Yeah, I wanted to talk about this because with the caveat that I think it's a brilliantly executed film and like my thumb is up.

It's a good movie.

I'm annoyed by this movie and it's its place in the culture.

The way it has been metabolized by history, I kind of object to.

And I'm not fully sure if this is rational.

I'm kind of hoping we could work through this together on this podcast, because this is one of the primary end of the 60s documents. It's right up

there with slouching towards Bethlehem. It's a year after Woodstock, they try to make lightning

strike twice, but instead of peace and love, you got all the excesses of the hippie generation.

While Charles Manson was killing the 60s in Los Angeles, over here at the Altamont Speedway, the Hells Angels were doing it too.

And because of this, because you hippies didn't know what you were doing, we're now

going to have 50 to 60 years of austerity and imperialism and ruthless capitalism. So I hope you

enjoyed the like five years you got before that. Yeah, that's right. It's like your punishment for

your sins in the 1960s. You're not just

going to get Richard Nixon and Reagan. 30 years from now, your punishment is going to be that the

Rolling Stones will be introduced by Bill Clinton. And look, we don't like it, hippies, but that's

the world you created. You forced us to create that world with your excesses. I guess that's kind of the Time Magazine narrative of this period and this

concert and what it signifies, isn't it? And let's be clear, the 60s were a fraud, okay? Whatever

you thought you accomplished in the 60s was completely fake because we sent Joan Didion to San Francisco

and she looked around Haidt Ashbury, and instead of finding youthful idealism

and principled anti-war protest, she found a bunch of runaway kids on drugs. And, you know,

we find the same kids here at Altamont. So anything you thought you were fighting for, it was a fraud

anyway. So fucking get in line, okay?

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