WOODSTOCK FESTIVAL PART 11 OF 12 -Media Coverage and The New York Times- As the only reporter at Woodstock for the first 36 hours or so, Barnard Law Collier of the New York Times was almost continually pressed by his editors in New York to make the story about the immense traffic jams, the less-than-sanitary conditions, the rampant drug use, the lack of "proper policing," and the presumed dangerousness of so many young people congregating. Collier recalls: "Every major Times editor up to and including executive editor James Reston insisted that the tenor of the story must be a social catastrophe in the making. It was difficult to persuade them that the relative lack of serious mischief and the fascinating cooperation, caring and politeness among so many people was the significant point. I had to resort to refusing to write the story unless it reflected to a great extent my on-the-scene conviction that 'peace' and 'love' was the actual emphasis, not the preconceived opinions of Manhattan-bound editors. After many acrimonious telephone exchanges, the editors agreed to publish the story as I saw it, and although the nuts-and-bolts matters of gridlock and minor lawbreaking were put close to the lead of the stories, the real flavor of the gathering was permitted to get across. After the first day's Times story appeared on Page 1, the event was widely recognized for the amazing and beautiful accident it was."
WOODSTOCK FESTIVAL PART 10 OF 12 -The Abbie Hoffman Incident- Abbie Hoffman interrupted The Who's performance during Woodstock 1969 to attempt a protest speech against the jailing of John Sinclair of the White Panther Party. He grabbed a microphone and yelled, "I think this is a pile of shit! While John Sinclair rots in prison..." The Who's guitarist, Pete Townshend, cut Hoffman off in mid-sentence, saying, "Fuck off! Fuck off my fucking stage!" He then struck Hoffman with his guitar, sending him tumbling offstage. Townshend later said he actually agreed with Hoffman on Sinclair's imprisonment, though he made the point that he would have knocked him offstage regardless of his message. According to Hoffman, in his autobiography, the incident played out like this: "If you ever heard about me in connection with the festival it was not for playing Florence Nightingale to the flower children. What you heard was the following: 'Oh, him, yeah, didn't he grab the microphone, try to make a speech when Peter Townshend cracked him over the head with his guitar?' I've seen countless references to the incident, even a mammoth mural of the scene. What I've failed to find was a single photo of the incident. Why? Because it didn't really happen. “I grabbed the microphone all right and made a little speech about John Sinclair, who had just been sentenced to ten years in the Michigan State Penitentiary for giving two joints of grass to two undercover cops, and how we should take the strength we had at Woodstock home to free our brothers and sisters in jail. Something like that. Townshend, who had been tuning up, turned around and bumped into me. A non incident really. Hundreds of photos and miles of film exist depicting the events on that stage, but none of this much-talked about scene.” A fifteen-second sound bite of the incident can be heard on The Who compilation set entitled Thirty Years of Maximum R&B (Disc 2).
WOODSTOCK FESTIVAL PART 9 OF 12 -Refused Invitations- * The promoters contacted John Lennon, requesting for The Beatles to perform. Lennon said that he couldn't get the Beatles, but offered to play with his Plastic Ono Band. The promoters turned this down. * The Doors were considered as a potential performing band, but cancelled at the last moment. Contrary to popular belief this occurrence was not related in some fashion to lead singer Jim Morrison's arrest for indecent exposure while performing earlier that year, the cancellation was most likely due to Morrison's known and vocal distaste for performing in large outdoor venues. There also was a widely spread legend that Morrison, in a fit of paranoia, was fearful that someone would take a shot at him while he was onstage. Drummer John Densmore attended and can be seen on the side of the stage during Joe Cocker's set. * Led Zeppelin were asked to perform, their manager Peter Grant stating "We were asked to do Woodstock and Atlantic were very keen, and so was our US promoter, Frank Barcelona. I said no because at Woodstock we'd have just been another band on the bill." * Jethro Tull refused to perform, claiming that it wouldn't be a big deal. * The Moody Blues for unknown reasons declined to perform. They later regretted not performing. They were however promoted as being a performer on the third day on early posters that stated the site being Wallkill. * Bob Dylan was in negotiations to play, however he had to pull out as his son was taken ill. He also was unhappy about the number of the hippies piling up outside his house near the originally planned site. He would go on to perform at the Isle of Wight Festival a year later.
