Collected and presented by SF Bay Area art historian Julian Myers, this playlist includes excerpts from audio/video recordings where the audience at a rock concert actively intervenes in a band's performance, forcing them to end that performance for one reason or another.

Each of these recordings exists through the coincidence of four elements: A concert performance in the context of a rock venue; a portion of their audience that interrupts or otherwise stops that performance; the crucial presence of a recording device; the subsequent transmission and exchange of that recorded product through either official release or fan "bootleg" circles.

Track Listing:

1. Suicide
at Ancienne Belgique, Brussels, Belgium June 16, 1978 (Audio)

2. Public Image Ltd.
at The Ritz, New York City, NY May 15, 1981 (Audio)

3. Guns N' Roses
at Riverport Amphitheatre, St. Louis, MO, July 2, 1991 (Audio excerpt from Video)

4. Black Sabbath
at Mecca Arena, Milwaukee, WI October 9, 1980 (Audio: No source)

Interest in these Materials:

1. Organizers' interest in phenomenon of apostasy, especially as regards the proximity of belief and renunciation, the sacred and desecration

2. Rock's central myth of breaking down the hierarchy between performer and audience (see the ritual of conversational patter, pulling audience members on stage, et cetera) and the often-humorous outcome when that wall is broken down for real

3. The power and dynamics of crowds, especially in the moment in which the tacit agreements that constitute the relation between performer and audience are dissolved.

Side-note 1: The peculiar rhetoric/flirtation with the riot in rock music, which often seems to tacitly acknowledge rock music as a sublimated or immature form of riotous discontent. See, for example, Quiet Riot, I Predict A Riot, White Riot, Teenage Riot, Atari Teenage Riot, I Wanna Riot (Corresponds to: "I Wanna Be Sedated," "I Wanna Sniff Some Glue," "wanna" as diminutive form of will or desire, teenage, whining) (Connections in the realm of art: The avant-garde as "aesthetic terrorism," the Situationist International's refusal of art, Habermas).

Side-note 2: The fascinating multiplicity of reasons for these takeovers: Disappointment, taste, staged provocation, spontaneous provocation, suffocating affection, and incomprehension.