The Three Woodstocks and the live music scene

Laing, Dave

doi:10.4324/9781351218665-1

Cited by 6 publications

(5 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…However, the arena rock scene with dramatic live performances and special lighting effects attracted large audiences in stadiums worldwide. All those giant unique shows increased ticket prices and constructed international rock stars (Brennan, 2010;Laing, 2004). After a while, by the late seventies and the early eighties, the punk scene emerged through live performances usually in small clubs and pubs.…”

Section: Rock Festivalsmentioning

confidence: 99%

The Evolution of Rock Festivals in Greece

Tsangaris

2019

ESJ

View full text Add to dashboard Cite

There is a steady growth of music festivals that has continuously occurred within the last thirty years, and this has changed the structure of the international cultural market. Nowadays, selling recorded products does not make large profits and music festivals became the vital supporters of the music industry. This paper focuses on presenting how the growth of rock festivals introduced to Greek society a new kind of entertainment quite different from the traditional festivities of the region and how this practice supports tourism. Indeed, some great festivals are created with the international market in mind and are based on specialized tourism management practices. This study, after considering some aspects concerning the interaction between global and local music culture, provides a brief historical framework of the rock festivals. It constitutes basically a general review presenting the evolution of this imported type of entertainment in Greece, and it reveals possible commonalities between the traditional and the new forms of festivities. Although there are significant differences between Panygiri which is the old traditional Greek festivity and the rock festival, it seems that some fundamental elements in those social phenomena such as attracting tourism and uniting people always remain the same.

show abstract

Section: Rock Festivalsmentioning

confidence: 99%

The Evolution of Rock Festivals in Greece

Tsangaris

2019

ESJ

View full text Add to dashboard Cite

show abstract

“…The problem of balancing commercial success and credibility is discussed by Jonas Bjälesjö in his dissertation about the Hultsfred rock festival. He discusses David Laing's (Laing 2004) thesis that there is a conflict between "the carnivalesque" and "corporisation" in festival environments, but argues that this was somewhat unwarranted in the Hultsfred context, suggesting rather a symbiosis of sorts (Bjälesjö 2013). In the context of FFF, there seems to have been a little of both: on the one hand, the carnival dimension stood, according to the organisers, in the way of both the economic viability and the musical quality of the festival.…”

Section: On the Fencementioning

confidence: 99%

“From Dalarna to The Orient”: Falun Folk Music Festival

Fredriksson

2019

View full text Add to dashboard Cite

This article discusses the Swedish festival Falun Folk Music Festival (FFF) and makes use of interviews with key organisers, readings of festival brochures, and other material. I begin with a look at the intentions, motivations and negotiations of the organisers leading up to the first festival in 1986, and from there I discuss the way FFF contributed to a change in Swedish folk music discourse towards logics of professionalisation and cosmopolitanism. FFF negotiated between professionals and amateurs, traditionalists and experimentalists. This paved the way for the vast palette of musical traditions, soon to be called "world music", to reach a Swedish audience. I argue that the cosmopolitanism of FFF, rather than being the main ideological goal of the organisers, worked as a means to an end, namely the professionalisation and artistic recognition of Swedish folk traditions. It also seems to have made the festival relevant in the cultural policy climate of the time.

show abstract

“…Early Free Festivals drew on utopian discourses, operated according to an ethos of self-governance and freedom from regulation (Laing, 2004). By the late 1970s, the Free Festival movement faced increasingly restrictive and harsh policing (Worthington, 2004).…”

Section: A Brief History Of British Outdoor Rock and Pop Festivalsmentioning

confidence: 99%

“…The regulation and corporatisation of music-based leisure: The growth of music festivals as major branded events While commerce has been bound up with festivals from the beginning (Laing, 2004), this is very different from the large scale commercialisation and corporatisation of the music festival sector that has occurred since the turn of the century (Morey et al, 2014). Most major festivals are now highly branded leisure events, with substantial levels of commercial involvement and relatively managed forms of consumption on offer (Morey et al, 2011).…”

Section: A Brief History Of British Outdoor Rock and Pop Festivalsmentioning

confidence: 99%

‘We achieve the impossible’: Discourses of freedom and escape at music festivals and free parties

Griffin

Bengry‐Howell

Riley

et al. 2016

Journal of Consumer Culture

View full text Add to dashboard Cite

In this paper we explore the notion of freedom as a form of governance within contemporary consumer culture in a sphere where 'freedom' appears as a key component: outdoor musicbased leisure events, notably Music Festivals and Free Parties. 'Freedom' is commodified as central to the marketing of many music festivals, which now form a highly commercialised sector of the UK leisure industry, subject to various regulatory restrictions. Free parties, in contrast, are unlicensed, mostly illegal and far less commercialised leisure spaces. We present data from two related studies to investigate how participants at three major British outdoor music festivals and a small rural free party scene draw on discourses of freedom, escape and regulation. We argue that major music festivals operate as temporary bounded spheres of 'licensed transgression', in which an apparent lack of regulation operates as a form of governance. In contrast, free parties appear to "achieve the impossible" by creating alternative (and illegal) spaces in which both freedom and regulation are constituted in different ways compared to music festival settings.

show abstract

The Three Woodstocks and the live music scene

Cited by 6 publications

References 0 publications

The Evolution of Rock Festivals in Greece

The Evolution of Rock Festivals in Greece

“From Dalarna to The Orient”: Falun Folk Music Festival

‘We achieve the impossible’: Discourses of freedom and escape at music festivals and free parties

Contact Info

Product

Resources

About