George McKay is a leading writer on alternative cultures and music. He is Professor of Media Studies at the University of East Anglia, UK; his website is georgemckay.org

In addition to its stellar 33 1/3 series, Bloomsbury publishes some of the best academic writing about music that one will read. In The Pop Festival, the music festival is put under the scholarly microscope in 14 separate essays, all punctiliously annotated and referenced … the book provides valuable insight into the counter-culture beast that has been and is the music festival. Reading might not be as free and easy as a day at Woodstock, but through careful reading one will find reward.

• Acknowledgements Picture creditsContributorsIntroductionGeorge McKayChapter 1.‘The pose … is a stance’: popular music and the cultural politics of festival in 1950s BritainGeorge McKayChapter 2 Out of sight: the mediation of the music festivalMark GoodallChapter 3 ‘Let there be rock!’ Myth and ideology in the rock festivals of the transatlantic countercultureNicholas GebhardtChapter 4 ‘As real as real can get’: race, representation, and rhetoric at Wattstax, 1972Gina ArnoldChapter 5 The artist at the music festival: art, performance and hybridity Rebekka KillChapter 6 Photo-essay: Free festivals, new travellers, and the free party scene in Britain, 1981-1992Alan LodgeChapter 7 Festival bodies: the corporeality of the contemporary music festival scene in AustraliaJoanne Cummings and Jacinta HerbornChapter 8 The Love Parade: European techno, the EDM festival, and the tragedy in DuisburgSean Nye and Ronald HitzlerChapter 9 Protestival: global days of action and carnivalised politics at the turn of the millenniumGraham St JohnChapter 10 Alternative playworlds: psytrance festivals, deep play and creative zones of transcendenceAlice O’GradyChapter 11 No Spectators! The art of participation, from Burning Man to boutique festivals in BritainRoxanne RobinsonChapter 12 Musicking in Motor City: reconfiguring urban space at the Detroit Jazz FestivalAnne DvingeChapter 13 Branding, sponsorship, and the music festivalChris AndertonChapter 14 Everybody talk about pop music: Un-Convention as alternative to festival, from DIY music to social changeAndrew DubberIndex

George McKay is a leading writer on alternative cultures and music. He is Professor of Media Studies at the University of East Anglia, UK; his website is georgemckay.org

In addition to its stellar 33 1/3 series, Bloomsbury publishes some of the best academic writing about music that one will read. In The Pop Festival, the music festival is put under the scholarly microscope in 14 separate essays, all punctiliously annotated and referenced … the book provides valuable insight into the counter-culture beast that has been and is the music festival. Reading might not be as free and easy as a day at Woodstock, but through careful reading one will find reward.

• Acknowledgements Picture creditsContributorsIntroductionGeorge McKayChapter 1.‘The pose … is a stance’: popular music and the cultural politics of festival in 1950s BritainGeorge McKayChapter 2 Out of sight: the mediation of the music festivalMark GoodallChapter 3 ‘Let there be rock!’ Myth and ideology in the rock festivals of the transatlantic countercultureNicholas GebhardtChapter 4 ‘As real as real can get’: race, representation, and rhetoric at Wattstax, 1972Gina ArnoldChapter 5 The artist at the music festival: art, performance and hybridity Rebekka KillChapter 6 Photo-essay: Free festivals, new travellers, and the free party scene in Britain, 1981-1992Alan LodgeChapter 7 Festival bodies: the corporeality of the contemporary music festival scene in AustraliaJoanne Cummings and Jacinta HerbornChapter 8 The Love Parade: European techno, the EDM festival, and the tragedy in DuisburgSean Nye and Ronald HitzlerChapter 9 Protestival: global days of action and carnivalised politics at the turn of the millenniumGraham St JohnChapter 10 Alternative playworlds: psytrance festivals, deep play and creative zones of transcendenceAlice O’GradyChapter 11 No Spectators! The art of participation, from Burning Man to boutique festivals in BritainRoxanne RobinsonChapter 12 Musicking in Motor City: reconfiguring urban space at the Detroit Jazz FestivalAnne DvingeChapter 13 Branding, sponsorship, and the music festivalChris AndertonChapter 14 Everybody talk about pop music: Un-Convention as alternative to festival, from DIY music to social changeAndrew DubberIndex

George McKay is a leading writer on alternative cultures and music. He is Professor of Media Studies at the University of East Anglia, UK; his website is georgemckay.org

In addition to its stellar 33 1/3 series, Bloomsbury publishes some of the best academic writing about music that one will read. In The Pop Festival, the music festival is put under the scholarly microscope in 14 separate essays, all punctiliously annotated and referenced … the book provides valuable insight into the counter-culture beast that has been and is the music festival. Reading might not be as free and easy as a day at Woodstock, but through careful reading one will find reward.

• Acknowledgements Picture creditsContributorsIntroductionGeorge McKayChapter 1.‘The pose … is a stance’: popular music and the cultural politics of festival in 1950s BritainGeorge McKayChapter 2 Out of sight: the mediation of the music festivalMark GoodallChapter 3 ‘Let there be rock!’ Myth and ideology in the rock festivals of the transatlantic countercultureNicholas GebhardtChapter 4 ‘As real as real can get’: race, representation, and rhetoric at Wattstax, 1972Gina ArnoldChapter 5 The artist at the music festival: art, performance and hybridity Rebekka KillChapter 6 Photo-essay: Free festivals, new travellers, and the free party scene in Britain, 1981-1992Alan LodgeChapter 7 Festival bodies: the corporeality of the contemporary music festival scene in AustraliaJoanne Cummings and Jacinta HerbornChapter 8 The Love Parade: European techno, the EDM festival, and the tragedy in DuisburgSean Nye and Ronald HitzlerChapter 9 Protestival: global days of action and carnivalised politics at the turn of the millenniumGraham St JohnChapter 10 Alternative playworlds: psytrance festivals, deep play and creative zones of transcendenceAlice O’GradyChapter 11 No Spectators! The art of participation, from Burning Man to boutique festivals in BritainRoxanne RobinsonChapter 12 Musicking in Motor City: reconfiguring urban space at the Detroit Jazz FestivalAnne DvingeChapter 13 Branding, sponsorship, and the music festivalChris AndertonChapter 14 Everybody talk about pop music: Un-Convention as alternative to festival, from DIY music to social changeAndrew DubberIndex