•
Rating: Days ago, the sad news arrived of the passing of Charlie Watts, the elegant and composed drummer of the Rolling Stones. To remember him, I not only went back to listening to the old Stones records from their golden years, but I also watched my DVD copy of the film "Gimme Shelter" from 1970, which I believe is perhaps the best film about rock music. This is simply because, starting from the realization that with Watts's passing, the Rolling Stones themselves demonstrate their mortal nature (alas), the film documents how even in the glorious years of rock, not everything was so dazzling and invincible. Unfortunately, some unexpected events could occur that would jeopardize the success of a free maxi concert as was intended by the organizers of the Altamont festival in December 1969.
The filmmakers (David and Albert Maysles, Charlotte Zwerin) meticulously take us along the triumphant USA tour of the Rolling Stones in November 1969. The group, after the ousting and death of Brian Jones and his replacement with Mick Taylor, appears in great shape and also has the opportunity to visit the Muscle Shoals studios in Alabama to record some tracks later featured in "Sticky Fingers." A typical favorable wind condition in the sails that, however, can lead to making decisions that will turn out to be wrong.
Indeed, to close the month of concerts on Yankee soil, the Stones announce they will hold a free concert in California similar to the one held in August at Woodstock, as if it were a West Coast alternative response to the East Coast. Easier said than done (in those days, the English group perceived themselves in a divine condition that allowed them any luxury), but more difficult to do when one has only a few days left before the scheduled date of 12/06/1969. And after various attempts by illustrious organizers (among them lawyer Melvin Belli and Michael Lang, already head of the Woodstock organization), the only choice remains Altamont Raceway Park. A somewhat unfortunate choice given the uncomfortable enclosed position of the area, and because a stage will be set up just slightly above the numerous spectators who will gather (between 300,000 and 500,000).
But above all, it will be ill-considered to entrust the security service to the Hells Angels, a group of violent bikers paid the equivalent of 500 dollars (!) in cases of beer and various alcoholic beverages. If Jagger and the others perhaps thought they were dealing with bikers like those hippie knights depicted in the film "Easy Rider," they will have to think again.
Already the atmosphere during the entire concert, with performances by great bands like Santana, Flying Burrito Brothers, CSN&Y, and Jefferson Airplane, will never succeed in conveying good vibrations. With a large crowd of hippies high on various substances (not just alcohol), it takes very little to come to blows with the Hells Angels if someone dares to brush against one of their motorcycles parked near the stage. The brawls are numerous (even Marty Balin of Jefferson will be soundly beaten), and it is noticeable how too many people circulate on the stage during the performances, while in the audience the chaos of hippie style is well visible. Too many lost in their trips, beautiful girls inclined to practice nudism trying to reach the stage or moving rhythmically, topless, to the music, causing their beautiful breasts to bounce.
The situation doesn't improve when the Stones take the stage at 4:30 p.m. (already before Jagger had been punched by an out-of-control spectator). Although the group manages to perform 15 songs, interruptions are continual, with Jagger making appeals for calm with the unforgettable phrase "Brothers and sisters, who wants to fight?". It will be during the song "Under My Thumb" that the 18-year-old spectator Meredith Hunter, waving what appears to be an unloaded gun towards the stage, will be stabbed to death by a member of the Hells Angels. The arrival of a rescue helicopter will take the victim to the nearest hospital where death will be confirmed, while another helicopter will transport the Stones away from the most turbulent concert of their career.
Final tally: 4 dead (1 by drowning, 2 by overdose), $400,000 in damages. The definitive sunset of the libertarian and pacifist utopias conveyed by rock in general, after the incredible success of the Woodstock festival. Further confirmation of that cursed and outrageous character attributed to the Rolling Stones, although the haste and approximation in organizing a large-scale musical event in a short amount of time emerge.
They themselves appear fully overwhelmed by events beyond their control. Just see some parts of the film with an urgent rhythm, such as when they listen, during the film editing, to the recorded phone call from Sonny Burger, responsible for the Hells Angels. He tells them off, declining any responsibility towards the many out-of-control hippies intent on brushing against the Angels' bikes, suggesting they were asking for it (Watts's comment: "Well done, Sonny!").
Or when questioned by David Maysles if he saw the stabbing of Hunter from the stage, seeing Jagger admit dejectedly that he wasn't in a position to see anything. And say it candidly while watching the scene of the crime in slow motion, showing a horrified look on his face. This emotional reaction that transpires on Jagger's face is perhaps the most effective seal for the tumultuous Sixties of the 20th century.
That evening, in Altamont, Evil struck, leaving a bloody trail by the hands of those (the usual cursed men, not devils) who were supposed to ensure the good order of a great concert. To quote the line from the Stones' "Moonlight Mile": "just another mad day on the road".
Loading comments slowly
