John Sebastian, who did more than anyone to make tie-dye a hippy fashion statement on stage at Woodstock n 1969.
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A certain song said, “By the time we got
to Woodstock/We were half a million
strong.” By last count 24,794,612 aging Baby Boomers have claimed at one time or
another to be in attendance at the Woodstock Music & Art Fair which opened fifty years ago today on August
15, 1969 on Max Yasgur’s farm in Bethel, New York. But then it was written by Joni Mitchell who
missed it herself because her agent didn’t want her to miss an
appearance on the Dick Cavett Show.
Like Joni, I didn’t get to Woodstock either. I was working a third shift printing daily
employment listings for Illinois Unemployment offices and was
helping organize on the People’s Park Project at Halstead and Armitage
as a new member of the Chicago Branch of the Industrial Workers of the World
(IWW). Of course, when
I found out what I had missed, I, too, wished I had been there.
Two rich young guys, John Roberts and Joel Rosenman took out ads in
the New
York Times and Wall Street Journal which read,
“Young men with unlimited capital looking for interesting, legitimate
investment opportunities and business propositions.” It attracted the attention of and Artie Kornfield who came up with an
idea to build a world class recording
studio in rustic Woodstock, New York
were artists like Bob Dylan and The Band were already living. As discussions evolved, the idea of a festival
to promote the studio and maybe featuring some of those local luminaries
began to emerge.
As
envisioned it was a much more modest event than it became. But, in a series of legendary steps and missteps
it evolved into something unique. After
experiencing difficulty recruiting top acts, Creedence Clearwater Revival agreed to play for $10,000—a steep fee but one which signaled to
other top acts that the festival would be worth doing. Leading rock
and roll acts, including the cream of the San Francisco psychedelic scene and one huge British Invasion group, The
Who, were joined by folk music legends
like Joan Baez and Arlo Guthrie.
Planned
as a for-profit program, tickets
went on sale in New York City area record stores and by mail for $18 a day or $24 for all
three—fairly steep prices at a time when top concert tickets sold for less than
$5 at most venues. But sales were brisk. 186,000 were sold in advance and the
promoters began to believe that as many as 200,000 would attend. They could foresee a nice profit.
This,
however, far exceeded the 50,000 that promoters had told officials in Wallkill, where they had leased land in an industrial park. Alarmed local residents protested
voraciously. The town board voted in mid July to require that
gatherings of more than 5,000 have a permit and then officially denied
the organizers’ application on the ground that port-a-potties would
not meet local code.
Scrambling
to find an alternative, promoters found Bethel motel
owner Elliot Tiber who had a
permit already for another event and who offered the use of 15 acres behind his
business. A local real estate agent recommended Max Yasgur, whose farm abutted Tiber’s property with a gently sloping hillside that would make
a natural amphitheater for a stage
set up at the bottom in front of a pond.
The
Bethel Town Clerk and Supervisor approved permits for the event,
but the board refused to issue them and ordered the clerk to post stop work notices on the
site. But it was too late, despite local
alarm, early arrivals began coming into the area more than a week in
advance.
The
underground press and progressive rock radio stations were spreading the word far and wide. Everyone realized that far more people than
expected would show up. The organizers
had to decide to try reinforcing fencing
at the site to maintain a ticket for
admission policy or put their resources
into finishing the large and elaborate stage and sound systems which were behind
schedule. They decided that fencing and
security could lead to violence, as
could the cancellation of the
festival because the stage was not ready.
They opted for the stage.
Traffic jams to the festival were so bad that many abandoned their cars on the road and walked for miles.
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By
August 14 roads to Bethel were
becoming clogged and crowds thick. The fence was cut. Like it or not for most
Woodstock would be a free festival.
The Woodstock Festival of our imagination.
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The
enormous crowds and the traffic snarls became a media event by themselves as network
TV ran footage from helicopters
of the hordes of hippies descending on the rural
village. Rather than discourage people,
reports set even more on the road to join in what was being recognized as
something astonishing.
Torrential rains before and
during the concert transformed the fields to seas of mud. Conventional camping became
impossible. Shortages of food and water became critical. The Hog
Farm commune set up a free feed
operation featuring brown rice
and some vegetables. Local
residents took pity on the bedraggled
hippies and made thousands of peanut
butter sandwiches to be handed out.
