The Purpose Of The 1969 Woodstock Music Festival Was To The Frantic Early ’70s

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The Frantic Early ’70s

What is special about hidden? Why is there such a nostalgic buzz about revolutionary times, especially at the beginning of a transformative decade?

At first, the early seventies seemed like a hangover from the late sixties, but it soon became clear that times were changing, not only in politics but also in the arts, including popular music. Woodstock in 1969 is the music festival that summed up the late sixties. At that rock festival, which had spawned pale imitations over the years, no one realized that three of the biggest rock stars in particular had died of unnatural causes soon after. Janis Joplin and Jimi Hendrix both died of drug overdoses in 1970, and the last to follow them to their graves was Jim Morrison in 1971’s The Door. It was, of course, with the old and the new. Although the Vietnam War was still a losing battle for the United States, the prevailing politics of “make love, not war” was no longer as idealistic as it had been in the previous decade. Times were tougher, though youth culture hadn’t yet begun to realize it.

A nostalgic novel about the early seventies, Madness partially traces the beginnings of that revolutionary decade of intense change. In the late 1960s, the “Gay Liberation” or “Radical Lesbian, Gay, Bisexual, and Transgender Movement” was in full swing in San Francisco. The city was no longer full of “free-loving” Haight Ashbury hippies, but suddenly politically active homosexuals came out of the closet, innocent of their sexuality. At the time, AIDS was an unprecedented disease, and the city was full of discriminatory gay clubs, bathhouses and bars where gays could meet without public accusations.

Coquette, a new theater troupe composed mostly of Haight-Ashbury hippies, heralded a revolutionary period in sex. The broad spectrum includes drag queens: long-haired hippies with shiny beards, women, heterosexual men, and even babies. They were the first of a group of ‘gender benders’ who quickly became fashionable due to their incredible originality. Their innovative titles, Tin in a Heat Coma, Pearls Over Shanghai, and Tropical Heatwave/Hot Voodoo, premiered at the Palace Theater in North Beach. Futurist shows sponsored by Truman Capote and Rex Reed were sellouts, and they promoted them with their nationally syndicated columns.

Kinthetic, coat, feather, feather, feather, feather. But the new style of clothing was much more vivid and sophisticated than the innocent “flower power” worn by the late Janis Joplin. Coquettes not only influenced Western fashion, but were an undisputed inspiration for the glam rock era, when David Bowie, the glitter pop era’s most famous rock star, brilliantly imagined the new decade’s bisexual politics in these sexual ambiguities. times.

Although the Cockettes’ shows were innovative and unique, they disbanded in 1972 after a short, unsuccessful season in New York. Drugs were partly blamed for their sudden deaths. “They were the first hip drag queens; crazy hippie drag queens who went up and down on stage,” said uncrowned arbiter of bad taste John Waters. But the Cocketts weren’t the only ones accused of insanity at the time. Apparently, so did their loyal audience. Psychedelic drugs were replaced by harder drugs like heroin, proving that the hedonistic atmosphere of the early ’70s was tougher than the infamous Summer of Love. In retrospect, this more brutal regime of hedonism fueled the revolutionary wave of the seventies, punk.

Copyright: 2006

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