing tactics to broaden a festival's appeal and that it is risky for event managers to rely on the music itself or a specific artist to draw large festival crowds. Equally important is creating a fun and festive atmosphere that offers ample opportunity to socialize and have new and nonmusical experiences.
I’ve requested this article from the library, since we currently do not have access to this journal. I’m hoping it will arrive soon, since the abstract looks quite promising:
Abstract
Music festivals are unique special events that attract audiences for a variety of reasons; however, research exploring the motivations of music festival visitors is sparse. Recognizing the potential for music festivals to contribute to host communities, this study aims to explore motivations for attending a large, multi-day music festival. On-site visitor interviews were conducted at Celebrate Fairfax!, an annual music festival held in Virginia (USA). Cluster analysis of attendance motivations revealed four groupings of visitors, which were given the following names based on their patterns of motivations: "Just Being Social," "Enrichment Over Music," "The Music Matters," and "Love It All." These groups differed based on race, marital status, and household income. Marginal sex differences were also found. The results of this study suggest that music festival planners can use different marketing tactics to broaden a festival's appeal and that it is risky for event managers to rely on the music itself or a specific artist to draw large festival crowds. Equally important is creating a fun and festive atmosphere that offers ample opportunity to socialize and have new and nonmusical experiences.
Wednesday, April 29, 2009
Email Interview with Joe
What was your favorite part of Bonnaroo?
My favorite part of Bonnaroo was living with the music. We lucked out and got a campsite really close to the stages and could hear the music right from our tent. Waking up to the festival right in front of us was awesome. Also, meeting so many interesting people from all over the nation, and in some cases the world, was really amazing. It's an experience like no other.
Have you ever been to another music festival?
I go to the JVC Jazz festival in NYC almost every year, but that's more like a series of concerts throughout a month and I rarely see more than one show a year. I've been to the Newport Jazz festival when I was really young, but don't remember much about it. I went to Linkin Park's Project Revolution last summer which was a day-long event of probably 12-15 bands.
What was your least favorite part?
3) My least favorite part was the extreme Tennessee heat in June that you are constantly in during the weekend. We had beautiful weather when we were there, but it was really hot and showering wasn't really an option unless you wanted to pay for it and wait in line for a long time (part of the experience is the act of not showering and being a dirty hippie for a weekend anyway). Still, the heat was bearable and I basically have no complaints about the experience.
Would you go again?
4) I would absolutely go again, but I kind of like having it in my memories as a one-time experience. Given the chance, and assuming I had enough money to go (total cost of the experience was at least $500), I would probably go again if I was going with the right people.
Do you know anyone who has disliked a music festival?
5) I cannot think of a person who disliked a music festival. By the fourth day of Bonnaroo, you're pretty exhausted and might be getting sick of it, but I wouldn't call that disliking it.
My favorite part of Bonnaroo was living with the music. We lucked out and got a campsite really close to the stages and could hear the music right from our tent. Waking up to the festival right in front of us was awesome. Also, meeting so many interesting people from all over the nation, and in some cases the world, was really amazing. It's an experience like no other.
Have you ever been to another music festival?
I go to the JVC Jazz festival in NYC almost every year, but that's more like a series of concerts throughout a month and I rarely see more than one show a year. I've been to the Newport Jazz festival when I was really young, but don't remember much about it. I went to Linkin Park's Project Revolution last summer which was a day-long event of probably 12-15 bands.
What was your least favorite part?
3) My least favorite part was the extreme Tennessee heat in June that you are constantly in during the weekend. We had beautiful weather when we were there, but it was really hot and showering wasn't really an option unless you wanted to pay for it and wait in line for a long time (part of the experience is the act of not showering and being a dirty hippie for a weekend anyway). Still, the heat was bearable and I basically have no complaints about the experience.
Would you go again?
4) I would absolutely go again, but I kind of like having it in my memories as a one-time experience. Given the chance, and assuming I had enough money to go (total cost of the experience was at least $500), I would probably go again if I was going with the right people.
Do you know anyone who has disliked a music festival?
5) I cannot think of a person who disliked a music festival. By the fourth day of Bonnaroo, you're pretty exhausted and might be getting sick of it, but I wouldn't call that disliking it.
Tuesday, April 28, 2009
Scholarly Sources Notes: Grunwell and Li
Grunwell, Sandra; Inhyuck Ha, and Bonnie Martin. “A Comparative Analysis of Attendee Profiles at Two Urban Festivals.” Journal of Convention & Event Tourism. 2008. 9:1, 1-14.
(DOI: 10.1080/15470140802104516)
Grunwell et al. look at tourism as a means of economic development, focusing on festivals due to their immense growth in the past years. They look at two festivals held in Asheville, NC; including a summer street festival. This article was pertinent in terms of looking at festivals in general, but the events they decided to further research were free, and therefore not as relevant to my research as other articles.
Interesting Quotes:
“Festivals can create tourism demand that is less susceptible to economic downturns, enhance the image of tourism destinations, aid in the rejuvenation of cities, and create new economic activity.” (2)
“Martin, Bridges, & Grunwell (2006) conducted a comparative study of two different types of music festivals (jazz and country rock) in the introductory stage of their lifecycle, both held in a rural university setting in North Carolina. Findings revealed differences in attendance, age, income, spending, distance traveled, and overnight stays. These comparative studies suggest there are event-specific factors associated with different types of festivals.” (4)
“Although both groups reported high levels of satisfaction with the festivals, significantly more film festival attendees said they would return next year. Their intention to return may reflect the fact that the film festival is still in the introductory stage of its lifecycle, whereas the street festival is well in the mature stage and interest may be beginning to wane. Left unattended, the street festival might be headed for decline. As cited by Lade and Jackson (2004, p. 4) “From a long-term aspect, the interest generated in the festival may constantly change and, as a result of a failure by organizers to respond accordingly, attendance may drop.” (11)
Li, Xiang; and Hans Vogelsong. “An Examination of Satisfaction Variables and Indicators at a First-time Festival.” Proceedings of the 2003 Northeaster Recreation Research Symposium. Murdy, James, ed. USDA Forest Service. 2004. 440-446.
This paper looked at the satisfaction levels of those who attended a festival, and compared it to their expectations and other important variables. This focused on a first-time festival in North Carolina, and therefore the data was not as pertinent; however, it did note that residents’ satisfaction in the event was no different from non-residents, those with more festival experience had a similar time to those with festival experience, and the amount of money spent also did not correlate with satisfaction. All of these conclusions were against their initial hypotheses, and I looked at this data as a reason why I should not generalize without specific data. They also discovered that the weather can play one of the most important roles in the success or demise of an event.
Important Quotes:
“Getz (1991) defined a special event as “a onetime or infrequently occurring event outside the normal program or activities of the sponsoring or organizing body. To the customer, a special event is an opportunity for a leisure, social or cultural experience outside the normal range of choices or beyond everyday experience” (p. 44). Varying in their size and significance, events could be classified as special events, hallmark events, and mega events (Getz, 1997).” (1) (I have decided to look into Getz’s research after discovering this definition.)
“It may be concluded that some non-controllable factors may have more influence on satisfaction than event programming and planning.” (6)
“We may also conclude from this survey that indicators other than overall satisfaction and satisfaction attributes are needed to draw a whole picture of attendees’ attitude toward the festival. The respondents are content with the specific service attributes of their festival experience, such as “safety and security”, “cleanliness of facilities”, “condition of facilities”, and “behavior of other visitors”. But their overall satisfaction was worsened by the weather condition, which damaged a more enjoyable experience. In other words, respondents separated their comments on festival per se and non-controllable factors such as weather. That helps explain why at the same time people gave fairly low rating on satisfaction items, they still indicated a strong intention to return and recommending to others.” (6)
(DOI: 10.1080/15470140802104516)
Grunwell et al. look at tourism as a means of economic development, focusing on festivals due to their immense growth in the past years. They look at two festivals held in Asheville, NC; including a summer street festival. This article was pertinent in terms of looking at festivals in general, but the events they decided to further research were free, and therefore not as relevant to my research as other articles.
