In the 60s, protests demanded a reason- whether they were against segregation and the disenfranchisement of blacks in the US, or to try and stop a war that affected everyone. Since the issue of segregation is a thing of the past (anyone who claims today’s African-Americans have it as bad as blacks in the ‘60s is misinformed, and dead wrong), let’s look at the war protest.
There is one truism that came out of the Vietnam war protests- because of policies like a national draft, covert operations, and America’s almost religious need to win a war that was, at best, a pointless loss of life and a national tragedy (this is not to say the contributions and the sacrifices of the thousands of veterans means nothing- it just means the war was an attempt to flex our muscles globally, through the guise of fighting the Red Tide, that wound up costing us dearly for our moxie). The maxim in the ‘60s rang true- everyone knew someone in the war, or someone deeply affected by the war. And that is what spurred the protests- a universally affected populace, striving for enlightenment, hungering for peace, trying to save friends, peers, and relatives from pain and death.

The facts are, today’s protests are a result of a bored and disenfranchised youth culture looking for something to give meanings to their cynical and heartless lives. It comes from a desire to give a nullified life purpose by championing a cause (even if that cause is completely asinine). The movement towards this tendency has made protests mean very little in today’s world. In the 60s, the protests were over freedom, rights, peace, and love – admirable goals that mean something. They were causes that required protest, issues that needed to be addressed. The difference is clear: in the ‘60s, the issue (and the need to change the world) fueled the protest, in the 2000s, the need to protest creates the issues.

Youth Struggle to Find Cause>>

The narrator, after being screamed at: “Although the protesters didn’t make the case to back up their opinions, they did seem like nice people for the most part. The kind of people I’d be happy to call friends. But I don’t think the name-calling or extremist language helps their cause. And hopefully, the more hotheaded among them will some day realize that mere disagreement does not make one evil.”

Anti-protesters were marching with protesters, but supporting the war. Showing, again, the fervent anger displayed to anyone who simply disagrees.

Protester: “You’re not welcome here. Now you can go, or we can go get the cops.”

Anti-protester: “So where do you want us to go?”

Protestor: “We want you out of the park.”

Narrator: “They employed the tactics they accused John Ashcroft, first by roping in the protestors, literally. And, after the warriors left, a protestor followed them back to their van and copied down their license plate number.”

Narrator: “At least the protestors were comfortable having their opinions challenged.”

In a montage of reactionary exchange
Man 1: “BULLSHIT.”

Man 2: “Get the fuck out of here. See you later.”

Man 3: “You guys are bullshit, right-wing crap. Get out of my face.”

On the blatant anti-Semitism at the rallies (proving that, again, these people just need someone to hate. If Iraq is good, then Palestine is good, and Israel is bad.)

Narrator: “The undercurrent of anti-Semitism at the recent protests is one of the most underreported aspects of the peace movement. . .”

Some signs say, “Zionism is Ethnic Cleansing.”

Furthermore, Narrator: “But I still didn’t understand why the Palestinian cause was so popular amongst these white urbanites.”

Man: “I really feel we’re going to war to fight Israel.”

Woman: “The Israelis are like the US in acting imperialistically and greedily.”

Narrator: “Oh, I get it. So they tie Israel to the US and it gives the protesters another target for their anger.”

Man: “The other side of my sign, I wanted it.. today.. to say ‘first dump Bush, then dump our Zionist congress.’"

Woman: “I really felt unsafe, there was so much Jew-Hatred.”

Narrator: “The protesters preaching non-violence found plenty of excuses for Palestinian terrorism. Apparently not everybody deserves peace.”

The cultural differences are also expressed in the music of the time. Without even going into the incredibly obvious difference between Woodstock ’69 (peace and love) and Woodstock ’99 (anger and commercialism), it would benefit us if we took a look at the bands that played both festivals. Woodstock ‘69 featured bands like Hendrix, Jefferson Airplane, Janis Joplin, The Who, Crosby, Stills, Nash, & Young, The Band, and Ravi Shankar. Bands you know, no doubt, who defined the counter culture of understanding and love, while at the same time establishing their protests against society.

Woodstock ‘99 featured such peace-loving bands as Megadeth, Korn, Metallica, Kid Rock, Godsmack, the Insane Clown Posse, and Limp Bizkit. Most interesting to me, though, is Rage Against the Machine. Rage, more so than any band in this era, encapsulates our generation’s musical voice of protest. They, more than anyone, attempt to alert us, through their music, of the injustices that are running rampant in this world. However, when looking at a comparison between Rage and ‘60s protest music (e.g. Bob Dylan), the differences in culture also shine through. First, look at the name- Rage Against the Machine. That isn’t a cry for peaceful change; it’s a call to arms, a plea for revolution. This is even more evident in songs like “Bullet in the Head,” “Calm Like a Bomb,” and “War Within a Breath.” The lyrics speak even more. Let’s look at a comparison between Rage and Dylan.

From their first single, “Freedom”, and they’re call of “anger is a gift” Rage Against the Machine have tried to educate, while, at the same time, incite. Two of the most prominent examples of their views both tear down their concept of America, while calling for a massive revolt. “Yes I know my enemies / They're the teachers who taught me to fight me / Compromise, conformity, assimilation, submission / Ignorance, hypocrisy, brutality, the elite / All of which are American dreams” (“Know Your Enemy”).