Woodstock III

"A Day in the Garden"

August 14, 1998

Times Herald Record
August 14, 1998
By Jeremiah Horrigan
Staff Writer

That was then, this is now, at Bethel.

Back then. Day One of the 1969 Woodstock Music and Art Fair
- The hordes arrive. Route 17B becomes the world's longest two-lane parking lot.
- We're not in Kansas, but it sure looks it.
- Richie Havens opens the show.
- Hot and sunny skies; weather looks perfect.
- First skinny-dipper sighted.
- One thousand photographers take note.
- Scalpers sell tickets to innocent high school kids.
- Kids save tickets, make collectible killing 29 years later.
- Richie Havens sings for three hours. Main stage construction nearly done.
- Showers at midnight.

Just now. Day One of the Day In The Garden.
- Route 17B never looked so empty.
- We're still not in Kansas. Maybe Disneyland?
- Afroblue opens at 9 a.m. on tiny second stage. Plays half an hour.
- Cloudy skies look ominously familiar. First sprinkles fall on press tent, 10 a.m.
- Skinny dipping prohibited without official skinny dipping pass.
- One thousand apply for skinny-dipping review board.
- Scalpers sell bogus parking passes to innocent 48-year-olds.
- Innocent 48-year-olds embarrass their children with their Pete Townshend windmill-rocker moves.
- Alvin Lee of Ten Years After invites crowd to boogie. Crowd obliges.
- Illicit bottled water confiscated.

The Times Herald-Record Print Edition
Copyright August, 1998,
Orange County Publications, a division of Ottaway Newspapers
all rights reserved.



August 14,1998

Ten Years After return to the site of the original 1969 Woodstock Festival to perform before 14,000 people at the  “Day In The Garden” Festival. Almost thirty years after their legendary performance on this farm-site, Ten Years After are introduced as:                                             

“The Band Who Rocked The World!”

Their set list includes the following numbers and is only available on “Bootleg” CD. The following is from our personal bootleg collection. 

  1. Rock and Roll Music To The World 3:45
  2. Hear Me Calling 5:45
  3. Love Like A Man 5:35
  4. Good Morning Little School Girl 7:15
  5. Hobbit 5:35
  6. Slow Blues In C 8:15
  7. Johnny B. Goode 1:55
  8. I Can’t Keep From Crying Sometimes 14:55
  9. I’m Going Home 12:15
  10. Choo Choo Mama 4:25 
  11. Rip It Up 3:00 

From a fan:

Wow!! I just finished watching the live internet broadcast of a Day In The Garden festival, and the band looked fantastic playing two encores, and a great version of I’m Going Home…Great Job!!!  















Thanks to Torsten Strube   for this great photo (taken at "Torsten's Garden")



'Garden' party isn't epic, but fun

Albany Times Union
August 14, 1998
By Greg Haymes
Staff Writer

BETHEL -- There was a peaceful, easy feeling on Friday at A Day in the Garden, and it wasn't just because head Eagle Don Henley was one of the performers.

The vibe was right for an anniversary show on Max Yasgur's Farm -- the site of the original Woodstock Music and Arts Fair 29 years ago -- and the music maintained the mellow mood.

Along with Henley, A Day in the Garden hosted headliner Stevie Nicks, veteran blues-rockers Ten Years After, second-generation reggae star Ziggy Marley and relatively unknown pop-rocker Francis Dunnery.

British-born Dunnery might have seemed like an odd selection to kick off the fest, but it was an inspired choice. The little-known guitarist-vocalist -- who founded the progressive rock band It Bites and played in Robert Plant's band before launching his solo career -- played at Valentine's in Albany just a few short weeks ago, but he seemed right at home leading his new band on the huge Garden stage.

In true Woodstock spirit, he opened the fest with "Revolution,'' but it wasn't a call for political overthrow. Instead, in true '90s fashion, he sang, "I feel a revolution inside of me.'' In defiance of the gathering clouds, Dunnery and his tight backing trio offered the shimmering ballad, "Sunshine,'' but he hit his high-water mark with the back-to-back blast of infectious, thinking man's pop, "My Own Reality'' and "Too Much Saturn.''