Interesting Quotes:
“Festivals can create tourism demand that is less susceptible to economic downturns, enhance the image of tourism destinations, aid in the rejuvenation of cities, and create new economic activity.” (2)
“Martin, Bridges, & Grunwell (2006) conducted a comparative study of two different types of music festivals (jazz and country rock) in the introductory stage of their lifecycle, both held in a rural university setting in North Carolina. Findings revealed differences in attendance, age, income, spending, distance traveled, and overnight stays. These comparative studies suggest there are event-specific factors associated with different types of festivals.” (4)
“Although both groups reported high levels of satisfaction with the festivals, significantly more film festival attendees said they would return next year. Their intention to return may reflect the fact that the film festival is still in the introductory stage of its lifecycle, whereas the street festival is well in the mature stage and interest may be beginning to wane. Left unattended, the street festival might be headed for decline. As cited by Lade and Jackson (2004, p. 4) “From a long-term aspect, the interest generated in the festival may constantly change and, as a result of a failure by organizers to respond accordingly, attendance may drop.” (11)
Li, Xiang; and Hans Vogelsong. “An Examination of Satisfaction Variables and Indicators at a First-time Festival.” Proceedings of the 2003 Northeaster Recreation Research Symposium. Murdy, James, ed. USDA Forest Service. 2004. 440-446.
This paper looked at the satisfaction levels of those who attended a festival, and compared it to their expectations and other important variables. This focused on a first-time festival in North Carolina, and therefore the data was not as pertinent; however, it did note that residents’ satisfaction in the event was no different from non-residents, those with more festival experience had a similar time to those with festival experience, and the amount of money spent also did not correlate with satisfaction. All of these conclusions were against their initial hypotheses, and I looked at this data as a reason why I should not generalize without specific data. They also discovered that the weather can play one of the most important roles in the success or demise of an event.
Important Quotes:
“Getz (1991) defined a special event as “a onetime or infrequently occurring event outside the normal program or activities of the sponsoring or organizing body. To the customer, a special event is an opportunity for a leisure, social or cultural experience outside the normal range of choices or beyond everyday experience” (p. 44). Varying in their size and significance, events could be classified as special events, hallmark events, and mega events (Getz, 1997).” (1) (I have decided to look into Getz’s research after discovering this definition.)
“It may be concluded that some non-controllable factors may have more influence on satisfaction than event programming and planning.” (6)
“We may also conclude from this survey that indicators other than overall satisfaction and satisfaction attributes are needed to draw a whole picture of attendees’ attitude toward the festival. The respondents are content with the specific service attributes of their festival experience, such as “safety and security”, “cleanliness of facilities”, “condition of facilities”, and “behavior of other visitors”. But their overall satisfaction was worsened by the weather condition, which damaged a more enjoyable experience. In other words, respondents separated their comments on festival per se and non-controllable factors such as weather. That helps explain why at the same time people gave fairly low rating on satisfaction items, they still indicated a strong intention to return and recommending to others.” (6)
Tuesday, April 14, 2009
Band Interview Fieldnotes from Lollapalooza, Bonnaroo
I looked through interviews of bands on various websites, including the Bonnaroo site, Youtube, and Google Video. I basically wanted to see what the bands thought of large-scale festivals, whether they were at home in front of the large crowds or overwhelmed. Also, I found some great information about what makes some bands stand out at festivals, and others flop.
One idea that came up a lot is that many bands like to play at festivals because they get many different types of people who had not known them before the festival. Chris Cornell talks of being turned onto something you may not expect. These events can be great publicity, depending on where you are on the schedule. However, while one may think that playing right before a headliner would be the best publicity there is, since many people will be waiting for them to come onstage, this can backfire if the genres of music are different; as was the case with Pavement and Sinead O'Connor. Sinead fans simply did not want to see the likes of Pavement, and the results were disastrous. Furthermore, if two great bands are scheduled at the same time, fans must choose between them, which can cause a competition.
Another point brought up many times was the disparity between the acts currently at rock festivals. There are hip-hop acts, blue-grass groups, DJ sets, and of course, alt-rock bands, among many others. Nick from Death Cab for Cutie says that the reason they can all play together is because the people who come are here for the "live music experience", not just one act. Furthermore, Talib Kweli brings up the point that "genre lines are blurring". A band is not necessarily confined to one specific type of music anymore, as Lars Ulrich from Metallica also mentions.
I really liked the ideas that Talib Kweli brought up in response to playing at festivals. He believes that the people who "spend money, get muddy, [are] uncomfortable" are the "REAL fans. You get the people who really love music. Cause everybody else who listens casually, they aren’t doing this. And they’re missing out." The fact that most of the people coming are such music fans creates an environment not found at regular shows. Many aren't just coming for one band; they're coming for many types of music.
Some bands flourish at these festivals. Several mentioned the ability of the Flaming Lips to put on great outdoor shows. Indeed, both Death Cab for Cutie and My Morning Jacket referenced this band's spectacular performances; Nick even saying he would never want to play after them because "that’s the best birthday party everyone went to all in the same moment and that’s it."
The interview of Nick from Death Cab for Cutie answered many of the questions that I had been looking into. When asked about the set one would play at a festival vs. a normal concert, he talks about playing more of the old material, and the crowd-pleasers, for both the comfort of the audience, but also for the band.
The interview with My Morning Jacket reveals the fact that sound checks are almost always unavailable during these large festivals. Bands have to simply go out there and play the best they can, perhaps not even able to hear their own vocals or drums. Furthermore, they are not able to perhaps create the "experience" they personally want the fans to enjoy at one of their own individual tours. If people only want to see a specific band, they may be missing out, since the bands have to take away certain aspects of their shows in order to fit both the timing and physical constraints of the festival.
The weather can factor in to be a positive or negative aspect of festivals. It can be over 100 degrees at many of these festivals, especially those in the South, since these festivals occur in the late spring and summer months. Some bands mentioned that, but Against Me! cited a positive view of the weather, talking about a nice breeze coming off the water at Lollapalooza.
Here are some quotes and ideas that I noted from each interview. I've linked to the videos wherever possible.
Kings of Leon
Always try and go to lollapalooza “the crowd didn’t know who we were, so they didn’t necessarily show up.” all the other bands supported them.
Other viewpoint: “putting bands UP against each other”
they have to go up against Iggy.
Band Competition:
Interpol vs muse
Amy Winehouse vs. lupe fiasco
Mmj and modest mouse
“we’re all about competition. We’re family. We can roll.”
Perry Farrell
“can’t see them all. There’s excellence going on at all times.”
“a very do –it –yourself feel. Alternative. Might be the only one out there that isn’t put on by some “conglomerate”
(Note: Obviously, Perry is going to push for his own festival.)
Pavement
Pavement - interview on lollapalooza
Sinead o connor played before them. they were “out of our element and she was in hers.”
Role in the “demise of the lollapalooza” only 20% of the crowd knew who they were.
Didn’t work out. “misplaced band on a failing bill”
if you see video he mooned the whole audience. Everyone was screaming at them.
Against Me!
Interviewer: “Playing out today, how was it out in the blazing sun?”
Against Me!: “I had a great time, breeze coming off the water, we were in the shade. It was great.”
MGMT
(Embedding Disabled: Go here to watch.)
“we’ve never done a lot of festivals before. And I don’t know.. it’s been quite an experience… it’s one of the best summers of my life so far.. I do miss summer things like being in the countryside, playing with dogs.. but in exchange we’ve got to see a lot of the worlds and meet lots of new people. It’s exciting.”
Audioslave
Chris Cornell: “what’s really good to me is just the diversity of the bands. There’s not too many tours like that.”
“You might end up being turned on to something you didn’t expect.”
Brad: “it’s easy to be creative in an environment where everyone is so supportive of each other and respects each other.”
Tom: Not just about the music, fight for social justice, help the environment, give out alternative information to people.
Tegan and Sara
“politely avoided them. didn’t really like festivals. But it’s been really fun.”
Metallica (Lars Ulrich)
“It’s about the variety. And the fact that’s starting to happen in America is great. A no-brainer. We haven’t really done anything in America recently.”
