1960年代，埃利奥特·提伯只是格林威治村的一个普通的室内装潢设计师。身为同性恋的他觉得身体里有种要为同性恋人争取权力的冲动。但是他根本没有将这种冲动转化为行动，而是一天天地消耗在他的父母开设在El Monaco的汽车旅馆里。他的父母杰艾克和索尼娅是一对顽固而且守旧的夫妻，在他们的眼里，没有什么比生意更重要的。可是在1969年的夏天，他们的汽车旅馆却出现了资金问题，无奈之下，提伯只好搬回家里，帮助父母打点生意。 　　当听说在邻近的Wallkill失去了举行一场摇滚音乐会的许可权之后，埃利奥特·提伯立马找到了应约会的制作人迈克尔·朗。他向迈克尔·朗自荐，并许诺自己家开设在El Monaco的汽车旅馆有办法提供音乐会所需要的一切物资－－这其中包括饮用水、食物、啤酒等等。埃利奥特·提伯的邻居马科斯·耶斯格拥有一片600英亩大的奶牛场，这片奶牛场恰巧就开设在公路旁边。在埃利奥特·提伯的劝说之下，马科斯·耶斯格同意将奶牛场的场地租出来3天，为了“爱，和平与音乐”的音乐会。种种机缘巧合之下，50万人来到了El Monaco，来到了马科斯·耶斯格的牧场。 　　三天的音乐会结束之后，埃利奥特·提伯发现自己成为了公众人物，而伍德斯托克摇滚音乐节也成为了大众流行文化的转折点。 　　By William Ruhlmann 　　Of course, the primary musical accompaniment to director Ang Lee's film Taking Woodstock comes from the rock artists who played the Woodstock Festival, and they are heard on a soundtrack album to the film. But there is also a modest background score composed by rock star-turned-Hollywood composer Danny Elfman, and this album manages to squeeze out half an hour's worth of it. Elfman's idea seems to have been to provide music that would complement the late-'60s pop/rock heard at the festival, and for the most part, these short cues sound like what might have been heard backstage if some combination of Crosby, Stills, Nash & Young were strumming their acoustic and electric guitars while waiting to go on, that is, if clarinetist David Krakauer also happened to be wandering around playing his instrument dolefully. Elfman only changes tack midway through, when the trio of tracks &Groovy Thing (Office #1),& &A Happening (Office #2),& and &Groovy Thing (Guitar Solo)& introduce a theme that is played, first in an unmistakably Byrds-like style, complete with 12-string electric Rickenbacker guitar; then in an early psychedelic garage band style, with Farfisa organ and wailing electric guitar solo; then as an acoustic guitar theme. These styles are slightly anachronistic, harking back to the mid-'60s, but they are authentically re-created. Indeed, &Groovy Thing (Office #1)& could be stuck on a CD reissue of an old Byrds album as a bonus track, and nobody would be the wiser. This is not one of Elfman's major scoring efforts, but it is appropriate to the material at hand.