The documentary “Freaknik” tells the untold story of an Atlanta street party

LOS ANGELES (AP) – If you have ever attended Atlanta’s wildest gathering called Freaknik, be careful: You may appear in a brand new Hulu documentary about the legendary street party that became popular because of folkloric tales of traffic jams, public nudity and highway debauchery.

Many of these photos will undoubtedly be featured in “Freaknik: The Wildest Party Never Told.” But the documentary doesn’t solely give attention to the hypersexual environment and public safety concerns surrounding the festival that began 4 many years ago. It also tells the story of how this iconic event began as an easy black college cookout that eventually attracted 1000’s of people from across the United States, defining Atlanta as the cradle of culture and music.

“It’s more a question of culture. “This is the Atlanta version of ‘Beat Street,’” said Jermaine Dupri, who executive produced the project together with several others, including Luther “Uncle Luke” Campbell and 21 Savage. The documentary premiered Tuesday night at SXSW in Austin, Texas. It will stream on Hulu on March 21.

“This is our story about our contribution to culture,” Dupri continued. “Through the music and the parties that happened during Freaknik. It’s much more than just people standing on top of cars and playing music outside.”

“Freaknik” will feature perspectives from Killer Mike, Jalen Rose, CeeLo Green, Rasheeda and Too $hort. The project features Freaknik founders Emma Horton, Amadi Boone, Monique Tolliver and Sharon Toomer, who discuss the origins of the festival and the name Freaknik – a mixture of picnic and freak. The inspiration for the song was the 1978 song “Le Freak” by R&B group Chic.

Dupri initially questioned whether the documentary would focus solely on the sexual nature of the festival. But the music mogul believed otherwise after meeting with Swirl Films producers Jay Allen and Nikki Byles, who told him the documentary would give attention to the full story.

“We want people who haven’t experienced Freaknik to relive the good, the bad and the ugly,” Allen said. “The people who were there will be able to tell their stories and their truth.”

Dupri wants viewers to see how Freaknik has elevated Atlanta’s now thriving hip-hop music scene and helped it turn out to be a destination for Black entrepreneurship and empowerment. He heard criticism about the documentary “putting Black people backwards.” There were also reports that some women would take legal motion to dam the documentary’s release for fear of potential exposure in the flashback clips. It is unclear whether a lawsuit was ever filed.

“It’s all educational. For me personally, it is Black history,” said Dupri, who attended Freaknik. “For those who need that reassurance, I would never allow my name to be associated with anything that would take a shine to Atlanta or do anything that I felt would undo that culture.”

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Uncle Luke called these critics “hypocrites” for participating in Freaknik’s lewd activities, after which criticized this generation for admiring hip-hop artists corresponding to Cardi B, Ice Spice and Sexyy Red, who’re known for his or her suggestive performances.

“They’ll get a taste of their own medicine,” said Luke, who was considered the godfather of Freaknik for bringing his provocative nature to the festival. The footage was mostly crowdsourced, with some of his VHS tapes converted to digital format.

Byles secured other recordings by reaching out on social media and knocking on the doors of former Freaknik participants, who passed on what they were comfortable communicating.

“It’s easy to point fingers at someone else’s children and say they’re living the life they actually lived as parents,” said Uncle Luke. “I wanted to show this perspective. But there’s also this great myth about Freaknik. Many people on the West Coast have heard about it. Some people have heard these stories. It was this story that was never really told. We wanted to tell this story of where it really came from.”

Freaknik was an extensive street party throughout Atlanta from 1983 to 1999. The three-day event, held in April, was organized by black students (Morehouse and Spelman colleges) from the DC Metro Club who were stuck on campus during spring break and decided to assemble in a park to beat the boredom with boom boxes, coolers, and food.

Over the years, Freaknik has turn out to be a grassroots spring break destination, attracting roughly 250,000 partygoers from across the country. The event was so massive that it spread throughout the city center and concrete areas.

However, as Freaknik’s popularity grew, the uncontrollable crowds brought so much of problems. By the mid-Nineteen Nineties, the fun-filled event turned unruly and eventually faded into oblivion after sporadic looting, massive traffic jams, and lewd activities. City authorities shut down the event after tensions continued to escalate between festival-goers, law enforcement and native residents.

Toomer, one of the original organizers, stated that she was impressed by the way the documentary presented the full history of Freaknik. Toomer is upset that the festival has ended, but she hopes that viewers will understand the true essence of their work.

“I think people will have that moment of, ‘I didn’t know that,’ and they will kind of appreciate it,” she said. “I’m excited about it. It was truly – in its best and worst years – a special event. Over the years, having to start a conversation with a word has been frustrating, unlike the experience that so many young black people have had.”

Director P. Frank Williams said the documentary shows the convergence of politics, media, music and culture. He said that it will also affect those that tried to resurrect Freaknik, but to no avail.

“I know people on the Internet and they’re all looking for candy, fun, girls, turnout and cars,” Williams said. “We gave it to you in case you watch the video. But there are also vegetables, which is black culture. Black identity. I’m attempting to go against a system that was preparing for the (1996) Olympics and didn’t necessarily want these kids on the streets. It’s a much deeper story.

“Everyone is worried about their aunts and all these memes,” he said. “But I hope that when you watch, you will see that we did much more than just party.”