“brings people from all over the country. That’s so cool”
Interviewer: “what do you see as the unity, the consistency within the range of these bands? No one as hard as you.”
“we exist in our own bubble. We don’t feel part of a scene, or a movement. Considered ourselves to be kind of awkward, kind of the underdogs in school.”
Talib Kweli
Talib Kweli Interview at Bonnaroo '08
Interviewer: “what is like to be here at bonnaroo?”
TK: “its beautiful to see all these artists, and all these people to be here to see these artists. Spend money, get muddy, be uncomfortable. You get the REAL fans. You get the people who really love music. Cause everybody else who listen casually, they aren’t doing this. And they’re missing out.”
“blessed to be with kanye and other hiphop arists here.”
“genre lines are blurring.” Bonnaroo was here for the fans of all the music.
He also mentions the DIY feel of certain festivals.
Death Cab (Nick)
(Embedding Disabled: Link here)
“I think we understand the unspoken contract for playing live. You’ve got to play songs that they know, including the old ones. You can’t just go out there and be like we’ve got a new album, here it is, deal with it.”
“We’ll probably lean, I would say in a festival situation, more on established material, then breaking out the new jam. Not just for comfort for them, but for ourselves.”
Interviewer: “Do you go in with a different battle plan or do you say we’re gonna give em a show?”
“ultimately, that’s how we feel, we just say look we’re gonna play our show, we’re gonna be us, we’re gonna give them the best show we know how. When you’re playing for a crowd that large, or one of the high profile spots, you really want to do something huge and over the top, but then it just doesn’t feel like us. And you can’t really do that.”
“one of the ten commandments: thou shalt not play after the flaming lips. You just don’t at a festival. That’s the best birthday party everyone went to all in the same moment and that’s it. There’s nothing else that can come after that that would ever come close. Hallelujah to the bands that can do that and take it to the next level. There’s part of me that says hey I wish I could to that. But they’ve got it on lockdown.”
Interviewer: “look at the disparity – death cab, metallica, kanye, all of them – whats the common ground?”
“the live music experience.”
“chris walla brought this up: theres an album feel to how a festival unfolds. Theres’ a cinematic build to the end. If bonnaroo is an album, death cab is where you relax a little bit. It’s like a painting, you don’t want too much of one color. When we’re on tour, we miss all the bands who come to our hometown. And now I can check out kanye and my morning jacket. That’s just as exciting, just as much of a reason we’d choose to play here.”
My Morning Jacket
One of the frustrating parts of playing a festival is you don’t have time for a soundcheck . you’ve just got an hour changeover. You’ve got to throw up your gear up there and go. People are like “BLOW 50000 people minds” and you’re like “I can’t hear my vocals! I can’t hear the drums” and everything’s crazy”
“And people are screaming, and sometimes you walk up to the mic and everything sounds great and the crowds great and sometimes its pandemonium and you can’t hear anything, it’s so hot you think you’re gonna die, it’s such a random thing, so much is happening all at once.”
“when we’re playing at our shows in an indoor venue we can manipulate the variables and create our own environment that we see and put on a show that we want. It’s kind of nice to run up on stage and do something spontaneous. Not thought out and calculated.”
“it’s set up like a family picnic. You stay and hang out.”
“the spectacle: the flaming lips are the masters of creating that world.”
One idea that came up a lot is that many bands like to play at festivals because they get many different types of people who had not known them before the festival. Chris Cornell talks of being turned onto something you may not expect. These events can be great publicity, depending on where you are on the schedule. However, while one may think that playing right before a headliner would be the best publicity there is, since many people will be waiting for them to come onstage, this can backfire if the genres of music are different; as was the case with Pavement and Sinead O'Connor. Sinead fans simply did not want to see the likes of Pavement, and the results were disastrous. Furthermore, if two great bands are scheduled at the same time, fans must choose between them, which can cause a competition.
Another point brought up many times was the disparity between the acts currently at rock festivals. There are hip-hop acts, blue-grass groups, DJ sets, and of course, alt-rock bands, among many others. Nick from Death Cab for Cutie says that the reason they can all play together is because the people who come are here for the "live music experience", not just one act. Furthermore, Talib Kweli brings up the point that "genre lines are blurring". A band is not necessarily confined to one specific type of music anymore, as Lars Ulrich from Metallica also mentions.
I really liked the ideas that Talib Kweli brought up in response to playing at festivals. He believes that the people who "spend money, get muddy, [are] uncomfortable" are the "REAL fans. You get the people who really love music. Cause everybody else who listens casually, they aren’t doing this. And they’re missing out." The fact that most of the people coming are such music fans creates an environment not found at regular shows. Many aren't just coming for one band; they're coming for many types of music.
Some bands flourish at these festivals. Several mentioned the ability of the Flaming Lips to put on great outdoor shows. Indeed, both Death Cab for Cutie and My Morning Jacket referenced this band's spectacular performances; Nick even saying he would never want to play after them because "that’s the best birthday party everyone went to all in the same moment and that’s it."
The interview of Nick from Death Cab for Cutie answered many of the questions that I had been looking into. When asked about the set one would play at a festival vs. a normal concert, he talks about playing more of the old material, and the crowd-pleasers, for both the comfort of the audience, but also for the band.
The interview with My Morning Jacket reveals the fact that sound checks are almost always unavailable during these large festivals. Bands have to simply go out there and play the best they can, perhaps not even able to hear their own vocals or drums. Furthermore, they are not able to perhaps create the "experience" they personally want the fans to enjoy at one of their own individual tours. If people only want to see a specific band, they may be missing out, since the bands have to take away certain aspects of their shows in order to fit both the timing and physical constraints of the festival.
The weather can factor in to be a positive or negative aspect of festivals. It can be over 100 degrees at many of these festivals, especially those in the South, since these festivals occur in the late spring and summer months. Some bands mentioned that, but Against Me! cited a positive view of the weather, talking about a nice breeze coming off the water at Lollapalooza.
Here are some quotes and ideas that I noted from each interview. I've linked to the videos wherever possible.
Kings of Leon
Always try and go to lollapalooza “the crowd didn’t know who we were, so they didn’t necessarily show up.” all the other bands supported them.
Other viewpoint: “putting bands UP against each other”
they have to go up against Iggy.
Band Competition:
Interpol vs muse
Amy Winehouse vs. lupe fiasco
Mmj and modest mouse
“we’re all about competition. We’re family. We can roll.”
Perry Farrell
“can’t see them all. There’s excellence going on at all times.”
“a very do –it –yourself feel. Alternative. Might be the only one out there that isn’t put on by some “conglomerate”
(Note: Obviously, Perry is going to push for his own festival.)
Pavement
Pavement - interview on lollapalooza
Sinead o connor played before them. they were “out of our element and she was in hers.”
Role in the “demise of the lollapalooza” only 20% of the crowd knew who they were.
Didn’t work out. “misplaced band on a failing bill”
if you see video he mooned the whole audience. Everyone was screaming at them.
Against Me!
Interviewer: “Playing out today, how was it out in the blazing sun?”
Against Me!: “I had a great time, breeze coming off the water, we were in the shade. It was great.”
MGMT
(Embedding Disabled: Go here to watch.)
“we’ve never done a lot of festivals before. And I don’t know.. it’s been quite an experience… it’s one of the best summers of my life so far.. I do miss summer things like being in the countryside, playing with dogs.. but in exchange we’ve got to see a lot of the worlds and meet lots of new people. It’s exciting.”
Audioslave
Chris Cornell: “what’s really good to me is just the diversity of the bands. There’s not too many tours like that.”
“You might end up being turned on to something you didn’t expect.”
Brad: “it’s easy to be creative in an environment where everyone is so supportive of each other and respects each other.”
Tom: Not just about the music, fight for social justice, help the environment, give out alternative information to people.
Tegan and Sara
“politely avoided them. didn’t really like festivals. But it’s been really fun.”
Metallica (Lars Ulrich)
“It’s about the variety. And the fact that’s starting to happen in America is great. A no-brainer. We haven’t really done anything in America recently.”
