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Last Updated: Oct 16th, 2008 - 13:33:17 |
Thanks to the presence of political supergroup Rage Against the Machine, as well as local political pontiffs, the Flobots, a crowd of more than 20,000 strong showed up Aug. 27, for Tent State’s Music Festival at the Denver Coliseum.
The festival was organized in coordination with Iraq Veterans Against the War, a political group demanding an end to the war, the return of military personnel to their homes in the states, and giving reparations to both U.S. soldiers and Iraqi citizens affected by the war.
“We have an advantage in getting the word out just based on the mass amount of people here. In our own, little local chapters where we come from throughout the U.S., we can only do so much there, but something so nationally recognized as this definitely helps get the word out better than walking down the street handing out fliers,” said Kenneth Sexton from Santa Cruz, Calif., who served briefly in Germany before heading to Iraq for more than a year of service.
Sexton is one of the many soldiers undergoing “stop-loss,” where a soldier that has already returned home is sent back for another tour. Sexton said that he earned a disability rating during his first tour and that “they shouldn’t be sending disabled veterans over there.” Sexton said that he would appeal to his congressman, but was clear he would not go, even at the risk of jail. At that point, Sexton momentarily trails off and his eyes become distant. “It’s hard to explain what goes on with war, and it’s unfortunate that it continues,” he said with finality, shaking his head.
Sexton’s sentiments were echoed by the Tent State organization, concert planners, concert-goers and the musicians themselves, as well as a variety of first-time protesters.
“There are a lot of young kids out there who have never seen anything like this, have never been involved with something like this,” said Ryan Walker, a self-described ally of the Tent State organization and a scout for the IVAW’s ensuing protest march. “This event is the soldiers’ way of saying, ‘this is what you have an opportunity to be a part of, these are our goals, and this is how you can participate.’”
But the fine line between political party people and run-of-the-mill party people was blurred by youthful exuberance and the sheer excitement of the show’s lineup. One girl, when asked what she thought of the political ramifications of the show, replied, “I’m not really political.” Others, seemingly, latched onto the political cause in a more “monkey see, monkey do” kind of manner.
“While us getting behind (the cause) might be politically polarizing, Rage is also just a great band to see play” said DJ Nerf (aka Jeb Freedman) of radio station Channel 93.3 KTCL. “So either way it’s a win, whether you’re just in it for the music or if you’re into it for both the music and the cause.”
The real crusaders for the IVAW’s cause were easy to identify, huddled busy in a corner backstage, meticulously preparing for the march by going over safety matters and concerns, as well as objectives and agendas, while through a cement corridor 100 feet away, the much acclaimed lineup played on.
“We must make sure this is a nonviolent march,” organizers urged. “If you’ve had any drugs or alcohol, we’d like to ask you to refrain from joining us on this march.”
Massachusetts band State Radio and Oakland, Calif. natives The Coup warmed the stage, beginning at 11 a.m., with double-fiery sets of politically-charged punk and hip-hop, respectively. But the real treat for hundreds of fans was the return of newly-recognized political hip-hop trendsetters, Denver’s very own Flobots. Since the release of their album Fight With Tools earlier this year, the Flobots have gained national attention in venues and on air, and came back to Denver for the festival after touring all over North America and Europe.
Indeed the Flobots displayed an impressive conviction for the cause, confidently delivering their relevant missive to an eclectic crowd (masked by American flag bandanas over faces) that was eager and chewing nervously on fingers, immersed in MC Brer Rabbit’s microphone report.
“The message is out there, and things are changing,” said Brer Rabbit (aka Stephen Brackett) to the captive audience. “People, we’ve noticed, are hungry for this message, they’re actually seeking out and looking for it,” Brer Rabbit said in an interview prior to the show. “Maybe it’s fortunate timing for us, or divine providence, but however you phrase it, it’s no coincidence that folks are wanting change.”
The day’s excitement culminated when, following brief speeches by organizers, Dead Kennedy’s Jello Biafra and Born on the Fourth of July writer, Ron Kovic, Rage took to the stage.
If inciting rage is a skill, then Rage frontman Zack de la Rocha is a master, orchestrating a musical coup, all the while grinning with mischief and madness.
“Rage’s music has been on a eight-year hiatus but it’s as valid now as it was then,” Nerf said. “Maybe even more so.”
“Having a band like Rage is huge, obviously, and it brings a lot of people in from a lot of different backgrounds, people with a lot of different social ideologies,” Walker said. “It brings a coalition of people together to work under a common banner.”
And in this way, the festival served as the jumping-off point for a mostly peaceful and prosperous march, ending at dusk at downtown’s Pepsi Center.
“Music is the glue for most of rituals, for most of our celebrations and get-togethers throughout time,” Brer Rabbit said. “Music used to be something that grounded our communities, and I think people are wanting to take that back.”
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