Ziggy Marley led a sprawling 14-piece band, the Melody Makers, and it was clear from the opening volley of "Rastaman Vibration,'' that he wasn't going to shy away from the rich catalog of song by his legendary father, the late reggae pioneer, Bob Marley. In fact, it was his father's repertoire that made up the bulk of the young Marley's 40-minute set, including notable renditions of the rousing "Get Up, Stand Up,'' and set-closing "Jammin' '' and a magnificent reading of "No Woman, No Cry.''

Ten Years After -- the only band on Friday's bill who performed at the '69 Woodstock fest -- seemed to be something of a curious museum piece. Despite that, the band featured the same lineup that they had in '69, their brand of bruising blues 'n' boogie hasn't progressed or evolved much over the years.

"This is a cool piece of deja vu, huh?'' guitarslinger Alvin Lee asked the crowd, and, yes, I guess it was, but unfortunately it wasn't much more. Tired blues classics like "Good Morning, Little Schoolgirl'' and an ill-advised stab at Woodstock sing-along with Chuck Berry's "Johnny B. Goode'' fell flat, but they hit the mark with "I Can't Keep From Crying,'' an epic slab of psychedelic blues that captured all the best of Woodstock-era jams while quoting from Cream and Hendrix. Of course, it was all just a warmup for a reprise of the monstrous "I'm Goin' Home'' from '69, which Lee stretched out to a whopping 12 minutes, including forays into the songbags of Elvis Presley and Jerry Lee Lewis.

Henley was the musical highpoint of the day, counterbalancing the peace 'n' love nostalgia with a biting dose of California cynicism. Backed by a six-piece band and trio of blond bodacious vocalists, Henley opened with "The Boys of Summer,'' featuring the anti-nostalgia lyric, "Don't look back, you can never look back.''

"This is for Bill,'' he said, dedicating his swipe at media muckraking, "Dirty Laundry,'' to President Clinton. He offered scathing readings of Leonard Cohen's "Everybody Knows'' and John Hiatt's "Shreddding the Documents,'' before really going for the throat by dedicating "The End of the Innocence'' to the memory of Max Yasgur. "Max, you had a beautiful farm. I understand that it's not going to be that way for much longer, but this is for you, Max.''

He also tossed in a weird reggae version of "Sit Down, You're Rockin' the Boat'' from the Broadway musical "Guys and Dolls,'' and, of course, he also ran through his hits -- most notably the gutwrenching "The Heart of the Matter,'' the cinematic "Sunset Grill'' and the rocking "I Will Not Go Quietly.''

But he didn't touch his wealth of Eagles' material until his double-barreled encore when he got behind the drums for "Hotel California'' and the haunting "Desperado.''

Nicks seemed anticlimactic after Henley's tour de force, although it didn't help matters any that the rains finally came down at the start of her start and lasted for about an hour. It was the final date on Nicks' Enchanted tour in support of her three-CD boxed set, and she pulled out songs from throughout her career. Backed by seven musicians and two vocalists, Nicks was at her best on "Stand Back,'' "Gold Dust Woman'' and a set-closing medley of "Nightbird'' and "Edge of Seventeen,'' but her constant costume changes destroyed the momentum of the performance. The rain did, however, keep her trademark twirling to a minimum.

Was Day One of A Day in the Garden a musical milestone? Hardly. Was it magical? Not at all. Was it fun? You bet.

As Henley sang in "Hotel California,'' "We haven't had that spirit here since 1969.''

Greg Haymes is the pop music writer for the Times Union.

The Albany Times Union
Copyright 1998,
Capital Newspapers Division, of The Hearst Corporation, Albany, N.Y.
all rights reserved.






Back to the land: Woodstock cinematographer returns for a filmic look back...

Woodstock: Three Days of Peace and Music has been called the greatest documentary film ever made.

According to Warner Bros., it is the highest-grossing documentary of all time. Winner of the 1971 Academy Award for Best Feature Documentary, Woodstock brought spectacle and a grand scale to the documentary form. As a concert film, the collection of talent remains unequaled. And as historical chronicle, it quickly became emblematic of an era and a generation of Americans. In a review of the recent release of the director's cut of the film, critic Roger Ebert said, "What other generation has so completely captured its youth on film, for better and worse, than the Woodstock Nation?"

Almost 30 years later, a smaller group of filmmakers set out to document a commemorative concert on the same site called A Day in the Garden, named for a line in the Joni Mitchell song Woodstock.