“brings people from all over the country. That’s so cool”
Interviewer: “what do you see as the unity, the consistency within the range of these bands? No one as hard as you.”
“we exist in our own bubble. We don’t feel part of a scene, or a movement. Considered ourselves to be kind of awkward, kind of the underdogs in school.”
Talib Kweli
Talib Kweli Interview at Bonnaroo '08
Interviewer: “what is like to be here at bonnaroo?”
TK: “its beautiful to see all these artists, and all these people to be here to see these artists. Spend money, get muddy, be uncomfortable. You get the REAL fans. You get the people who really love music. Cause everybody else who listen casually, they aren’t doing this. And they’re missing out.”
“blessed to be with kanye and other hiphop arists here.”
“genre lines are blurring.” Bonnaroo was here for the fans of all the music.
He also mentions the DIY feel of certain festivals.
Death Cab (Nick)
(Embedding Disabled: Link here)
“I think we understand the unspoken contract for playing live. You’ve got to play songs that they know, including the old ones. You can’t just go out there and be like we’ve got a new album, here it is, deal with it.”
“We’ll probably lean, I would say in a festival situation, more on established material, then breaking out the new jam. Not just for comfort for them, but for ourselves.”
Interviewer: “Do you go in with a different battle plan or do you say we’re gonna give em a show?”
“ultimately, that’s how we feel, we just say look we’re gonna play our show, we’re gonna be us, we’re gonna give them the best show we know how. When you’re playing for a crowd that large, or one of the high profile spots, you really want to do something huge and over the top, but then it just doesn’t feel like us. And you can’t really do that.”
“one of the ten commandments: thou shalt not play after the flaming lips. You just don’t at a festival. That’s the best birthday party everyone went to all in the same moment and that’s it. There’s nothing else that can come after that that would ever come close. Hallelujah to the bands that can do that and take it to the next level. There’s part of me that says hey I wish I could to that. But they’ve got it on lockdown.”
Interviewer: “look at the disparity – death cab, metallica, kanye, all of them – whats the common ground?”
“the live music experience.”
“chris walla brought this up: theres an album feel to how a festival unfolds. Theres’ a cinematic build to the end. If bonnaroo is an album, death cab is where you relax a little bit. It’s like a painting, you don’t want too much of one color. When we’re on tour, we miss all the bands who come to our hometown. And now I can check out kanye and my morning jacket. That’s just as exciting, just as much of a reason we’d choose to play here.”
My Morning Jacket
One of the frustrating parts of playing a festival is you don’t have time for a soundcheck . you’ve just got an hour changeover. You’ve got to throw up your gear up there and go. People are like “BLOW 50000 people minds” and you’re like “I can’t hear my vocals! I can’t hear the drums” and everything’s crazy”
“And people are screaming, and sometimes you walk up to the mic and everything sounds great and the crowds great and sometimes its pandemonium and you can’t hear anything, it’s so hot you think you’re gonna die, it’s such a random thing, so much is happening all at once.”
“when we’re playing at our shows in an indoor venue we can manipulate the variables and create our own environment that we see and put on a show that we want. It’s kind of nice to run up on stage and do something spontaneous. Not thought out and calculated.”
“it’s set up like a family picnic. You stay and hang out.”
“the spectacle: the flaming lips are the masters of creating that world.”
Monday, April 13, 2009
Critical Review #8: Simonett
Simonett, Helena. Banda. Chapter 2: The Quebradita Dance Craze.
In this chapter, Simonett attempts to describe the Quebradita ("little break") and its importance in the early 1990s to Southern California, especially to those of Mexican descent. She discusses the dress (cowboy hat and boots), the steps, its effect on gender and community, and the importance of dance in people's lives. I was most interested in the part where she argues that this dance helped to keep kids out of gangs by giving them another way to form groups and feel connected. My one criticism is I wish that this paper had more pictures of people doing the dance moves that she describes. I read this in a waiting room and I really wanted to see what exactly she was describing but had to wait until I got home to google search it.
Discussion Question: Does the statement on p74 about the reason why men go to clubs ring true for nowadays? Do men go to clubs just to dance? Or for other reasons?
In this chapter, Simonett attempts to describe the Quebradita ("little break") and its importance in the early 1990s to Southern California, especially to those of Mexican descent. She discusses the dress (cowboy hat and boots), the steps, its effect on gender and community, and the importance of dance in people's lives. I was most interested in the part where she argues that this dance helped to keep kids out of gangs by giving them another way to form groups and feel connected. My one criticism is I wish that this paper had more pictures of people doing the dance moves that she describes. I read this in a waiting room and I really wanted to see what exactly she was describing but had to wait until I got home to google search it.
Discussion Question: Does the statement on p74 about the reason why men go to clubs ring true for nowadays? Do men go to clubs just to dance? Or for other reasons?
Critical Review #7: Duany
Duany attempts to looks at salsa from an anthropological perspective. He first defines salsa as the "popular Puerto Rican song and dance forms as they have evolved in the last two decades" (186). He then describes its history and background from the 1960s, by referring to topics such as the seis, the difference between the high/low grounds in Puerto Rico, and the connection with the bomba. He asserts that Puerto Rico is a culture of "mixes"; the salsa follows this pattern, being a "mixture of mixtures" (187). Finally, he concludes that the salsa is a dance of the working class, that voices the problems of this disadantaged group, thus creating a community between them all.
Discussion Question: Can we see any connections between salsa and metal, since both are toted as being music for the working class? (I can't.)
Discussion Question: Can we see any connections between salsa and metal, since both are toted as being music for the working class? (I can't.)
Wednesday, April 8, 2009
Critical Review #6: Back (Part 2)
In the second part of "Inglan, nice up!", Back describes the music scenes of the late 1980s and 1990s in Britain. He goes into detail about how the different movements of reggae, hip-hop, soul, and the "dancefloor" have varying degrees of mixing between races. His ethnographic moment at a dance hall emphasizes his stance that many different races come together to take part in something that they all add to, but is different than what what they originally brought to it. He asserts that the musical forms connect black, white, and asian scenes, forming an "intermezzo" that transcends the divisions between the cultures in Britain. One example of this is in the 90s jungle music, which is claimed as London's own.
Discussion Question:
Only in the notes does Back address the fact that the music's equality did not equate to the industry's equality at this time (i.e. black DJs were not allowed in the clubs that played black music). Why doesn't he address this point further? When DID it start becoming okay for blacks to go to these nightclubs? Does Back think the music helped to cause a change in racial prejudices?
Discussion Question:
Only in the notes does Back address the fact that the music's equality did not equate to the industry's equality at this time (i.e. black DJs were not allowed in the clubs that played black music). Why doesn't he address this point further? When DID it start becoming okay for blacks to go to these nightclubs? Does Back think the music helped to cause a change in racial prejudices?
Thursday, March 26, 2009
Critical Review #5: Weinstein 1991
Weinstein 1991: Ch. 4. "Digging the Music: Proud Pariahs."
In this piece, Weinstein looks into the metal scene by using almost all of the ethnographic methods we have talked about in class. He attempts to describe the scene without judgment, because he says that "critics and researchers reveal an unfortunate tendency to interpret the audience in terms of the supposed merits of the cultural form it appreciates." He does mention many times throughout the article that liking metal is not the "cool" thing. People do not do it to fit in.
One thing that Weinstein observes about the metal scene is the fact that community is very important. It's not enough to be a "weekend warrior". Long hair is important because it is not something a person can get rid of in order to fit in to society. People need a "permanent stigmata".
Another observation Weinstein makes is that although the scene is named after the music listened to, it is not its meaning. The scene would not like anything just because it is deemed "metal". The songs must fit a certain lifestyle and mythology in order for metal fans to like it because they hold a set of values that sets them apart from the dominant culture.
