" data-original-title="" title="">Fleetwood Mac and Wozniak (separate from that which appears within the main content). It is noteworthy, however, that the drummer is but one individual who likens this event (the first of two, another the very next year) to present-day Coachella.

Like a good storyteller, Glenn Aveni wisely reaffirms the fundamental intent of The US Generation, creature comforts and otherwise. Offering an explanation of the sequence of events that led to the three-day offering from various perspectives, operational and otherwise, those intervals devoted to colorful anecdotes involving the late Bill Graham offer some lighthearted respite from more mundane angles as do appropriately wide-angle shots of the audience being sprayed with water from firehoses to alleviate the sweltering heat (purportedly the aforementioned rock impresario's idea). The flow of the main narrative, however, becomes choppy with the insertion of performance footage, often (over-) introduced with intrusive explanatory banners on the screen.

The logic behind insertion of concert segments also remains at least somewhat elusive throughout The US Festival 1982. More often than not, otherwise noteworthy bands such as the sociopolitical-oriented Gang of Four appear in mere snippets, but intentionally or not, the quirky likes of Oingo Boingo, the B-52's and even to some extent, the Police and the expanded lineup of Talking Heads, mirror the keyboard-oriented, synth-permeated contemporary style of our times. No doubt licensing and video rights come in to play in the absence of, for instance,