The Woodstock experience for most--mud and garbage far from the stage
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There
was no shortage of drugs. Marijuana
smoke hung like a haze over the
crowd and LSD, including the famous bad brown acid that Hog Farmers warned
about from the stage, was plentiful. So,
evidently was heroin, which resulted
in at least one fatal overdose.
Despite
the hardship, the crowd remained
peaceful and legendarily mellow. From the first act, Richie Havens, to the last, an almost unknown guitarist named Jimi
Hendrix, the music was spectacular.
Most of those in attendance even remember it, at least after their memories were refreshed by Woodstock: 3 Days of Peace & Music,the landmark
1970 film directed by Michael Wadleigh and edited by
Thelma Schoonmaker and Martin
Scorsese, or by the multi-disc
record albums that were released.
Joni
Mitchell penned the memorial ditty which became an anthem hit for Crosby,
Stills and Nash, the super group
which debuted at Woodstock.
The
festival also boosted the careers of
several other participants, none more so than Hendrix, who vaulted overnight to
super star status.
As
for the organizers, they lost their
shirts, at least at first. They were
deluged by unpaid bills and over 80 law suits. Eventually revenue from the movie paid off all debts, but none of the original
partners, now feuding among
themselves, made any money.
They,
like their event, however, became legendary—even
heroes—in later books and in the interesting 2008 film Taking Woodstock by Taiwanese director Ang Lee.
Michael Lang's much hyped Woodstock 50 reboot crashed and burned.
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Earlier
this year Michael Lang, one of the original promoters who lost his shirt on the
festival, tried to cash in on nostalgia by
staging Woodstock 50 with big name current rock, rap, and pop acts and a couple of surviving artists from the original
festival, Country Joe McDonald and John Sebastian.
Things began to unravel almost from the start. Lang lost his principle financial backer, Dentsu Aegis who tried unsuccessfully to cancel the event. Then production partner Superfly dropped out a few days later. Permits could not be obtained for the originally announced venue—the Watkins Glenn Raceway in upstate New York and the Town of Vernon near Utica. By July most of the originally announced main acts including Jay-Z, Miley Cyrus, Santana, the Lumineers, and Dead and Company. Finally a last minute scramble to recast the festival as a voter registration event and a fundraiser for environmental groups, at a much smaller venue, the 15,000 seat Merriweather Pavilion in the Maryland suburbs of Washington, D.C. also collapsed. Lang threw in the towel in a press release issued on July 31.
Things began to unravel almost from the start. Lang lost his principle financial backer, Dentsu Aegis who tried unsuccessfully to cancel the event. Then production partner Superfly dropped out a few days later. Permits could not be obtained for the originally announced venue—the Watkins Glenn Raceway in upstate New York and the Town of Vernon near Utica. By July most of the originally announced main acts including Jay-Z, Miley Cyrus, Santana, the Lumineers, and Dead and Company. Finally a last minute scramble to recast the festival as a voter registration event and a fundraiser for environmental groups, at a much smaller venue, the 15,000 seat Merriweather Pavilion in the Maryland suburbs of Washington, D.C. also collapsed. Lang threw in the towel in a press release issued on July 31.
The
golden anniversary will not go commemorated,
however, near its original home in Bethel.
The town is hosting a string of events centered on the Bethel Woods Center for the Arts on the
site of Max Yasgur’s farm. Events include
including a sold-out Arlo Guthrie
performance and Woodstock documentary
screening on August 15; concerts by Ringo
Starr on the 16th, John Fogerty
on the 18th, and Santana on the17th,
as well as art exhibitions, craft shows, and panel discussions.
The
festival has also been celebrated with a new PBS documentary, Woodstock: Three Days that Defined a
Generation.
The crowd and stage at Woodstock. Feel free to circle yourself if you were there..
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Meanwhile
aging hippies whether they actually made it to Woodstock or not fifty years ago
or not, are putting on tie-dye, and
digging out their old albums or copies of the movie. And yeah, a lot of them will toke up, too.
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