Joe Hickerson in June 2010 at the Washington Folk Festival

Woodstock, NY—On Saturday, August 14, from 2 to 4 p.m., Pat Lamanna and Sue Rosenberg will give a talk about Camp Woodland at the Eames House, 20 Comeau Drive in Woodstock. Located near Phoenicia from 1939 to 1962, Camp Woodland helped to spark a revival in Catskill Mountain roots music. Throughout the presentation Pat Lamanna, a folk singer with The Raggedy Crew in Poughkeepsie, will reprise many old Catskill Mountain/Woodland folk songs. This event complements the Historical Society’s current retrospective exhibit on Camp Woodland, which is on exhibit at the Eames House through September 12.

 Joe Hickerson, the noted folklorist and folksinger, will also be sitting in on August 14. Hickerson was a Camp Woodland counselor from 1959 to 1960. In the late 1950s Pete Seeger stopped by the camp and parked an unfinished tune with Hickerson. The latter added two verses and the song, “Where Have All the Flowers Gone,” became a folk classic. Joe Hickerson served as the librarian and director of the Archive of Folk Song/Culture at the Library of Congress from 1963 to 1998. Pete Seeger calls him “a great song leader.”

 Attendees on August 14 can expect surprise guests on rousing sing-alongs for many old favorites like “Guantanamera” and “Everybody Loves Saturday Night.” The Historical Society of Woodstock gratefully acknowledges the support of Ulster Savings and Heritage Folk Music. The Eames House museum is open Saturdays and Sundays from 1 to 5 p.m. For more information call 845.246.3436 or log onto www.campwoodland.org.

Pete Seeger at Camp Woodland—near Phoenicia, NY—in the 1940s (Photo reproduced courtesy of the M.E. Grenander Department of Special Collections and Archives, University at Albany Libraries.)

Woodstock, NY—On Saturday, July 31, 2010, a retrospective exhibit on Camp Woodland opens with a reception from 1 to 5 p.m. at the Eames House, 20 Comeau Drive in Woodstock. The Camp Woodland story, its influence and legacy, is told through film, music, artifacts, images and archives culled from the collections of former campers, the Norman Studer Papers (University at Albany), and from the Historical Society of Woodstock.

 Camp Woodland (1939–1962) was founded near Phoenicia, NY, by Norman Studer, a former Ph.D. student of John Dewey’s and an educator at the Elizabeth Irwin School in New York City. Studer sought to bring America’s democratic roots alive to his students. His vision embraced cultural diversity and a multidisciplinary approach. He brought city kids up to the country and put them in touch with old-time Catskill Mountain folks—like Aaron Van De Bogart from Woodstock. Not only did Woodland Campers hear stories from the hill people, but they were put to work collecting and preserving hundreds of folk songs for posterity.

 The camp was an annual destination for Pete and Toshi Seeger and they proved to be an incalculable influence. Pete performed for each division of campers, for the camp as a whole, and—when the campers had gone to bed—for the counselors. In 1954, a 15-year-old camper named John Herald saw Seeger sing and decided to become a musician. The camp’s multi-cultural population was a fertile incubating ground for Seeger. One counselor, Hector Angulo, introduced him to a Cuban song, “Guantanamera,” which became hit for Pete in 1961. Another time Pete wrote three verses based on a Russian folk tune and left it with counselor Joe Hickerson. Joe worked with a group of campers on the rhythm and personally wrote two more verses. This song, “Where Have All the Flowers Gone,” charted on Billboard for The Kingston Trio as a “B” side in 1961.

Perhaps the most important element of the Camp Woodland program was the annual end-of-summer folk festival. It was at these fêtes that hill people like George Edwards and George Van Kleeck came to perform. Equally important, the campers called and performed their own dances. This gave them the chance to learn and carry on the folk tradition of mixing work, community and music. When the camp closed in 1962, the area’s folk action migrated to Woodstock. That year the Café Espresso came under the ownership of the Paturels. The next year Bob Dylan moved to town and did some great song writing in a studio above the Café. In 1967 the Sound-Out folk rock concert series was launched at Pan Copeland’s farm. This series inspired Michael Lang to stage his Woodstock mega-concert in 1969.

 The show gratefully acknowledges the support of Ulster Savings and Heritage Folk Music. The Eames House museum is open Saturdays and Sundays from 1 to 5 p.m. The show runs through September 12. For more info call 845.679.8111 or log onto www.campwoodland.org.

Ad in the Woodstock Aquarian for an August 8, 1970 Sound-Out

In 1970, due to the impact of the 1969 Woodstock Festival, smaller events like the Woodstock Sound-Outs were increasingly shut down by New York State municipalities. The Town of Saugerties, in whose jurisdiction the Sound-Outs fell, put on its books a law preventing mass gatherings of 200 persons or more without a permit.

After Cyril Caster left in 1969, Ian Hain stepped up to co-promote the Sound-Outs with Pan Copeland. Hain made a number of improvements to the site, including the construction of a band shell. He was able to pull off several festivals in 1970 without a permit, before the  local authorities caught up with him. But at the July 25, 1970 concert, a couple of sheriff’s deputies were stationed by the festival entrance gate, taking a careful count of those admitted. As soon as the tally went over 200, Hain—who still hadn’t managed to secure a permit—was arrested. The town lawyers kept his case in and out of the courts for the rest of the summer, and no other concerts were successfully staged. In September all charges against the promoter were finally dropped, but the season was over.

It was a great pity, for the headliners that summer would have included such icons as James Taylor and Larry Coryell. They are featured in the ad above, for an August 8, 1970 Sound-Out that had to be cancelled due to Hain’s legal difficulties.