One filmmaker, Chuck Levey, was involved in both productions, giving him a unique perspective on the evolution of filmmaking technology in the intervening years.

Michael Wadleigh and his Paradigm Films partner John Binder had been exploring various high-impact film techniques while making civil rights films and diverse clips for Merv Griffin television specials. Early on, they were mixing rock and roll with the political, intercutting Ray Charles and James Brown with Dr. Martin Luther King, Jr. They knew they had something special on their hands. Many of the elements that would set Woodstock apart as a visual experience — multiple images on the screen, high quality audio, and freely moving, handheld cameras — were discovered and refined on these projects. According to Wadleigh, these earlier films were one key to his winning the Woodstock job. The other was his willingness to put up his life savings.

The filmmakers decided on 16mm blown up to 70mm. 35mm had been rejected as too expensive and bulky. Eclair NPR 16mm cameras, the state-of- the-art 16mm camera in 1969, gave them the portability to capture the spontaneity and energy of the event. "That portability would really impact content," says Wadleigh. "The eventual dimensions of the film were obviously important to us, but in selecting 16mm, we chose the instrument that was appropriate to catch what was happening."

The blowup would set Woodstock apart. "The other concert documentaries and music films out at that time had been flops financially," Wadleigh recalls, pointing out Monterey Pop, Don't Look Back and several Beatles films. "We had this idea that a big, World's Fair-style enveloping experience was the proper approach. We wanted the audience to feel like they were taken there."

A custom-built Technicolor lens would provide single-generation, liquid gate blowups, with opticals done simultaneously. The lens was simply aimed at various parts of the 65mm frame to produce the trademark multiple images now so familiar to anyone who has seen the film.

Careful editing was facilitated by the use of the first Kem editing machines in the United States and eight Graflex projectors, equipped with zoom lenses, which could be synced by plugging them into one junction box. Wadleigh and co-editor Thelma Schoonmaker, who would go on to become Martin Scorsese's permanent editor, planned the opticals and laid out grids for the entire film, and then oversaw the lab work at Technicolor.

The 70mm projection prints afforded six channel stereo sound, as opposed to the more common optical soundtracks that limited previous concert films. The result was a stunning theatrical experience that had people dancing in the aisles at theaters across the country. "We knew we wanted the six track sound from the beginning," says Wadleigh. "That was a huge advantage. You could just blow people out of the theater."

Cameraman Chuck Levey, who had studied painting at Rhode Island School of Design, knew Wadleigh and had worked with him on several projects, including an Aretha Franklin concert filmed in Providence, Rhode Island. A self-described, 28-year-old hippie at the time, Levey was making a living in filmmaking "outside of the mainstream", and he was already holding tickets when he got the call to help document the massive festival. Little did he know that 30 years later he would return to the site to direct and help photograph a sequel of sorts.

"There were a total of 12 cameras, with six or seven guys shooting at any given time"

The production itself was a Herculean undertaking. Eventually 120 miles (633,600 feet or 193,122 meters) of footage were exposed. "It was certainly much more of a struggle back then, to shoot on the run like that," Levey recalls. "There were a total of 12 cameras, with six or seven guys shooting at any given time. We had AC-powered Eclair NPR cameras, plugged into 60 cycle AC. A 60 cycle tone was on one of the eight tracks of the music recording.

"To help in lining up picture and sound in post, I tried to get a shot of my watch at the head of each roll shot on stage. Needless to say, it rarely happened. As each camera roll went on the camera, the assistant wrote the time of day and the performer, as well as the cameraman's name, roll number, etc., on the tape that was wrapped around the magazine (and eventually the film can)."

The plan was simple. Wadleigh had assigned the cameramen only rough zones in which to shoot. "That was his only direction," says Levey. "'Ride it out. Let it rip.'"

When the rains came and the performances were temporarily halted, Levey ventured out in the mass of humanity with his camera, now with a battery-powered motor. The motors in the cameras were interchangeable, with a synch generator built in and a synch cable connected to a Nagra. This footage of the revelers would be crucial to the success of the film as an historical document. "Being on the stage was a lot of fun," he recalls. "But as a documentary cameraman, I was most comfortable 'out there'."

