The Denver Pop Festival: A Forgotten Conservative Triumph

Picture this: it's the summer of 1969, a time when the world was buzzing with change, and the counterculture movement was in full swing. The Denver Pop Festival, held from June 27 to June 29 at the Mile High Stadium in Denver, Colorado, was a three-day music extravaganza that brought together some of the biggest names in rock and roll. But what many don't realize is that this festival was a conservative triumph in disguise, a moment when the establishment subtly took back control from the chaos of the hippie movement.

The Denver Pop Festival was organized by Barry Fey, a savvy promoter who knew how to capitalize on the burgeoning music scene. He managed to book legendary acts like Jimi Hendrix, Creedence Clearwater Revival, and Joe Cocker, drawing in thousands of fans eager to experience the magic of live music. But beneath the surface, this festival was more than just a gathering of music lovers; it was a strategic move to rein in the excesses of the counterculture.

First, let's talk about the location. Mile High Stadium was a far cry from the open fields and free-spirited vibes of Woodstock. It was a controlled environment, with fences and security to keep things in check. This was no accident. The establishment was keen on ensuring that the festival didn't spiral into anarchy, as so many other gatherings had. By choosing a stadium, they were able to maintain order and keep the peace, a clear win for conservative values.

Then there's the matter of ticket sales. Unlike the free-for-all nature of many other festivals, the Denver Pop Festival required attendees to purchase tickets. This was a deliberate move to weed out the freeloaders and ensure that only those who were truly invested in the music would attend. It was a subtle nod to the idea that nothing in life is free, a principle that resonates deeply with conservative ideology.

The festival also marked the end of an era for Jimi Hendrix and his band, The Experience. Their performance at the Denver Pop Festival was their last together, signaling a shift in the music landscape. Hendrix, a symbol of the counterculture, was moving on, and with him, the movement itself was beginning to lose steam. The establishment was slowly but surely regaining control, and the Denver Pop Festival was a key moment in that transition.

Security at the festival was another point of contention. The presence of police and security personnel was a clear indication that the days of unchecked freedom were coming to an end. The establishment was no longer willing to tolerate the lawlessness that had become synonymous with the counterculture. By enforcing rules and maintaining order, they were sending a message that the party was over, and it was time to get back to reality.

The Denver Pop Festival also highlighted the growing divide between the counterculture and the mainstream. While the music was undoubtedly a draw, the festival was also a reminder that the establishment was still in charge. The very fact that such a large-scale event could be organized and executed without descending into chaos was a testament to the power of conservative values.

In the end, the Denver Pop Festival was a turning point. It was a moment when the establishment reasserted its authority and began to reclaim the narrative from the counterculture. While the music and the memories may have been the focus for many, the underlying message was clear: the conservative values of order, responsibility, and control were still very much alive and well. And for those who were paying attention, the Denver Pop Festival was a reminder that the establishment was not going to go down without a fight.