Weinstein then focuses on the four dominant traits within the metal scene; male, young, white, and blue collar. He states that boys like metal more than girls because it celebrates the qualities that they have when they are young. Girls are more likely to be given stricter rules growing up, while boys have a freer rein. However, when they grow up, they are held by stricter rules. I'm not sure how much I agree with this area, but at the same time, it does provide an explanation for why adults may not appreciate metal. Metal is not about following all of the rules. Blue collar is involved because those in the lower middle class, are usually most aware of their social standing and do not want to be associated with the blue collar stereotypes. By using this stereotype, the middle class young fans can rebel against their parents and be everything their parents do not want to portray.
Next, Weinstein looks at "the music itself" by stressing the importance of the guitar riffs, followed by the lyrics, and meanings of songs. The guitarist is of the utmost importance to the bands.
An interesting point brought up in this article is why headbanging was invented. The metal scene could not redefine dancing as the punks did, and normally dancing is associated with sex in the Western world. As mentioned earlier, since the scene is heavily male dominated, dancing would not fit the heterosexual lifestyle it stresses. Therefore, headbanging is a form of dancing that the community can partake in, without being sexual at all.
Finally, Weinstein stresses that metal is not a passing fad. It has been around for awhile, because there will always be people on the outside of the mainstream who want to form a community of their own. The music of metal has been chosen to be a part of this community, due to the values they share. This music is not fun for many to listen to, it is loud, it can be grating, it is hard to dance to; the mainstream will not accept it. Therefore, those who want to be a part of this subculture, which stresses its differences from the rest, will always have a place to turn.
Discussion Question: Why are headbangers known to be so homophobic?
In this piece, Weinstein looks into the metal scene by using almost all of the ethnographic methods we have talked about in class. He attempts to describe the scene without judgment, because he says that "critics and researchers reveal an unfortunate tendency to interpret the audience in terms of the supposed merits of the cultural form it appreciates." He does mention many times throughout the article that liking metal is not the "cool" thing. People do not do it to fit in.
One thing that Weinstein observes about the metal scene is the fact that community is very important. It's not enough to be a "weekend warrior". Long hair is important because it is not something a person can get rid of in order to fit in to society. People need a "permanent stigmata".
Another observation Weinstein makes is that although the scene is named after the music listened to, it is not its meaning. The scene would not like anything just because it is deemed "metal". The songs must fit a certain lifestyle and mythology in order for metal fans to like it because they hold a set of values that sets them apart from the dominant culture.
Weinstein then focuses on the four dominant traits within the metal scene; male, young, white, and blue collar. He states that boys like metal more than girls because it celebrates the qualities that they have when they are young. Girls are more likely to be given stricter rules growing up, while boys have a freer rein. However, when they grow up, they are held by stricter rules. I'm not sure how much I agree with this area, but at the same time, it does provide an explanation for why adults may not appreciate metal. Metal is not about following all of the rules. Blue collar is involved because those in the lower middle class, are usually most aware of their social standing and do not want to be associated with the blue collar stereotypes. By using this stereotype, the middle class young fans can rebel against their parents and be everything their parents do not want to portray.
Next, Weinstein looks at "the music itself" by stressing the importance of the guitar riffs, followed by the lyrics, and meanings of songs. The guitarist is of the utmost importance to the bands.
An interesting point brought up in this article is why headbanging was invented. The metal scene could not redefine dancing as the punks did, and normally dancing is associated with sex in the Western world. As mentioned earlier, since the scene is heavily male dominated, dancing would not fit the heterosexual lifestyle it stresses. Therefore, headbanging is a form of dancing that the community can partake in, without being sexual at all.
Finally, Weinstein stresses that metal is not a passing fad. It has been around for awhile, because there will always be people on the outside of the mainstream who want to form a community of their own. The music of metal has been chosen to be a part of this community, due to the values they share. This music is not fun for many to listen to, it is loud, it can be grating, it is hard to dance to; the mainstream will not accept it. Therefore, those who want to be a part of this subculture, which stresses its differences from the rest, will always have a place to turn.
Discussion Question: Why are headbangers known to be so homophobic?
Interview
I spoke with Alex, a 20 year old male who had traveled with me to Lollapalooza, and is a music director for WBRU, an alt-rock radio station. He was able to speak to some of the bands at the music festival.
Here is our interview in its entirety.
Here is our interview in its entirety.
Sunday, March 15, 2009
Performance Ethnography Essay
Not just about the music: Lollapalooza 2008
I heard from several people that Lollapalooza and other music festivals were “the best time of their lives”. But what makes this festival different from other concerts? As a twenty-year-old avid rock and indie concertgoer, I knew I had to see for myself what makes Lollapalooza so special. Could it live up to the hype?
Created by the lead singer of Jane’s Addiction, Perry Farrell; Lollapalooza first started as a tour in 1991. During the early 1990s, it drew crowds across the country, by having bands from a mixture of genres, including industrial, rap, and post-punk. Moreover, it differentiated itself from other musical tours by having non-musical features, such as a circus sideshow and tables for political and environmental non-profit groups. Farrell created the term “alternative nation” to refer to those who went, since most were not part of the dominant culture [1].
Unfortunately, as so often happens, the edgy bands that had once made this festival stand out in the early 90s, became part of the mainstream or passé quickly. In 1998, the festival disbanded as the result of not even being able to find a headliner. In 2003, Farrell brought the concept of the tour back despite weak ticket sales, and in 2005, it found its home in Grant Park, where it would stay, with increasing popularity each year to this day.
If I looked to my left, one of the main stages could barely be seen, since it was so far away. I knew, from the day before, that there were two other stages for bands that way, a stage devoted to DJ sets and dancing, a food aisle, a beer haven of sorts, and many other booths, many with an alternative flair. Close by was a shaded hammock haven, where concertgoers took a break from the hot sun. Next to the hammocks was an area (including a stage) dedicated to children younger than thirteen and their parents, called Kidzapalooza.
Kidzapalooza is just one the many ingredients that make this festival different from other shows out there; according to its website, it was started in 2005, as a “way to expose children to messages of kindness, happiness, respect, and self-discovery.” Whether or not this stage accomplishes this lofty goal, it adds to the demographics of the festival. While almost 75% of the crowd is between the ages of 18 and 34 [2], there is a definite presence of every age bracket, both older and younger. A 65-year-old man in a leather vest led what looks to be his grandson to get “tattooed” (actually face paint) at a booth at this Kidzapalooza.
Still, the majority of the festival is not at Kidzapalooza; it is at the main stages outside of this family-friendly haven. My friends and I split up at this point, and I ran over to the other side of the park to watch Does It Offend You, Yeah?, a band from the United Kingdom. They had an upbeat electro-rock sound, and with each song, the crowd seemed to get more into it, evidenced by the nodding of their heads to the beat. Whether from the heat, or something else, the band’s drummer had to leave briefly to throw up in the middle of the set. He came back, and the band continued on with just as much energy as before. I looked behind me during their last song and everyone was dancing. Most of the dance consisted of jumping up and down to the beat of the song, a few people singing along with the lyrics. Some people invoked different sweeping arm motions into their dance. Everyone looked to be having a really great time, usually with at least one companion. Lollapalooza was not simply about the music; it was about having fun and sharing the experiences with others as well. Very few appeared to have come alone.
Later that day, on the same stage, Iron & Wine played. His mellow, almost haunting melodies drifted over people as they sat on towels and blankets, smoke drifing up towards the sky. It was a completely different feel than that of Does It Offend You, Yeah?. It was here that I realized that anyone could make their experience whatever they wanted. On one hand, if they wanted it to be full of dancing, there were DJ sets and electronics bands. If they wanted more of a chill, indie flare, there were bands for that as well. Many different musical fans came all over, with at least one thing in common: they were here to have fun and listen to good music.
Note the crowd at about 3:02 in this video of DIOYY at Lollapalooza 2008:
There is also a crowd shot of Iron and Wine at 1:22 here:
Note the differences between the energies of the crowds, even though this was at the same stage (although on different days).
After many a band’s set, people took out the Lollapalooza booklet that listed the schedules and biographies of the bands, debating which bands to see and which ones they could miss. Many talked about what bands would be good at a festival, and which they should see on a separate tour, a topic I intend to discuss in a later post.