Most of the time, Levey and the other cinematographers loaded their cameras with Ektachrome Commercial 7255* film, rated at an EI of 25 in tungsten light. "During the day I had an 85 filter on most of the time," Levey continues. "That left me with an ASA of 16. We were often pushing the film a stop already [at night] and, remember, this was destined for blowup to 70mm. But it was a pretty fine grain film, and even though it was blown up, with the multiple images on screen, one image is rarely filling the whole frame."

Wadleigh agrees. "Without question, without Kodak, there wouldn't be a Woodstock movie," he says. "That ECO stock was the beginning, middle and end of it. If we hadn't had that image on that material, we could never have done the 70mm blowup. Kodak was very honest with us at the time, and they were so helpful in working through the problems and selecting the proper print stock. They and Technicolor were invaluable."

When Kodak's Steve Garfinkel heard about a 1998 reprise of Three Days of Peace and Music, a new music festival on the old site in upstate New York to be called A Day in the Garden, he decided it was important. The concert was to be performed by newer pop acts as well as several original Woodstock performers, including Pete Townshend and Alvin Lee. Garfinkel contacted Peter Abel, President of Abel Cine Tech, a friend and fellow documentary aficionado. By coincidence, Garfinkel had recently met Levey. A trip to the festival site ensued, along with another coincidence: upon their arrival at Yasgur's Farm they encountered the new festival's organizers, who informed them that no arrangements had been made for the filming of the fast-approaching event.

"...the film would grow to include other subjects: the evolution of filmmaking technology as exemplified by the two productions"

Time went by, and the project began to snowball. Eventually the film would grow to include other subjects: the evolution of filmmaking technology as exemplified by the two productions, interview footage with participants and local characters, and the impact of the event and the generation it came to symbolize.

Levey would act as director/cameraman. More talent was drawn to the project, including line producer Richard Dooley, production coordinator Mary Cesar, and her assistant, Amy Baker. Award-winning cinematographer David Sperling and Baltimore-based filmmaker Peter Mullett joined up, along with sound recordist J.T. Tagaki. Garfinkel acted as producer and fourth cinematographer. Vicki Kasala would be still photographer, with additional stills being shot by the legendary Elliott Landy, the official Woodstock photographer in 1969, and Chester Whitlock, a freelance concert-shooter. Peter Abel and Abel CineTech would bring more than a million dollars worth of equipment to the production. According to Levey, there were similarities in the approaches to filming Woodstock and A Day in the Garden. But the newly-assembled crew worked with the benefit of 30 years of advances in production and postproduction technology.

"The difference between the reversal stocks that we had back in 1969 and the Vision films that we have today is more like a revolution," says Levey. "The latitude, sharpness, fine grain, blacks that are black that you can still see into. We used both Vision 200T and Vision 250D, and I doubt that anyone could tell them apart."

Some 75,000 feet (22,860 meters) were shot that week, with laboratory developing and selected roll printing done at Colorlab of Rockville, Maryland. Postproduction telecine and editing was done at SMA Video, in New York City.

"In 1969, we shot the performance material using AC power in order to stay in sync. It was clumsy. There were cables. The motors were heavy and became very hot. In the rain we kept getting shocked. And don't forget our primitive 'get a shot of your wristwatch' attempts at time code.

"In 1998, with AatonCode, we could just turn on the camera and shoot," says Levey. "Syncing is automatic with the Aaton InDaw system. And the 800-foot (244 meter) magazines are much more convenient. You didn't have to think about running out of film. If you think of a song being five minutes long, you can get four of them on an 800-foot-roll. They are a few pounds heavier but they are balanced so well with the camera that the extra weight doesn't matter."

Each camera was synchronized by way of an Aaton 'Origin C' master clock. The same code was fed to the 48-track sound truck, stereo DAT recorder and the 'smart-slates' Each camera was synchronized by way of an Aaton "Origin C" master clock. The same code was fed to the 48-track sound truck, stereo DAT recorder and the "smart-slates". The Aaton cameras "burn-in" man and machine-readable code along the perforation edge of the film, making syncing virtually automatic.

The final link in the film sound system is Aaton's InDaw computer. The InDaw allowed the filmmakers to automatically post-sync audio instantly. Using a Jaz drive, Garfinkel fed the 21 hours of recorded concert material from DAT to Jaz cartridges, which are high-capacity removable hard drives. This rendered all the audio random-access instantly available.

