The new Woodstock nation
Associated Press
July 18, 1999
BY BRIAN McCOLLUM
FREE PRESS POP MUSIC WRITER
It will be huge. Momentous. Spectacular. And while the greater
meaning of Woodstock '99 -- if any -- will be determined later,
one thing is certain for now.
It's going to be quite the party.
How's this for a familiar refrain: A landmark music and arts fair
kicks off next weekend in upstate New York. This time it's a
30th-birthday bash, with two stages, 14,000 workers and
250,000 fans. Thunderstorms and mud to be determined.
Featured is an eclectic blend of
more than 50 acts, including --
as a sampler -- Metallica, Al
Green, the Offspring, Dave
Matthews Band, Red Hot Chili
Peppers and the Roots. Like
Woodstock '94, which spurred
plenty of skeptics before
culminating in three successful
days, it's a modern, streamlined
festival with most of the edges
sanded smooth. This time,
there's even a series of massive
fences encircling the site, as
organizers seek to end the
dubious Woodstock tradition of
party crashers.
For sentimentalists who fear the
Woodstock Nation has gone
Banana Republic, there will be
plenty next weekend at the
abandoned Griffiss Air Force
Base to fuel their concerns.
Aside from the name, this
Woodstock won't have much in
common with the
peace-and-love vibe of the mythic 1969 event. For starters, it is,
well, on a military base. It will include an all-night rave. It will
feature Insane Clown Posse.
But what Woodstock III does share with the inaugural festival --
indeed, what the contemporary zeitgeist shares with 1969 -- is
the bristling, electric sense that the world can, and will, be
changed.
Swap tie-dyed ideology for digital culture, and you wind up with
plenty of the same characteristics: a feeling of privileged
enlightenment, an appreciation for the irreverent, a liberating
sense that society can be overhauled on your terms. Not that
anybody expects next weekend to become the stuff of cultural
legend, although, like 1969, it will get its own movie, soundtrack
and official T-shirt.
This week, you'll hear the same kind of carping you heard
before the 1994 event, which teemed with complaints about
Pepsi's sponsorship, use of the venerated Woodstock name and
the fact that the show wasn't on the original site.
Thing is, when you stick hundreds of thousands of people onto
a big field for three days while loud music plays in the
background, these events tend to take on lives of their own. After
a point during the 1994 event, Kmart could have tattooed its logo
on everybody's shoulder and no one would have noticed.
Keeping the spirit
But why call it "Woodstock"? This anniversary fest isn't actually
on the anniversary, which is next month. Founder Michael Lang
is still involved, but so are several big corporations. And
although even the first festival wasn't in the town of Woodstock,
this one -- in Rome, N.Y., 178 miles to the northwest -- is
nowhere close.
"The word 'Woodstock' really only pertains to one concert,"
says Sheryl Crow, who will perform Saturday. "I personally
thought the (1994 show) should never have been called
Woodstock. It was not that at all. It didn't necessarily stand for
anything."
But organizers, who now plan to stage a Woodstock every five
years, insist there's a spirit that's still intact.
"Michael Lang calls it a rite of passage for kids who come up
here," says John Conk, Woodstock site manager and a 33-year
veteran of the concert business. "I've got to tell you, of the
thousands of shows I've done in my entire life, nothing can
compare to Woodstock. It is my rite of passage. The one thing:
Forget about all the planning and months of preparation. I'm
telling you -- Saturday afternoon about noontime, the prisoners
will get the keys. And Woodstock will happen."
At any rate, Crow has no doubt that playing Woodstock '94,
where she provided one of the weekend's most memorable
musical moments with an impassioned "Run Baby Run,"
changed the face of her burgeoning career. Lesser-knowns on
this year's bill -- acts such as Guster, Lit and Moe -- should take
note.
"At that point, I was pretty unknown, and had not had exposure
remotely like that. It really opened up a whole new world for us.
Suddenly we were being written about and people were investing
in us," Crow says.
"As we drove out of Woodstock, we felt like we'd accomplished
something just by making it through a gig in front of 200,000
people. But we didn't really see what was happening until we got
some distance. I mean, we drove from Woodstock to playing the
9:30 Club in Washington, D.C., for 150 people. So, you know,
for us, it was just part of our touring experience. But for the
world, it was an introduction."
Defining a generation
On the eve of Woodstock '94 -- with Oldsmobile's memorable
ad campaign ringing fresh in folks' ears -- the going mantra was:
"This is not your father's Woodstock." Whose was it? Pepsi's,
perhaps, or maybe MTV's. It was somebody's.
On the eve of Woodstock '99, it might seem hard to figure out
whose Woodstock this is.
At first glance, there's little here to define a generation -- not the
way the festival did in '69, and not even the way it did to a lesser
extent in '94, with its long-lingering images of Trent Reznor and
Green Day caked in mud.
For starters, just look at the scattershot lineup of artists. By the
time they get to Woodstock, they'll have traveled from all
corners of the music map: Korn's scathing rock, George
Clinton's classic funk, DMX's hard-core hip-hop, Jewel's wispy
pop, Willie Nelson's quirky twang.
And then it hits you. Maybe that's your generation-defining
right there. Pick your metaphor: the diversity of a 60-channel
cable TV lineup, the patchwork of the World Wide Web, the
mix-and-match ethic of a Beck song.
Woodstock '99 is the ultimate point-and-click music event. And
not just because you can drop in on the action by heading to
www.woodstock99.com. With its food vendors, ample parking
space and 210 acres of campground that includes real toilets,
showers and convenience stores, this is Woodstock with a
user-friendly interface.
Not many of the fans in Rome next weekend will be much
concerned with defining a generation. Self-definition isn't so
important to a legion of young people raised amid the liquid,
morphing nature of the tech-happy '90s. Yes, this Woodstock is
at least somewhat about community: You can find it on-line,
where for several weeks thousands of fans have mingled in the
official Woodstock chat room. But it's unlikely that many of the
teens and twentysomethings on hand will be conscious of
connecting to whatever Woodstock tradition they've glimpsed on
old newsreel footage.
Woodstock '69, portrayed as the climax of a communal
revolution, was actually a triumph of individualism.
Conservatives in 1969 failed to see that -- distracted,
understandably, by the long hair and dope. Sentimental liberals
in 1999 still fail to see that, distracted by warm, fuzzy nostalgia
and forgetting that the Who's Pete Townshend literally booted
activist Abbie Hoffman off the Woodstock stage.
Sure, hippies were intent on rejecting the provincialism of
traditional America. But in their own deliberate freakiness, they
embraced freedom and liberty like Granny at the Fourth of July
parade. The revolution, it turned out, was won not by the
collectivist elite but by good old-fashioned individualists. Who
happened to be naked and on the lookout for brown acid.
Next weekend, the moment will be what matters, just as it did in
1969 and just as it did in 1994, when a whole bunch of young
people gathered in upstate New York to goof around and listen
to tunes.
Let the pronouncements come down later, from folks who mull
over these things in offices under fluorescent lights. Next
weekend, now will count most. History, if there's any to figure
out, can wait.
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Copyright � 1999 The Beacon Journal Publishing Company
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