Another element of the festival that contributed to its uniqueness was the large amounts of substance use during the festival. Vendors sold beer in vast quantities, along with many bottles of wine. I was hesitant about drinking an entire bottle of wine in nearly 100 degree F weather, but others held fewer reservations. Although many concerts have alcohol and drugs, simply the length of time people had to be inebriated caused a different effect than a normal concert. In addition to these legal substances, almost any kind of drug imaginable seemed to be present. At the DJ sets, several people held signs asking “X?”, seeking or selling ecstasy to any who wanted it. Security pretended not to notice as I watched a group of twenty-somethings smoke marijuana from a bowl in the hammocks. As I previously mentioned, it was not very difficult to sneak in any sort of contraband. It was almost encouraged with this lack of actual security. The only time I saw anyone get involved was if one became sick or violent. Other music festivals, especially Bonnaroo, are noted to have the same lax policy on drug-use.
The festival appeared to be a musical vacation of sorts for those who attended. Indeed many who traveled far distances had to take time off of work and activities. Furthermore, it seemed to be a vacation from laws that normally rule society, specifically in terms of drug use. Although some people came specifically for just the music itself, most seemed to be perfectly content with the experience that comes with Lollapalooza, including the vendors, substances, and the beautiful Chicago skyline.
(Word Count: 1199)
*Names have been changed.
[1] http://www.wikipedia.org/wiki/Lollapalooza
[2] http://www.marketwire.com/press-release/Inquisite-768503.html
Monday, February 23, 2009
Fieldnotes #1- Premier US Rock Festivals
In this set of fieldnotes, I have decided to focus on what makes a rock festival different from other concerts. According to Wikipedia, a rock festival is a “large-scale outdoor rock music concerts, featuring multiple acts, often spread out over several days”[1]. The festivals that I have chosen to focus on (Bonnaroo, Lollapalooza, Austin City Limits, SXSW, and Coachella) all fit these criteria, but is this what defines them?
One important characteristic that separates these rock festivals from normal rock concerts are the parts that are not the music. For example, many of the festivals host comedians, speakers, and other events besides bands playing. Vendors line up and sell food and merchandise, and SXSW and Coachella include a film festival and an art festival respectively. Lots of foresight by concert planners is involved, due to the length and size of the festival. Without adequate facilities, such as food, water, and bathrooms, the concert will fail. At smaller, shorter concerts, these details do not make or break them, whereas they would at larger festivals.
Perhaps the greatest attribute of a rock festival is its ability to be separate from the real world. Due to its length, commitments such as work or school would have had to been moved or cancelled. A person immerses themselves in music and culture for several days, unattached to anything else. At several of these festivals, many people camp at the site for a few days. Physical barriers such as distance in the case of Bonnaroo, or a gate, in the case of Lollapalooza, keep the attendees of such festivals away from normal civilization.
As an example of the separation between worlds festival-goers may experience, I interviewed a friend who had been to both Lollapalooza and Bonnaroo via an instant message. He wrote: “drugs were basically legal there- it was awesome- the event staff would watch you take a hit of whatever you wanted-but do nothing about it”. This lack of law enforcement would not normally take place outside of the festival.
Furthermore, Urban Dictionary writes of a disease called “festival flu”, which is defined as: “An illness which inevitably sets in when one returns home from attending a music festival. Causes include: Between 2 and 10 hours sleep over a five day period, Living in your own dirt, Shouting and screaming a lot, Excessive consumption of both legal and illegal substances, Being too tight to buy food and hence going without for five days, Dehydration” [2] Concert-goers voluntarily experience these so-called causes of festival flu, in order to participate in the experience that being away from the rest of the world, with thousands of people who share an appreciation for music.
Talking to several people about the festivals revealed a type of “aura” these concerts exude. Although many concerts generate excitement, the mere fact that these festivals, are large-scale and spread out over several days contribute to the certain feeling many would describe when there. Being around many people whose goal is to listen to music and have a good time may be something that all concerts share, but festivals simply beat out normal concerts in sheer numbers (80,000 for Bonnaroo [3]; 225,000 for Lollapalooza[1] ; 65,000 for Austin City Limits[4]; 149,000 for SXSW[1], 50,000 for Coachella[5]). Not only is an attendee of one of these festivals surrounded by people who share similar musical preferences, but many have traveled from other states and countries to be there.
I would like to leave you with a quote taken from WBRU’s blog covering Lollapalooza 2008:
“Covered in the sweat of a thousand men and wearing a shirt that will probably never be wearable again, I exited Grant Park, this time at the same time as everyone else, as opposed to hanging around late to check out backstage, and I witnessed something remarkable. As the crowds pour out into the streets, there were random bursts of applause and cheers. I looked around to see what people for cheering for, and there’s nothing there. They’re cheering for nothing. Nothing, and everything that they just saw and experienced over the last two days. It’s exactly the feeling I would get walking between stages, the feeling of being completely ecstatic just to BE here, that I would just put my fists in the air for no apparent reason in a personal, private celebration. And here was everyone, doing the same thing, the cheers following us down streets and around corners. That’s what Lollapalooza is: un-containable excitement.” [6]
Future Work:
For my next post, I will interview Alex Korzec, along with several other attendees of various music festivals. I have already asked them permission. I have some questions planned. I want to make sure that I do not influence their viewpoints with my own.
In the next set of fieldnotes, along with questions from my interview, I would like to look at the bands that play these rock music festivals. Many bands repeat at these festivals. For example, some bands have played at Bonnaroo for several years in a row. Additionally, the Raconteurs showed up at almost all of these festivals last year (2008). What makes bands such as the Raconteurs appear again and again? What qualities do they possess that make them superior to other bands on the bill? There are interviews available with such bands about playing at these festivals that I will look at, as well as interviews of the people who enjoy the bands about why they consistently play at America’s premier rock music festivals.
Finally, I will write about my own experience of being at Lollapalooza last year.
References:
1. http://en.wikipedia.org/wiki/Rock_festival
2. http://www.urbandictionary.com/define.php?term=festival%20flu
3. http://www.bonnaroo.com
4. http://www.aclfestival.com/
5. http://www.coachella.com/
6. http://www.wbru.com
One important characteristic that separates these rock festivals from normal rock concerts are the parts that are not the music. For example, many of the festivals host comedians, speakers, and other events besides bands playing. Vendors line up and sell food and merchandise, and SXSW and Coachella include a film festival and an art festival respectively. Lots of foresight by concert planners is involved, due to the length and size of the festival. Without adequate facilities, such as food, water, and bathrooms, the concert will fail. At smaller, shorter concerts, these details do not make or break them, whereas they would at larger festivals.
Perhaps the greatest attribute of a rock festival is its ability to be separate from the real world. Due to its length, commitments such as work or school would have had to been moved or cancelled. A person immerses themselves in music and culture for several days, unattached to anything else. At several of these festivals, many people camp at the site for a few days. Physical barriers such as distance in the case of Bonnaroo, or a gate, in the case of Lollapalooza, keep the attendees of such festivals away from normal civilization.
As an example of the separation between worlds festival-goers may experience, I interviewed a friend who had been to both Lollapalooza and Bonnaroo via an instant message. He wrote: “drugs were basically legal there- it was awesome- the event staff would watch you take a hit of whatever you wanted-but do nothing about it”. This lack of law enforcement would not normally take place outside of the festival.
Furthermore, Urban Dictionary writes of a disease called “festival flu”, which is defined as: “An illness which inevitably sets in when one returns home from attending a music festival. Causes include: Between 2 and 10 hours sleep over a five day period, Living in your own dirt, Shouting and screaming a lot, Excessive consumption of both legal and illegal substances, Being too tight to buy food and hence going without for five days, Dehydration” [2] Concert-goers voluntarily experience these so-called causes of festival flu, in order to participate in the experience that being away from the rest of the world, with thousands of people who share an appreciation for music.
