This special issue of Popular Music and Society considers the legacy of the Woodstock Music and Arts Festival that has become an overarching idea as much as a brief historical event, representing the ethos of the 1960s’ counterculture in a type of fetishized shorthand. This transformation over the past fifty years has been facilitated by the proverbial drugand age-induced amnesia of the Woodstock generation, what may amount to false memory syndrome, and nostalgia-mania or what Pierre Nora calls in a different context “commemorative bulimia” (qtd. in Ricoeur 90), enhanced by the festival’s remarkable (though in some cases doctored) audio, celluloid, and oral history afterlives. A near catastrophe which nearly never happened – perhaps anticipating the bathetic end of speculation about a Woodstock 50th anniversary in the summer of 2019– the original Woodstock festival in August 1969 was a miraculously peaceful, utopian idyll in a year of violence-plagued rock festivals, replicated later in the notorious Woodstock festival of 1999. Given that, due to inadequate preparation and sheer expediency on the part of organizers, Woodstock was declared a free festival (despite being held hostage to some rock star managers demanding cash and a subsequent decade of debt), its cultural memory has carried the freight of 1960s’ cultural and political radicalism, revolutionary embrace of imaginative and individual freedom, and opposition to the Vietnam War. A selfmythologizing event, as indicated by congratulatory stage announcements, Woodstock made a real-time claim for its own historic importance. It also enhanced the aura of rock star celebrity, launching into the stratosphere the careers of artists such as Santana and Joe Cocker while apparently signaling the decline of others, and in the process exposing the counterculture as a cash cow and weaponizing the machinery of corporate rock. While in general terms Woodstock may have registered a paradigm shift in cultural, intellectual, and musicological history, it is impossible to measure precise causes and effects, and while the essays in this special issue suggest provisional responses, questions remain. To what extent, for example, did the festival challenge or merely reinforce – camouflaging in tie-dye clothing under a “freak flag” – entrenched norms regarding gender relations, xenophobia, socioeconomic success, the search for meaning, and the relative importance of popular music? Moreover, centrally, was music of essential significance at Woodstock: did the festival celebrate the idea of late 1960s popular music in its energy, joyfulness, experimentation, and radicalism or was it merely the soundtrack for a lost weekend in the mud? What was the role of Woodstock in serving to homogenize, sanitize, and whitewash popular music, as well as trying to bury its roots? It appears that by and large members of internet-savvy Generation Like, with virtually the

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“伍德斯托克大学”简介：伍德斯托克的理念

本期《流行音乐与社会》特刊探讨了伍德斯托克音乐与艺术节的遗产，它已成为一个总体概念和一个简短的历史事件，以一种迷信的速记形式代表了 1960 年代反主流文化的精神。伍德斯托克一代众所周知的药物和年龄引起的健忘症，可能相当于错误记忆综合症，怀旧狂热或皮埃尔诺拉在不同的背景下称之为“纪念性贪食症”（qtd），促进了过去五十年的这种转变。 . 在 Ricoeur 90），通过音乐节非凡的（尽管在某些情况下被篡改）音频、赛璐珞和来世口述历史而得到增强。一场几乎从未发生过的近乎灾难——也许是预计到 2019 年夏天伍德斯托克 50 周年的猜测会结束——1969 年 8 月的原始伍德斯托克音乐节在充满暴力的摇滚音乐节中奇迹般地和平，乌托邦式的田园诗，后来在 1999 年臭名昭著的伍德斯托克音乐节上复制。 鉴于组织者准备不足和纯粹的权宜之计，伍德斯托克被宣布为免费音乐节（尽管被一些摇滚明星经理扣为人质，要求现金和随后的十年债务)，它的文化记忆承载了 1960 年代的文化和政治激进主义、对想象力和个人自由的革命性拥抱以及对越南战争的反对。一个自我神话化的事件，如祝贺舞台公告所示，伍德斯托克 (Woodstock) 实时宣称其自身的历史重要性。它还增强了摇滚明星名人的光环，将桑塔纳 (Santana) 和乔·科克 (Joe Cocker) 等艺术家的职业生涯推向了平流层，同时显然标志着其他人的衰落，并在此过程中将反主流文化暴露为摇钱树，并将企业摇滚机器武器化. 虽然一般来说伍德斯托克可能已经记录了文化、知识和音乐史的范式转变，但无法衡量精确的因果关系，虽然本期特刊中的文章提出了临时回应，但问题仍然存在。例如，这个节日在多大程度上挑战或仅仅强化了——在“怪胎旗帜”下伪装成扎染衣服——关于性别关系、仇外心理、社会经济成功的根深蒂固的规范，寻找意义，以及流行音乐的相对重要性？此外，在伍德斯托克音乐节中，音乐是否具有重要意义：音乐节是在庆祝 1960 年代后期流行音乐的活力、欢乐、实验和激进主义，还是仅仅是在泥泞中度过一个迷失周末的配乐？伍德斯托克在统一、净化和粉饰流行音乐以及试图埋葬其根源方面扮演了什么角色？看来，精通互联网的一代人的大部分成员，几乎 和激进主义，还是仅仅是在泥泞中度过一个迷失周末的配乐？伍德斯托克在统一、净化和粉饰流行音乐以及试图埋葬其根源方面扮演了什么角色？看来，精通互联网的一代人的大部分成员，几乎 和激进主义，还是仅仅是在泥泞中度过一个迷失周末的配乐？伍德斯托克在统一、净化和粉饰流行音乐以及试图埋葬其根源方面扮演了什么角色？看来，精通互联网的一代人的大部分成员，几乎