With a laugh, Levey compares the new syncing technologies to those of the original film. "We were glad when it came to the footage of The Who, because Pete Townshend's trademark windmill guitar technique made syncing that passage a little easier," he recalls.

Over the years Levey has garnered nine Emmy nominations and four Emmy Awards. He has remained loyal to the documentary form and to film. "I never fell in love with video like I did film," he says. "Film is a completely different medium. I've shot plenty of videotape, and I feel that film is still the better way.

Clearly, in the long run, it lasts longer. If Woodstock had been shot on video — which was impossible at the time — we wouldn't have it today. When things go widescreen, what form is the videotape going to take? On the other hand, with film, it doesn't really matter. You'll have the quality images no matter what.

"Technological advancements have made the cinematographer's job a lot easier since the old days," he says. "The job got done in 1969, but with much more difficulty. Having done it both ways, I'll take easier."

*Eastman Ektachrome Commercial 7255 (EI25) process ECO-1 was introduced in 1958. It was replaced in 1970 by Ektachrome Commercial 7252 which in turn was discontinued in 1986.

From "Making Films In New York" comes this article from the October 1970 issue of this magazine. 

It concerns Woodstock as "The Longest Optical" and explains in very clear detail how the Woodstock movie was filmed and why. "Ten Years After offered us a simple optical solution. We filmed only one number of this group, that everlasting encore, Goin' Home. We began filming with three cameras. Mid-Way, one of the cameras ran out of film. When we saw the rushes together with the sound, we realized right away we had to show Alvin Lee, the lead performer in triple image. So at the point at which the third camera ran out of film, we simply took the continuing image from the right side, flipped it, and let it run on the left side to continue the triple image optical throughout. It is also a sequence that has very few cuts. When filmed, the sequence ran eleven minutes; in the final edited version, it runs nine."



Different vibes at Woodstock '98

29th anniversary concert draws a respectable orderly audience

BETHEL, N.Y. For Mike Kowalik, there was one obvious difference between the original Woodstock and this weekend's three-day anniversary concert at Max Yasgur's old farm.
"You know what's good about this one?" he asked. "A lot of toilets.'
Kowalik, 55, said that while he relished the joyful chaos of the original concert, he appreciated the more organized '98 version that kicked off Friday.
Dads and kids swayed to reggae, bottled-water drinkers outnumbered pot smokers and concert; staff gave parking directions to beige mini vans instead of warnings about brown acid.
"It's a completely different scene," said Mike Feinstein, who wore a tie-dyed Grateful Dead shirt and fiddled with a cell phone. "We're grown up hippie's now. We have responsibilities." Patrons were greeted with everything from an espresso kiosk to 400 port-a-potties.
Security guards on horses and all-terrain vehicles prowled the festival's perimeter to avoid a repeat of the mass gate crashings of 1969 At least one Woodstock tradition held true; evening rain fell on the crowd as headliner Stevie Nicks performed.
Promoters of "A Day in the Garden," which continues this morning, estimated that about 12,000 or more of the 30,000 tickets available for Friday's show were sold.
Slow ticket sales had prompted a two-for-one ticket promotion.
Concert-goers; who spread their blankets on the massive sloping hillside Friday had elbow room as Don Henley and Stevie Nicks performed.

The concert attracted a fair share of people who showed up for the original concert 80 miles north of New York in 1969. They found a site transformed from scruffy to respectable --- just like many of them.
"How can it be the same spirit? I'm 29 years older." said Frank Vania, who showed up in Bethel with the same friend he brought in 1969.
The festival was scheduled to continue through today. Woodstock veterans Pete Townshend and Richie Havens performed yesterday, along with Joni Mitchell.
Today is reserved for younger acts like Third Eye Blind and Goo Goo Dolls.
Ten Years After was the only original Woodstock band on Friday's bill.


