“I was born in a crossfire
hurricane, And I howled at my ma in the driving rain...” – Jumpin’ Jack
Flash, The Rolling Stones
The Rolling Stones
free concert at Altamont Speedway in Livermore, California in the autumn
of 1969 was supposed to be the West Coast’s version of Woodstock, but today
Altamont is remembered only for the violence that provided a jarring ending
to a roller coaster decade. Gimme Shelter, directed by the Maysles Brothers
and Charlotte Zwerin, brilliantly restored on a criterion DVD, chronicles
the Rolling Stones four-month tour in New York, Boston, and Florida, beginning
as a straight rock n’ roll show and ending as an account of a homicide
that, thirty seven years after the event, still has the power to frighten
and disturb.
The film opens with footage
of the Rolling Stones at Madison Square Garden performing some of their
biggest hits such as Satisfaction and Jumpin’ Jack Flash. It then follows
the group to a recording session in Alabama, shows them watching a video
of the Altamont concert weeks after it took place, then flashes back to
preparations for the concert and the negotiations between Melvin Belli
and Woodstock promoter Michael Lang. The site at Altamont was chosen only
two days before the show after two other locations, Golden Gate Park and
Sears Point Raceway, had fallen through. While hundreds of people worked
very hard to put the event together, it was feared that there was inadequate
time to adequately prepare for the estimated 300,000 young people arriving
from all over the country, though no one anticipated the violence. As the
concert began, the fears soon turned into reality and the Maysles Brothers’
camera captures it all and in the process makes documentary history.
The gathering of a cross-section
of young people, unlike Woodstock, had no feeling of community. There was
no obvious police presence, inadequate toilet and medical facilities, no
plan to deal with cases of drug overdose, insufficient parking, and a one-foot
high stage that invited easy access for stoners to rush. The Hells Angels,
a group of bikers from the Bay Area, were hired by Stones manager Sam Cutler
at the suggestion of The Grateful Dead to protect the stage in exchange
for $500 worth of beer (though they now claim it didn’t happen).
Though the majority of
Angels simply did their job without incident, the attempts of some to maintain
order by clubbing people over the head with pool cues and throwing full
beer cans at spectators created an atmosphere of fear and intimidation.
While drugs of all sorts were readily available to all, the biggest drug
and alcohol abusers that night may have been the Angels themselves who
insanely tried to drive their bikes through the middle of the crowd. Small
scuffles broke out during the performances of Ike and Tina Turner and the
Flying Burrito Brothers, and the violence escalated when Santana and Jefferson
Airplane took the stage and Marty Balin was knocked unconscious by an Angel,
during a scuffle near the stage.
When Mick Jagger and the
Rolling Stones came on, the violence spread and the camera captures scattered
outbursts of fighting taking place near the stage as Jagger tries to soothe
the crowd. The Stones inappropriate choice of the song, “Sympathy for the
Devil”, only added to the atmosphere of menace. As Mick Jagger began to
sing “Under My Thumb”, in the space of one minute and twenty four seconds,
the hope that Woodstock had generated only four months earlier quickly
ended.
A black 18-year old gun-wielding
spectator, Meredith Hunter, was stabbed five times and beaten to death
by Hells Angel Allan Passaro who later claimed self defense in a 1972 trial.
Why Mr. Hunter brought a gun to a rock concert and what he planned to use
it for has never been answered. When the assault occurred, Jagger stopped
singing and tried to calm everyone down, finally calling for an ambulance
but his admonitions to the crowd “Why are we fighting? What for”? were
futile and he finally had to keep singing simply in order to prevent a
full scale riot. In a fitting conclusion, Maysles shows The Stones reviewing
the first cut of the film, depicting a very subdued Mick Jagger rewinding
the editing machine to watch the murder again in slow motion with a very
pained expression on his face.
While Altamont was indisputably
an ugly event, some critics used what happened at the event to discredit
an entire generation and their idealism, telling us that the idea of a
peaceful gathering of a large number of young people was doomed to fail
(despite Woodstock’s success shortly before). One writer claimed that the
concert “exposed the ugly underbelly of the 60s and ended a period of innocence
and belief in getting along”. In reality, it did no such thing. If innocence
died at the end of the sixties, it was not because of Altamont, Mick Jagger,
the Hells Angels, or because the values of the hip community (labeled as
“hippies” by the mass media) did not work. It died because of the escalation
of the Vietnam War, the ignoring of public protests, and the insanity of
Charles Manson.
It died because the murders
of John and Robert Kennedy, and Martin Luther King left a gaping hole in
our collective psyche and threatened to destroy our sense of trust in the
government. Innocence died because of the disillusionment with a decade
that began with the Civil Rights Movement and the Peace Corps and ended
with the bombing of North Vietnam and Cambodia after President Richard
Nixon had campaigned on bringing “peace with honor”. Altamont, for all
its symbolic significance to some, was not a defining moment in history,
nor was it the end of peace and love. It was a concert that went tragically
wrong.
GRADE: A
Howard
Schumann