Talking to several people about the festivals revealed a type of “aura” these concerts exude. Although many concerts generate excitement, the mere fact that these festivals, are large-scale and spread out over several days contribute to the certain feeling many would describe when there. Being around many people whose goal is to listen to music and have a good time may be something that all concerts share, but festivals simply beat out normal concerts in sheer numbers (80,000 for Bonnaroo [3]; 225,000 for Lollapalooza[1] ; 65,000 for Austin City Limits[4]; 149,000 for SXSW[1], 50,000 for Coachella[5]). Not only is an attendee of one of these festivals surrounded by people who share similar musical preferences, but many have traveled from other states and countries to be there.
I would like to leave you with a quote taken from WBRU’s blog covering Lollapalooza 2008:
“Covered in the sweat of a thousand men and wearing a shirt that will probably never be wearable again, I exited Grant Park, this time at the same time as everyone else, as opposed to hanging around late to check out backstage, and I witnessed something remarkable. As the crowds pour out into the streets, there were random bursts of applause and cheers. I looked around to see what people for cheering for, and there’s nothing there. They’re cheering for nothing. Nothing, and everything that they just saw and experienced over the last two days. It’s exactly the feeling I would get walking between stages, the feeling of being completely ecstatic just to BE here, that I would just put my fists in the air for no apparent reason in a personal, private celebration. And here was everyone, doing the same thing, the cheers following us down streets and around corners. That’s what Lollapalooza is: un-containable excitement.” [6]
Future Work:
For my next post, I will interview Alex Korzec, along with several other attendees of various music festivals. I have already asked them permission. I have some questions planned. I want to make sure that I do not influence their viewpoints with my own.
In the next set of fieldnotes, along with questions from my interview, I would like to look at the bands that play these rock music festivals. Many bands repeat at these festivals. For example, some bands have played at Bonnaroo for several years in a row. Additionally, the Raconteurs showed up at almost all of these festivals last year (2008). What makes bands such as the Raconteurs appear again and again? What qualities do they possess that make them superior to other bands on the bill? There are interviews available with such bands about playing at these festivals that I will look at, as well as interviews of the people who enjoy the bands about why they consistently play at America’s premier rock music festivals.
Finally, I will write about my own experience of being at Lollapalooza last year.
References:
1. http://en.wikipedia.org/wiki/Rock_festival
2. http://www.urbandictionary.com/define.php?term=festival%20flu
3. http://www.bonnaroo.com
4. http://www.aclfestival.com/
5. http://www.coachella.com/
6. http://www.wbru.com
Monday, February 16, 2009
Critical Review #4 - Schilt - "Riot Grrrl is..."
Schilt, Kristen. Ch. 6. Music Scenes.
"Riot Grrrl is...": The Contestation over Meaning in a Music Scene.
Riot grrrl was/is a genre that attempted to keep itself undefined in order to be whatever the person wanted it to be. Unfortunately, mainstream media, in its attempts to label the movement, may have destroyed it by focusing on its fashion of cut-up aesthetic, instead of the values held by members of the movement.
Described as a punk DIY mixed with feminist politics, Schilt portrays riot grrrl as more of a political movement than a musical one. Riot grrrls attempted to take control of the mainstream media by being a part of the production of fanzines and bands and using these as a format for discussing sexism. Although the subculture attempted to be all-inclusive, saying that anyone could be involved, mostly female, white middle class punks became a part of it; and eventually alienated other races and classes from joining.
This article also discusses the topic of mainstream vs. independent. How does one get a political message out to the masses without being a "sell-out"? This is an issue that bands struggle with across all subcultures, not just riot grrrl. By joining a major label, bands lose subcultural capital (no longer being as cool), but may gain more fans due to exposure.
Although she attempts to mention that those involved struggled between having a political message or being musicians first, Schilt herself focuses a lot more on the politics than "the music itself". She uses lyrics as an example of the feminist nature of bands such as Bikini Kill, but says nothing of the music or sounds that the band created.
Schilt does mention that the riot grrrl subculture may have been frustrated with the increasing amount of moshing at concerts from punk bands at the time - does that mean riot grrrl bands played music less "moshable" than punk? does the riot grrrl genre have any specific musical characteristics other than being "punk"? Or is it just punk with a feminist political message? I'm more interested in "the music itself" in other words, not just its lyrics.
"Riot Grrrl is...": The Contestation over Meaning in a Music Scene.
Riot grrrl was/is a genre that attempted to keep itself undefined in order to be whatever the person wanted it to be. Unfortunately, mainstream media, in its attempts to label the movement, may have destroyed it by focusing on its fashion of cut-up aesthetic, instead of the values held by members of the movement.
Described as a punk DIY mixed with feminist politics, Schilt portrays riot grrrl as more of a political movement than a musical one. Riot grrrls attempted to take control of the mainstream media by being a part of the production of fanzines and bands and using these as a format for discussing sexism. Although the subculture attempted to be all-inclusive, saying that anyone could be involved, mostly female, white middle class punks became a part of it; and eventually alienated other races and classes from joining.
This article also discusses the topic of mainstream vs. independent. How does one get a political message out to the masses without being a "sell-out"? This is an issue that bands struggle with across all subcultures, not just riot grrrl. By joining a major label, bands lose subcultural capital (no longer being as cool), but may gain more fans due to exposure.
Although she attempts to mention that those involved struggled between having a political message or being musicians first, Schilt herself focuses a lot more on the politics than "the music itself". She uses lyrics as an example of the feminist nature of bands such as Bikini Kill, but says nothing of the music or sounds that the band created.
Schilt does mention that the riot grrrl subculture may have been frustrated with the increasing amount of moshing at concerts from punk bands at the time - does that mean riot grrrl bands played music less "moshable" than punk? does the riot grrrl genre have any specific musical characteristics other than being "punk"? Or is it just punk with a feminist political message? I'm more interested in "the music itself" in other words, not just its lyrics.
Wednesday, February 11, 2009
Critical Review #3: Maira 1999
Maira, Sunaina. "Identity Dub: The Paradoxes of an Indian American Youth Subculture (New York Mix)." Cultural Anthropology. Vol. 14, No. 1. 1999. pp. 29-60.
After starting in an ethnographic moment of an Indian American club scene, Maira argues that fashion and music as displayed in such clubs and desi parties are of the utmost importance to the Indian American youth subculture. The second-generation subculture mixes hip-hop with traditional Indian music brought from overseas, therefore giving them a unique identity of both the old and the new. However, she points out that this does not necessarily mean that the group is trying to assimulate and become part of the "melting pot" by mixing the two cultures.
Maira also points out that the although the subculture likes to hold onto both American and Indian aspects in their life, many times these two different cultures can be at odds. She writes about a few teenagers who have to change clothes before going out, so they may be wearing conservative clothes in front of their parents, but more provacative clothes upon entering the club. She also writes about the male notion that Indian females should be cool, and therefore go to the parties, but also maintain a virtuous side, so that they can be good wives someday.
A quote in the piece I found interesting was a quote from Simon Frith: "for young people... music probably has the most important role in the mapping of social networks, determining how and where they meet and court and party." (34)
I do not totally agree with this sentiment. While I agree that it has meaning to me, because I place so much importance on music, I know many others that do not find music as important in their lives. They'll listen to a certain genre, but perhaps not as often as I do, nor do they place the importance of making friends who share their taste. Some of my friends and I don't listen to the same type of music at all. We met each other through sports teams or clubs, but not music. Music is important to the lives of young people - but the most important? That may be a bit too strong of a phrase. Besides music, what else plays an important role in the social networks of a culture?
After starting in an ethnographic moment of an Indian American club scene, Maira argues that fashion and music as displayed in such clubs and desi parties are of the utmost importance to the Indian American youth subculture. The second-generation subculture mixes hip-hop with traditional Indian music brought from overseas, therefore giving them a unique identity of both the old and the new. However, she points out that this does not necessarily mean that the group is trying to assimulate and become part of the "melting pot" by mixing the two cultures.
Maira also points out that the although the subculture likes to hold onto both American and Indian aspects in their life, many times these two different cultures can be at odds. She writes about a few teenagers who have to change clothes before going out, so they may be wearing conservative clothes in front of their parents, but more provacative clothes upon entering the club. She also writes about the male notion that Indian females should be cool, and therefore go to the parties, but also maintain a virtuous side, so that they can be good wives someday.
