ambitions of the Coles, who were responsible for almost all of the band's material. Quill's music was eclectic, social commentary, sometimes poetic, sometimes ironic, merged with very unusual, at times nearly atonal scales. The Cole brothers were hoping to make their audiences think, even while the music was being enjoyed. A local reviewer likened the band's music to a modern-day Threepenny Opera. In addition to its original material, Quill made its reputation on performance art by drawing the audience into the music. The band handed out rhythm instruments and exhorted the crowds to a near riotous dance frenzy. Woodstock At Woodstock, in addition to playing the main festival stage on Saturday, Quill spent the week preceding the festival living at the setup crew's camp at a nearby motel, providing entertainment for the stage crew, hog farmers and festival workers. Quill was also hired by festival promoters to play a series of goodwill concerts at nearby state prisons, mental institutions and halfway houses as a gesture to assuage community concerns about the upcoming festival. Seeing the market potential of the buzz that the band had already created, and with the band's upcoming appearance at Woodstock, Ahmet Ertegün (president of Atlantic Records) agreed to sign Quill in the summer of 1969 to the Cotillion label. At the festival, after relentless, torrential rain all Friday and through the night, the skies cleared just before the band was to play. On a still-soaking stage, but under a beaming sun, the band played a 40-minute set of four songs ("They Live the Life", "That's How I Eat", "Driftin'", and "Waiting For You") and was received enthusiastically by the 400,000-person throng. Because the band appeared first on Saturday, and with the disarray caused by the rain, Quill missed a key opportunity to appear in the Woodstock film, though this was the original intent of Paret and the band. The band had indeed been filmed, but a glitch caused the audio and film to not be synchronized properly. This rendered the footage unusable for the now-famous film that made so many acts into household names. The problem was fixed in time for Santana, the next band up, whose appearance in the film sealed their later success. Shortly after the festival, Quill self-produced and then released its first Cotillion album, which made some impact but did not gain national attention. The fact that the Quill footage could not