It feels like a long time since I wrote Scent of ’69: Woodstock, 35 Years Late, about my Soviet-raised father’s pilgrimage to Woodstock, NY, and our discovery that the iconic drug-saturated, mud-soaked concert of the 60s was held nearly 70 miles away, in Bethel, NY.
And it’s taken a long time for me to make the real pilgrimage, out to Bethel and the original 600-acre dairy field where the most influential musicians of the 1960s counter-culture revolution played for 3 days to an enraptured audience of young hippies — enraptured both by the music and by the cocktail of acid and other drugs filtering through the grounds.
The Woodstock concert field has aged and tidied itself, much like the original Woodstock audience. Those pictures you see of long-haired young women dancing barefoot in the rain? That churned-up mud is now the spic-and-span concert location known as Bethel Woods: Center for the Arts. It’s got a Woodstock museum (known as The Museum at Bethel Woods) celebrating the 1960s in multi-media format; it’s got a massive concert stage set at the bottom of a natural ampitheatre; and it’s got a tastefully fenced-off field that, if you look on your tourist map, was once the site of one of the most fabled musical events in modern history.
Woodstock is turning 40 this summer, with a special anniversary concert on August 15th, and in preparation Bethel Woods is holding a series of concerts designed to draw in those who were at Woodstock, those who wish they’d been there, and those who wish their generation had anything as inspiring to turn to. We made our way up last weekend for a triple-play of Willie Nelson, John Mellencamp, and Bob Dylan.
I’m just old enough to admit that I looked forward to and enjoyed Willie Nelson most of the three. With a voice like currant wine, he sounded just as good as on my great-aunt’s old scratched records of him. John Mellencamp rocked out, and Bob Dylan … well, his voice was marginally less functional than when I saw him over a decade ago in Minnesota, but a legend’s a legend.
We live in a pretty rural area, but the drive up to Bethel takes you through decreasing size and quantity of houses, and increasing farmland. The site itself is one of the most picturesque in the county, rolling green hills and wheat silos. Approaching Bethel Woods, you’d hardly guess you’re coming up on one of the most active and popular concert venues in the country — if you don’t count the traffic, that is, which crawled for a good 10 miles.
The picture up top shows the landscape behind the parking areas. Besides the pleasant, sunny day and tidy fields, it’s the parking areas themselves that first give away the spirit of Bethel. A beautiful site, yes, commemorating an incredible event, but Woodstock it ain’t. For this concert, no cameras were allowed past the main gate, so pictures stopped here, on the endless rows of shiny cars and SUVs full of people who’d been tailgating the afternoon away, some of them getting immensely drunk before the 5:30 p.m. concert in hopes of reaching the Woodstock spirit through inebriation if not through attendance.
We sat on the lawn, which is the thing to do if you’re cool, whether you’re young or old. It’s also, at $35, a heck of a lot cheaper than a seat up front, even if you spend an extra $5 for a lawn chair rental, which it seems most people do. You can see the stage and hear the music just fine, and with decent binoculars might even be able to figure out which one up there is actually Bob Dylan.
It’s all so well-run it’s actually a good family destination. Plenty of people brought kids and babies, and although there were plenty of places to buy food and alcohol, drinks were limited to two per person per transaction, which does reduce guzzling. Bringing your own food is restricted to a 1-gallon bag per person, and of course no liquor of your own allowed, all of which adds to the festive picnic-like atmosphere but in no way decreases the totally falling-down-drunk state of those who’d been slugging it back in the parking lot for hours already.
It was a great concert, and the audience enthusiastic, but as a generational statement was a little sad. It wasn’t just the need of my generation to get totally pissed at every opportunity, just to feel like life is worth living, it was how badly the whole audience wanted this to capture something of what we’ve seen in those iconic Woodstock photographs, something of the abandonment and rebellion that feels lost to us now.
Every generation probably feels that way. But late in the evening, when it started raining, first a tiny spit and then a hopeful drizzle, people finally began to dance. They bopped around at first, and finally moved with abandon as it rained harder. From our perch on top of the lawn, I could see the whole mass begin to seethe slightly, as it wished, and hoped, that this time too could be like 1969, and they would finally be free.
Free of what, nobody knows, but that’s what Woodstock means to us: some kind of freedom. Maybe, by letting the music overwhelm us, we’re just hoping we’ll reach a point where we have nothing left to lose.