A quote in the piece I found interesting was a quote from Simon Frith: "for young people... music probably has the most important role in the mapping of social networks, determining how and where they meet and court and party." (34)
I do not totally agree with this sentiment. While I agree that it has meaning to me, because I place so much importance on music, I know many others that do not find music as important in their lives. They'll listen to a certain genre, but perhaps not as often as I do, nor do they place the importance of making friends who share their taste. Some of my friends and I don't listen to the same type of music at all. We met each other through sports teams or clubs, but not music. Music is important to the lives of young people - but the most important? That may be a bit too strong of a phrase. Besides music, what else plays an important role in the social networks of a culture?
Tuesday, February 10, 2009
Ethnography Project Proposal: US Premier Rock Festivals
For my project, I would like to focus on the so-called "premier" rock music festivals in the United States. These include South by Southwest, Coachella, Lollapalooza, Bonnaroo, and Austin City Limits. Many people travel hundreds or thousands of miles to attend these concerts, braving harsh heat, rain, and other weather. Their price tag alone is enough to deter some listeners. Therefore, what types of people decide to attend these concerts?
I know that I personally drove to Lollapalooza last year to be a part of the action. Therefore, I have some opinions on the subject already, but I will base my research on web research and interviews of attendees of such shows. Furthermore, I will use interviews from bands who have played at such festivals, from both the media and my position at WBRU in Providence.
There is a lot more to music festivals than just "the music itself". The people that attend the events create a certain attitude - is there a way to define this intangible feeling? Furthermore, sponsors and vendors create all types of exhibits, games, and other events during the shows. How do these factor in to a concert-goer's experience?
In addition to the thoughts already posed above, some other questions I would like to answer in my project include:
-What makes these particular concerts stand out among all the music festivals in the US?
------What makes them different from regular concerts?
------What makes them different from other festivals?
-What types of people attend these events?
------How many are "repeat consumers"? Do they form a type of community?
------How many are one time attendees? Why do the choose to only go?
-What aspects of premier rock festivals do attendees most enjoy?
-Who organizes these events?
------How do they get the majority of their money? (Ticket sales, sponsors?)
------How do they affect the cities that host them?
-What types of bands play at these events? What has their experience been like?
------Why do many of the same bands attend all of these shows in a particular year?
------How do they change their set from a normal concert? (Besides duration)
Sources:
"Music Festivals" in Music Scenes: Local, Translocal, and Virtual. p149-167.
http://en.wikipedia.org/wiki/Music_festival
http://www.startribune.com/entertainment/music/17492739.html
Extra Stuff:
Bonnaroo's 2009 Lineup!
Girl Talk from Lollapalooza 2008!
I know that I personally drove to Lollapalooza last year to be a part of the action. Therefore, I have some opinions on the subject already, but I will base my research on web research and interviews of attendees of such shows. Furthermore, I will use interviews from bands who have played at such festivals, from both the media and my position at WBRU in Providence.
There is a lot more to music festivals than just "the music itself". The people that attend the events create a certain attitude - is there a way to define this intangible feeling? Furthermore, sponsors and vendors create all types of exhibits, games, and other events during the shows. How do these factor in to a concert-goer's experience?
In addition to the thoughts already posed above, some other questions I would like to answer in my project include:
-What makes these particular concerts stand out among all the music festivals in the US?
------What makes them different from regular concerts?
------What makes them different from other festivals?
-What types of people attend these events?
------How many are "repeat consumers"? Do they form a type of community?
------How many are one time attendees? Why do the choose to only go?
-What aspects of premier rock festivals do attendees most enjoy?
-Who organizes these events?
------How do they get the majority of their money? (Ticket sales, sponsors?)
------How do they affect the cities that host them?
-What types of bands play at these events? What has their experience been like?
------Why do many of the same bands attend all of these shows in a particular year?
------How do they change their set from a normal concert? (Besides duration)
Sources:
"Music Festivals" in Music Scenes: Local, Translocal, and Virtual. p149-167.
http://en.wikipedia.org/wiki/Music_festival
http://www.startribune.com/entertainment/music/17492739.html
Extra Stuff:
Bonnaroo's 2009 Lineup!
Girl Talk from Lollapalooza 2008!
Wednesday, February 4, 2009
Critical Review #2: Hodkinson 2004
Hodkinson, Paul. "Translocal Connections in the Goth Scene."
from: Bennett, Andy and Richard A. Peterson. ed. Music Scenes: Local, Translocal, and Virtual. Vanderbilt University Press; Nashville. 2004. 131-148.
In this piece, Hodkinson focuses on what he terms the "abstract" and the "concrete" areas of the goth scene, and how both demonstrate the translocality that this group possesses. During an ethnographic study in Britain, an abstract connection he found was that goths had similar attitudes and tastes toward both the glamorous and macabre. In addition, many valued the same subcultural capital, as evidenced by the concrete evidence found in the number of identical articles of clothing or cds that the goths owned.
Furthermore, Hodkinson emphasizes the fact that although there are slight differences between goths from specific areas, their similarities trump all. They do not discriminate against goths who are not from their town. In fact, many agreed that they would like to meet non-local goths, which is evident due to the success of the Whitby Gothic Weekend in uniting goths from all different areas around Britain.
Discussion Question:
Has the "fanzine" lost all of its popularity? Is the internet completely responsible for the demise of the fanzine? What are some negative consequences of losing this media item?
from: Bennett, Andy and Richard A. Peterson. ed. Music Scenes: Local, Translocal, and Virtual. Vanderbilt University Press; Nashville. 2004. 131-148.
In this piece, Hodkinson focuses on what he terms the "abstract" and the "concrete" areas of the goth scene, and how both demonstrate the translocality that this group possesses. During an ethnographic study in Britain, an abstract connection he found was that goths had similar attitudes and tastes toward both the glamorous and macabre. In addition, many valued the same subcultural capital, as evidenced by the concrete evidence found in the number of identical articles of clothing or cds that the goths owned.
Furthermore, Hodkinson emphasizes the fact that although there are slight differences between goths from specific areas, their similarities trump all. They do not discriminate against goths who are not from their town. In fact, many agreed that they would like to meet non-local goths, which is evident due to the success of the Whitby Gothic Weekend in uniting goths from all different areas around Britain.
Discussion Question:
Has the "fanzine" lost all of its popularity? Is the internet completely responsible for the demise of the fanzine? What are some negative consequences of losing this media item?
Sunday, January 25, 2009
Critical Review #1: McClary
McClary, Susan. "Same As It Ever Was: Youth Culture and Music." Microphone Fiends. 1994: 29-40. Brown University Library, Providence, RI. 25 Jan. 2009.
McClary argues that music is a "technology of the body" [33], meaning that the music we listen to affects our body experiences (by causing an emotion or making us dance in particular ways) and then shapes our view of the world. Social formations and constructs evolve due to various new musical movements, and those in power resist new forms of music in order to maintain their established dominance over the majority. Furthermore, McClary suggests that music's appeal to the body breaks social constructs such as race, by using the example "In the Midnight Hour" by Wilson Pickett, which took a beat from a group of African-Americans and spread its popularity to many Americans, who found the beat and tune dance-worthy, regardless of the color of their skin.
The church is an example of a dominant authority that has resisted new forms of music due to the fact that they cause "bodily pleasures" - what other groups in power opposed new, different musical styles?
McClary argues that music is a "technology of the body" [33], meaning that the music we listen to affects our body experiences (by causing an emotion or making us dance in particular ways) and then shapes our view of the world. Social formations and constructs evolve due to various new musical movements, and those in power resist new forms of music in order to maintain their established dominance over the majority. Furthermore, McClary suggests that music's appeal to the body breaks social constructs such as race, by using the example "In the Midnight Hour" by Wilson Pickett, which took a beat from a group of African-Americans and spread its popularity to many Americans, who found the beat and tune dance-worthy, regardless of the color of their skin.
The church is an example of a dominant authority that has resisted new forms of music due to the fact that they cause "bodily pleasures" - what other groups in power opposed new, different musical styles?
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