Countercultural rock venues instantly became commercialized, class-segregated spectacles.

Evidence

For a year or more the Fillmore would be the Temple of Rock; EVO rock critic Jules Freemond considered the Joshua Light Show itself an attraction. On the other hand, Freemond also complained that “the audience at the Fillmore is looking more and more like an upper-Eastside shopping tour.” The place was posh, with ushers, reserved seats, and top tickets a hefty five dollars. Smoking was forbidden, but the JLS projected stoner cartoons between the acts and the concession stand was amply supplied with tempting munchies. — J. Hoberman, Everything Is Now, 1312

Categorization

• XREF: Connects to claims about how scenes become markets and the two-part Subcultures-to-Countercultures structure; also resonates with the reader’s kept material on avant-gardes produced by conditions.
• ADDENDUM: Supports the ‘Grafting & Growth’ article’s broader thesis about how emergent countercultures get absorbed, though the parallel is thematic rather than arboral.