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Roughly half a year ago there was a discussion here on the cultural legacy and (then) recent renewed interest and negative portrayal of the Woodstock ’99 music festival in the mainstream media. I haven’t seen the two documentaries in question but I’ve heard commentaries on them, and they agreed that much of the sneering and hostility present in their narratives is actually directed at the nu-metal genre in general, and the antics of Fred Durst in particular. I was sort of surprised that nobody mentioned this in the discussion. Anyway, it certainly doesn’t surprise me that much that they’d contextualize the whole incident in that way, as nu-metal is generally seen as an embarrassing and pathetic cringefest which was a plague upon pop music at the turn of the Millennium, thankfully one that largely disappeared after a few years as quickly as it appeared. And it was roughly at the zenith of its popularity when this festival took place, which was dominated by nu-metal bands.
When I’ve heard these commentaries I started looking for more on Youtube as my interest was piqued. Back when the BBC Learning TV channel existed it ran a rather good one-hour documentary on the incident but unfortunately I wasn’t able to find it. (I saw one or two other short documentaries from the same period i.e. 2000/2001.) I do recall, however, finding some news report which featured a segment from an interview with Sheryl Crow, who also performed at the festival and had a rather bad experience. I saw this YT clip about two years ago and can’t find it again unfortunately. To paraphrase from memory, she argued that the reason she found the whole scandal repulsive was that the white male nu-metal fans who committed numerous acts of arson, vandalism, rape, harassment etc. were mostly from functioning middle-class homes in the suburbs, objectively privileged by global standards, yet were constantly angry and destructive and couldn’t even put it in words why. She basically accused them of toxic masculinity even though I don’t recall her using that exact expression, but I wasn’t surprised anyway because she came across as the average lipstick feminist.
Leaving the subject of the festival aside, I wonder how nu-metal will be viewed in the context of the culture war. It appears to me that as a phenomenon it was a canary in a coalmine, providing an outlet for the angst of the young white (mostly) male members of a social class that was turning into the precariat under a system of late-stage capitalism, whose average quality of life was about to start collapsing. (Rising rates of mortality, alcoholism, illegitimacy, fatherlessness, unemployment, opioid addiction, prescription pill abuse etc.)
I have to disagree massively with the timeline here. Pop-punk became huge concurrently with nu-metal; Green Day’s Dookie and The Offspring’s Smash both came out in 1994, the same year as Korn’s self-titled debut album, and several years before Limp Bizkit and Slipknot got going.
Also, pop-punk was never just an “ironic and emotionally guarded” genre. The Offspring released “Gone Away”, a plaintive song mourning the death of a friend, in 1997. Hell, even Blink-182, maybe the poster boys for juvenile tongue-in-cheek pop-punk, have a song on their breakout album - “Adam’s Song” - about teen suicide. And drawing some distinction between “emo” and “pop-punk” in the 00’s just has no basis in reality. By that time the two genres were inextricably linked, with most of the major practitioners of the genre effortlessly bouncing between ironic detachment and almost cartoonish emotional sincerity and airing of traumas. Sure, you have bands like Bowling For Soup who stayed committed to above-it-all jokiness, but most of the 00’s-era bands in the Warped Tour scene were famous for their songs about how their dads screwed them up emotionally. (Simple Plan, Sum 41, My Chemical Romance, The Used, etc.)
Even there, songs like "Highschool Never Ends" and "Come Back to Texas" clearly have a core of molten sincerity beneath all the jokes.
Oh sure, not to mention songs like “A-Hole”, “Cold Shower Tuesdays”, “The Luckiest Loser”, etc. And their more recent stuff is more openly sincere.
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