Woodstock

I just got done watching the DVD version of Woodstock last night. At 25, I didn't realize it until then, that these were just kids! Woodstock may have been about music, it may have been about peace, but what the documentary truly captured on film was the Youth of American trying to make things right in a time when there was wrong. A garden of eden filled with innocence and joy. The only sorrow one knows when watching Woodstock is the fear of 1969 and the knowledge that many of the idols found in that year are not with us today. Still, man, what a time and I only wish I could have been there, among the innocent in the garden. Too bad I was born in 1978

Wavy Gravy said it best. Three days of peace, love and music, captured onto film. Everybody has their own opinions about which groups are better than others, but the overall effect is a dizzying one. 500,000 people (with an additional 1 million on the roads who couldn't get any closer) gathered in one spot, for a festival that named a generation. It's hard to believe that the concert was supposed to be a nothing more than a publicity event for a proposed recording studio, financed by a pair of venture capitalists. But the sun, moon and the stars were all in the proper alignment to create an event that we can only stand back and admire. I praise the organizers for having the foresight to document this event on film, for future generations to enjoy and behold. And perhaps, one day, repeat in some form.

I was 8 years old the time this event took place and having older siblings into the times, styles, and cultures of the era I certainly got a feel and liking for the bands in this documentary. I have seen bits and pieces of this event throughout the years, but never took the time to sit down and watch the whole event from start to finish; that is until last weekend. This definitely is what music documentaries have used as the measuring stick to define themselves ever since. The Director's Cut, which is what I viewed, is 224 min in length. It's amazing how one can get "sucked into the experience" and not notice the time elapsing! The Remastered version is incredible especially regarding the visual and audio equipment used in that time period. The 2 channel effect with the split screen is interesting and keeps the viewer entertained by the different sounds and noises in the interview segments. Best musical and visual picks are Jimi Hendrix, CSN, Country Joe (cute use of the "bouncing ball" - can we say Karaoke?), Jefferson Airplane, and my favorite Janis Joplin. If you're a period person, grew up in the late 60's, or appreciate classic rock music, then I urge you to go and watch this classic piece of work.

9 out of 10 ***

As I have seen this many times since it first came out on in the theater and then on VHS, I now just fast-forward chapters on the DVD to the music, enjoying my favorite performances in this epic documentary of the most famous rock concert of all time.

There is a lot to enjoy, including the stuff between the music if you have never seen this before. It certainly captures the wildness of the late 1960s, the good and the bad. It really brings you back to a unique time in American history. For someone who was part of that time, things that were "cool" back then now look and sound a little stupid and naive, but it's still fun to watch. Not only do you get a ton of music, but you see a half million people weathering storms, the mess, drugs, port-o-johns, drugs, dancing, skinny-dipping, drugs, eating. You get the idea.

Music-wise, everyone has their favorites so I'll put a plug or two in for the artists I've always enjoying watching-seeing the most in this movie: Ten Years After; Sly And The Family Stone; Canned Heat, The Who, Richie Havens, Santana, Sha Na Na, Country Joe And The Fish, The Jefferson Airplane and Crosby, Stills and Nash.

At almost four hours, you can choose from a variety of music acts, enough to give you at least an enjoyable couple of hours of that alone, if you wish. This is a must- have for music fans of that era.

This 'defining moment of a generation' has been over-romanticized to the point of parody. Woodstock changed nothing about American life or culture--the mythos surrounding it is just a nostalgia trip for aging hippies and guilty yuppies longing for the days before mandatory drug-testing. The notion that getting stoned and balling in the mud at a rock concert could qualify as a form of social or political activism is so ridiculous that it's almost contemptible.

Nevertheless, 'Woodstock' the movie is a gem for its numerous moments of brilliance on stage and the relatively innovative use of multiple sound-tracks and camera angles that paved the way first for similarly brilliant concert films like Scorsese's 'The Last Waltz.'

This film was largely responsible for the explosion in popularity of The Who's 'Tommy,' and it's easy to see why. Their renditions of the rock opera's high points, culminating with 'See Me Feel Me/Listening to You' in the early morning hours, are simply breathtaking. Ironically, the Who frequently slagged their performance at Woodstock and the hippie movement in general, and Townshend famously clobbered anti-establishment activist Abbie Hoffman with a blow to the head from his guitar after Hoffman tried to take the mike during their set (sadly, this legendary bit of rock lore was missed entirely by the film crew, who were changing reels between songs at the time). Their set's most serendipitous aspect--the sun breaking over the horizon during the instrumental climax of their final number--was a consequence of the group's holding up their performance for several hours, demanding to be paid in advance. They were also quite angry about having been unwittingly dosed with LSD, which had been added to basically every form of beverage--including ice-cubes--in the backstage area. They translate their frustration and anger into a manic energy unrivalled in the history of live rock.

Also perilously high on LSD was Santana, whose performance of 'Soul Sacrifice' became a defining moment for that incarnation of the group. Though Carlos Santana's guitar was always the focus of Santana, the film's sound editing and camera work dwell more on drummer Michael Shreve, a drop-dead brilliant jazz-trained percussionist who joined Santana while still in his teens. One could easily be persuaded that Shreve was the real genius of Santana from this performance.

Other star-making turns are here to be found: the first public appearance of Crosby, Stills, & Nash, delivering a stripped-down performance of 'Suite: Judy Blue-Eyes' supported only by Still's acoustic guitar and their legendary three-part harmonies, Joe Cocker refashioning the Beatles' 'With a Little Help From My Friends' from psychedelic pop into gut-wrenching soul, and the hugely underrated Richie Havens' acoustic folk introspection.

The snippets of dialogue and interviews date poorly, with the exception of a humorous turn by Grateful Dead guitarist Jerry Garcia, who gives a quick running commentary as he rolls and displays a fat marijuana joint for the camera (the Dead refused permission to have their performance featured in the film).

Perhaps the most celebrated moment of the film is Jimi Hendrix's set with his new group, the Band of Gypsies, which features his virtuosic take on the 'Star-Spangled Banner.' Though the hippie rhetoric about the glorious counter-culture revolution of the sixties is tiresome (I find it somewhat telling that, due to weather, Hendrix's set was pushed back to the morning of the last day, and was missed by the majority of the filthy, soaked, and hung-over crowd), Hendrix (who, unbeknownst to many, was an Army paratrooper before he became a rock god) captures the confusion and fear aroused by the Vietnam War and the rift it inspired between American youth and the so-called establishment with stunning clarity. He also proves quite convincingly why he will never be equaled as a rock guitarist or an icon of cool.

Forget the hippie nonsense and get off on some of the highest-quality recordings and concert footage of the golden age of rock.