Get Back--Woodstock 98...NOT!
by Haven James - posted August 1998

Preview: A Day In the Garden Festival at Bethel

Day-tripper, yeah? Hard to imagine seeing Lou Reed in the sunshine, but stranger things have happened. Reed, Joni Mitchell, Pete Townsend and a bouquet of assorted veteran rock 'n' rollers will gather for A Day In The Garden at Bethel this weekend [8/14--8/16, 1998] on the original site of the 1969 Woodstock Music & Arts Fair. Though the event marks the 29th anniversary of a generation's four days of infamy on the late Max Yasgur's fertile pastures, make no mistake--this is not Woodstock '98. Leave the tepee, cooler and camping tools home; just bring cash and credit cards, maybe a folding chair or blanket, an umbrella just because, and your reading glasses so you can study the rules, like no cameras or picnic baskets (there will be food and crafts booths to fill your needs).

The Gerry Foundation is now the owner of the Woodstock Festival site and Alan Gerry and his associates have set out to present this three-day daytime only event in a very designed manner. Mike DiTullo, one of the coordinators of the festival, offers the following perspective on the venue: "Our long-range plans are to develop a permanent international attraction that's based on American performing arts and music. This year, this is sort of like our maiden voyage; we thought we would have a day in the garden, [so] that's what we're calling the festival. [It's] three separate days, it's not a Woodstock reunion, it's nothing like Woodstock. We're limiting this to 30,000 persons a day. There's no overnight camping; we're shooting for an older demographic, the baby-boomers between 25 and 50/55, [and] we're looking to do just a nice two days of music and fun. The third day we're targeting a younger demographic--it's more modern, or alternative rock, you know, with the Goo Goo Dolls and Marcy Playground. So what we're trying to say is the first two days we're recognizing, and maybe showing our respect for, the classic rock or the Hall of Famers, and then the third we're saying that we're also thinking about the future and there are some rookies out there that we also want to acknowledge and feature."

So, from the production standpoint, this is not the same old ruse crew of likely suspects. It is a new, well-funded, and, at least on paper, highly organized unit with long-range plans, goals, and targets with pictures and arrows on 8x10 glossies. No, Arlo won't be there, but of course Richie Havens will, along with Ten Years After, Melanie, and Pete Townsend. That's about it for returning veterans of '69.

An enticing thing about the remainder of the big acts scheduled is that many of them are not often seen in this area. Friday brings Ziggy Marley and the Melody Makers (noon), Ten Years After (1:30), Don Henley (3), Stevie Nicks (5), and late addition Francis Dunnery. Saturday features Donovan (11 a.m.), Havens (noon), Lou Reed (1), Joni Mitchell (3), and Townsend (5).

Even bigger news for some locals is the appearance of a bevy of area bands throughout the three-day affair. DiTullo and his assistant, Susan Leventoff, filled us in on these blossoming poppies. "We have hired around 15 to 20 local performers who will be playing throughout all three days. There is a second stage so they'll be playing before the headliners and then in between the headliners," DiTullo says. Ulster's own Perfect Thyroid will open the show Sunday morning on the Main Stage. They'll be followed by Dishwalla, Joan Osborne, Marcy Playground, Goo Goo Dolls, and Third Eye Blind.

An almost-final list of the area bands booked for Stage Two follows: Starting Friday at 9 a.m. they are Afroblue, the Larry Hoppen Band, the Mountain Laurel Band, Pottersfield (who wrote the festival song, "Day In The Garden"), Ellen Avakian, Barclay Cameron, Micheal Kroll, and Whatch. Saturday brings Barbara Paras, Gavin DeGraw, New Frontier, Greg Press, Dan Sherwin, the Rausch Bros., the Don Lewis Band, and Blues 2000. Sunday wraps with Borilis, The Works, The Flies, Wonderkind, Leslie Nuchow, Girlfriend, Jimsons Lyric, and Trinket. And there were still discussions in process about adding a few more Woodstock (the town) artists to the lineup, maybe Justin Love's Big Red Rocket and the Dharma Bums. "That's quite a lot of local talent we're featuring, and we're proud to do that," DiTullo says. "This is a great opportunity for these acts to be playing with legendary performers."

The report from Bethel is that the infrastructure is set and the site is ready to rock. Word is that it's almost surreal there, and isn't that the way a garden is supposed to be? Tickets are sort of surreal at this point, too. They are now two-for-one, approximately $70 per day (for a pair) Friday and Saturday and half that for Sunday. They can be purchased through TicketMaster by phone or ordered directly using the www TicketMaster or through the Day In The Garden website.



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