I t would be easy, as director Garrett Price puts it in the opening seconds of his documentary Woodstock 99: Peace, Love, and Rage, to structure a film about the disastrous music festival that was held over the weekend from July to 1999 as a comedy. The reboot of Woodstock for an audience mainly born after the original festival in 1969 was a proto-Fyre collapse of grotesque American excess, ahe outfit of late '90s nonsense - Kid Rock strolling on stage in a white fur coat, Limp Bizkit as the main draw, mostly young white Gen X males paying to see nude
Woodstock 99: Peace, Love, and Rage captures an event that has unfolded in spectacular fashion, with a palpable tide of misogyny , white male rage, law and cynical commercialism. Facilities built at a former airbase in Rome, New York - the irony of a new Woodstock being held in a military facility - collapsed under the weight of 200,000 visitors. With water sold for $ 4, many festivitiesivaliers are deprived at temperatures above 100F (37.8C). More than 1,200 have been treated for medical problems; three people died. It's a miracle it wasn't more - the festival ended in riots, as attendees fanned by three days of anarchy-fueled music burned the fairgrounds. Forty-four were arrested. There have been 10 reported sexual assaults, but a quick peek at the footage - of the men in attendance groping topless women with glee, as if gratuitous love equates to gratuitous violation - assures there were many more .
But the original F yre, because it is sometimes called , has mostly been forgotten ascultural artefact, especially by generations too young to have known about the event when it happened. Woodstock 99 "has kind of been swept under the rug," Price told The Guardian, and is often mistaken for the more successful and less volatile Woodstock 94. The old festival "tells us where we are culturally better than in the early 90s ".
"You start the decade with Nirvana, with Pearl Jam, with hip-hop like A Tribe Called Quest, there's a bit of that idealism in music, anti-establishment and non-commercialism, ”Price said,“ and you end the decade with commercialism and nihilism. How did we get from here to here?
"I don't blame that time for where we are now, but I think it there are a lot of interesting shutters that you can tie from end to end. "
At party timeal, Price was in his sophomore year at the University of Texas, watching artists such as Korn, Metallica, Alanis Morisette and the Rage Against the Machine on pay per view with her roommates. "Back then, yes it was chaotic, it was crazy, but it never felt like it's crazy " he said of the festival in 1999. "I had more Fomo, I think, that I missed on this thing. And it 's only years later when I started digging and I ' ve been digging. started reading talks about it "he realized terrible things had happened.
Woodstock 99 disentangles from many threads who morphed into what, in the end, looks like a scorching apocalypse through a bunch of archival footage and interviews with participating musicians such as Moby, Jonathan Davis of Korn and Jewel, from attendees and music critics. There is the doomed to reboot a very romanticized moment in time.on baby boomers (the original Woodstock was, in reality, a mess, a few lucky shades of tragedy) into a source of money for young college kids - part of a cultural model of “Boomers pushing their beliefs onto the younger generations,” Price said. There was the reaction to Britney Spears 'chart-dominant teenage pop, ' NSync and the Backstreet Boys with overt aggro acts like Limp Bizkit (song of choice: Break Stuff).
And there was a sizzling culture endemic - the genre skewered in two other flagship films of the year, Promising Young Woman and Framing Britney Spears - that viewed women's bodies as first and foremost. above all for the pleasure of men. With the popularity of Girls Gone Wild and boys' magazines like Maxim and FHM, "it was an age of objectifying women, " said Price, "and mixing that with the marketing ideals of the counter-culture offree love, and you just create a toxic environment. . "It 's an environment in which only three women have been invited to perform (Jewel, Alanis, Sheryl Crow), in which the women are groped while surfing the crowd, in which thousands of men chant" show your boobs! ”to a Rosie Perez onstage, in which concert promoter Michael Scher might insist the problem was actually MTV exaggerating chaos, as he does again in the movie.
With Woodstock 99, the sale of the idealism of the 60s coagulated in the license to take, to do forbidden things above ground. a scary pictures of the the late DMX rapper leading the crowd in a call and a response to his words, et a sea of mostly white people cheerfully shouting the N word. "The black artist basically allows people in the crowd to say that word with him," says Wesley Morris, New York Times culture critic, in the film. "To accomplish something they don't believe. Or maybe they believe it, but if you were to ask them what they believe, if you had each of these guys after the show, and you push them aside and say, "Is it okay to say the N word under any circumstances? 'They would say to a person," I mean, the correct answer is no, isn't it? " "
The lure of transgression and debauchery, it seems, was powerful. Some of the results are extremely comical - attendees slip through the mud, like at the original festival, seemingly unaware that this is human waste from overflowed and disfigured toilets. Most often it is sinistre, destruction for destruction. Perhaps there is no better phor than the fence fires, when candles handed out for a vigil for Columbine victims during the Red Hot Chili Peppers 'Under the Bridge were used at the place to set fire to the premises, including a “peace” fresco. p class = "dcr-1m34hpq"> From music to destruction, there is a clear line of unfiltered rage, seemingly without a source, especially among college-aged men, mostly white men. Where is he from? Who to blame for the disaster that was Woodstock 99? As the film describes, there is not a single answer, proving that the event is a cultural moment worthy of serious questioning. "It's a mix of culture, of the way the festival was planned and of people falling victim to the Woodstock mythology, that it all works out in this idyllic thing," said Price. "It 's all mixed togetherThis culminated in this cacophony of madness. "