WOODSTOCK FESTIVAL PART 8 OF 12 -Cancelled Appearances- * The Jeff Beck Group was scheduled to perform at Woodstock, but failed to make an appearance due to the band's break-up the week before. * Iron Butterfly was stuck at an airport, and their manager demanded helicopters and special arrangements just for them. They were wired back and told, as impolitely as Western Union would allow, "to get lost", but in other 'words'. * Neil Young joined Crosby, Stills & Nash, but refused to be filmed; by his own report, Young felt the filming was distracting both performers and audience from the music. Young's "Sea of Madness," heard on the album, was actually recorded a month after the festival at the Fillmore East dance hall. * Joni Mitchell was slated to perform but her agent informed her that it was more important that she appear on "The Dick Cavett Show" on Monday, with its national audience, rather than "sit around in a field with 500 people." Ironically, Crosby, Stills, Nash & Young and Jefferson Airplane (who both performed at the festival) also made it to the show. She wrote and recorded the song "Woodstock" that was also a major hit for Crosby, Stills, Nash and Young and was recorded by Richie Havens on his 2004 album Grace of the Sun. * Ethan Brown was a solo guitarist highly admired by the 'hippie' youth, but he was arrested three days before the festival on LSD related charges. He is known best for his earlier childhood friendship with The Doors piano player, Ray Manzarek. * Canadian band Lighthouse was originally scheduled to play at Woodstock, but in the end they decided not to, fearing that it would be a bad scene. Later, several members of the group would say that they regretted the decision.
WOODSTOCK FESTIVAL PART 7 OF 12 -Sunday, August 17 to Monday, August 18 continued- # Crosby, Stills, Nash & Young began around 3 a.m. with separate acoustic and electric sets. # Paul Butterfield Blues Band # Sha-Na-Na # Jimi Hendrix. The full list of Hendrix's Woodstock performance repertoire follows:
WOODSTOCK FESTIVAL PART 6 OF 12 -Sunday, August 17 to Monday, August 18- Joe Cocker was the first act on the last officially booked day (Sunday); he opened up for the day's booked acts at 2 PM. The day's events ultimately drove the schedule nine hours late. By dawn, the concert was continuing in spite of attendees' having left, returning to the workweek and their other normal obligations. * Joe Cocker * After Joe Cocker's set, a storm disrupted the events for several hours. * Country Joe and the Fish resumed the concert around 6 p.m. * Ten Years After * The Band - Set list confirmed via Levon Helm's book "This Wheel's On Fire" * Blood, Sweat & Tears ushered in the midnight hour with five songs. * Johnny Winter featuring Edgar Winter, his brother, on two songs.
WOODSTOCK FESTIVAL PART 5 OF 12 -Saturday, August 16 continued- * Creedence Clearwater Revival * The Who began at 3 AM, kicking off a 24-song set including Tommy * Jefferson Airplane began at 8 a.m. with an eight-song set, capping off the overnight marathon.
WOODSTOCK FESTIVAL PART 3 OF 12 -Friday, August 15- * Richie Havens (opened the festival - performed 7 encores) * Swami Satchidananda - gave the invocation for the festival * Country Joe McDonald, played separate set from his band, The Fish * The Fish * John Sebastian * Sweetwater * Incredible String Band * Bert Sommer * Tim Hardin, an hour-long set * Ravi Shankar, with a 5-song set, played through the rain * Melanie * Arlo Guthrie--order of set list unknown * Joan Baez
Leslie West, Bob Mann, à la guitare et aux claviers et Alan Schwartzberg à la batterie pour un album live "Twin peaks" enregistré au Japon, symbolique de l'époque avec ces longues improvisations tour à tour magiques ou indigestes suivi avec le retour de Laing, d'un album studio en 1974 "Avalanche". Le groupe fut alors dissout pour laisser ses membres poursuivrent des carrières indépendantes, Laing et West collaborant fréquemment. En 1983, Félix Pappalardi qui se consacrait principalement à la production fut abattu lors d'une dispute par son épouse Gail Collins rendant définitivement impossible la reformation de Mountain autour de ses deux piliers historiques. Malgré tout, à l'occasion, Leslie West remit régulièrement sur pied des nouvelles versions de Mountain avec les albums "Go four your live" en 1985 puis "Man's world" en 1996 et "Mystic fire" en 2002 en alternance avec des disques solos sous son nom.
The Grateful Dead were an American psychedelia-influenced rock band formed in 1965 in San Francisco. The band was known for its unique and eclectic songwriting style—which fused elements of rock, folk music, bluegrass, blues, country, jazz, psychedelia, and gospel—and for live performances of long modal jams. "Their music," Lenny Kaye wrote "touches on ground that most other groups don't even know exists." The Grateful Dead's fans, some of whom followed the band from concert to concert for years, were known as Deadheads and were renowned for their dedication to the band's music. Many followers referred to the band simply as The Dead. The Grateful Dead became the de facto resident band of Ken Kesey's Merry Pranksters, with the early sound heavily influenced by LSD-soaked Acid Tests, as well as R&B. Their musical influences varied widely with input from the psychedelic rock of the era, combined with blues, jazz, rock and roll, and bluegrass. These various influences were distilled into a diverse and psychedelic whole that made the Grateful Dead "the pioneering Godfathers of the jam band world."