Bob Dylan (born May 24) and John Sebastian

In 1964 Doug Gilbert, a photojournalist on assignment for Look Magazine, came up to Woodstock, NY, to do a story on Bob Dylan. The folk singer was on the cusp of superstardom. The next two years saw Dylan release Another Side of Bob Dylan, Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. Gilbert took a slew of photos, but Look never ran the story. Years later he unearthed the photos in a shoebox.

 On the cover of the Roots book at left, Dylan is pictured exiting the Café Espresso driveway onto Woodstock’s Tinker Street. Riding shotgun on Dylan’s Triumph Motorcycle is John Sebastian.

Members of the Woodstock Town Council and Chamber of Commerce with Bike Rack on 4/22/10

On the 40^th anniversary of Earth Day members of the Town Council and Chamber of Commerce gathered to officially welcome two bright red bicycle-shaped bike racks to Woodstock. The new racks were purchased with funds raised through last summer’s Roots of Woodstock Live Concert and Eco Raffle. The racks are intended as functional sculpture—signaling to visitors and residents that Woodstock is serious about its 2007 Zero-Carbon Initiative. One rack is located in front of the Woodstock Chamber booth at 10 Rock City Road. The second is at H. Houst & Son (an Eco Raffle sponsor), 4 Mill Hill Road. In honor of the occasion publisher WoodstockArts designed a 20.4 mile bicycle route featuring “Stories of Woodstock.” Click here to download the PDF.

Other green initiatives underway in Woodstock during this 40^th anniversary year include the following:

• The Chamber’s Experience Woodstock Card. Available to residents and visitors for just $25, this card is a passport to a festival of special offers at many of Woodstock’s leading shops, galleries, performance spaces and other venues in the area. Its purpose is to encourage everyone to think globally but shop locally, thereby helping Woodstock and the environment. The card is currently accessible online at the Chamber web site, as well as at Lotus Fine Art & Design (33 Rock City Road), Coldwell Banker Village Green Realty (11-13 Mill Hill Road) and Rondout Savings Bank, (295-4 Route 375, near the Hurley Ridge Market in West Hurley).
• Publication of the 2010 Woodstock, NY Travel Guide, devoted this year to “celebrating 40 years of Earth Day.”
• Walkable Woodstock, being organized by Robin Segal, chair of the Woodstock Chamber’s Green Committee, with a map and web site. Visitors will be encouraged to enjoy auto-free vacations in Woodstock by walking to the many treasures that Woodstock offers within a half-mile of the Village Green.
• Liz Simonson’s workshop inspired by local author David Gershon’s Low Carbon Diet: A 30 Day Program to Lose 5,000 Pounds.
• Publication of The Green Guide, a downloadable Woodstock Environment Commission document designed to help us conserve our natural resources. It’s available on the Town web site at www.woodstockny.org.

Van Morrison's Moondance CD Cover

In 1964, while I was at school in Scotland, Van Morrison and Them exploded on the U.K. charts with “Baby Please don’t Go”—and most memorably with “Gloria.” It took everyone by surprise. Where the heck did these guys come from?   

Later on when I was back in the States, I attended a Sound-Out in Pan Copeland’s field. Much to my amazement there was Van, not more than twenty feet from me on a makeshift stage. Astral Weeks  had just been released, and according to Clinton Heylin’s bio, Van Morrison: Can You Feel The Silence, he was playing the gig with former members of the Colwell-Winfield Blues Band. Ex-bandmates Jack Schrorer and Collin Tillton were in attendance. It was late August 1969, there was a hint of autumn in the air, and Van was giving an all-out performance. In Roots of the 1969 Woodstock Festival: The Backstory to Woodstock, there is a copy of the performance check. The band netted $50! In 1970 this core group of musicians, plus a few others, worked with Morrison on his classic Moondance album. International acclaim and fortune soon followed for Morrison.

 Recently Scott Parker, author of the Recordings of Frank Zappa series, introduced me to Janet Morrison, Van’s ex-wife. She emailed me and said of their time in Woodstock, “Van had just finished Astral Weeks and although we had high hopes, there was no telling how well the album would be received. Woodstock, for us, was a bewitching sylvan paradise after NYC. We loved everything about the place. The locals became our friends. We bought an old car to navigate, haphazardly, in the deepest snows. In the spring, when the snow finally melted, we drank pink bubbly wine by the flowing stream close to town and sang our hearts out for the pure romantic joy of it all. It was good. We acquired cats. I gave birth in due time to my endearingly adored daughter Shana Caledonia. Woodstock healed us and made us quite sure that magic was afoot. As it turned out, we were correct.”

~ Weston Blelock

Pan at Ann's Delicatessen in the '60s

In 1938 D.H. Lawrence wrote in The Phoenix, a Woodstock publication, “still in America, among the Indians, the oldest Pan is alive.” This is a fitting tribute to the bacchanalian energy that was present during the Maverick Festivals in the early 1900s. This spirit re-surfaced in the late sixties at the Woodstock Sound-Outs, where festival goers co-habituated with nature in weekend-long parties under the open skies.

What is not so well known is that the host of the Woodstock Sound-Outs was none other than Pansy “Pan” Drake Copeland (1910-1994). Pan was by turns a tough, feisty lady and a sweetheart. Bill West, a long-time politician, remembers taking Jay Rolison (who was running for the State Assembly) around to meet the shop keepers. He stopped in at Ann’s Delicatessen to meet Pan, the current owner. West had barely concluded the introductions when Copeland upbraided him about some totally unrelated town topic. Needless to say, the politicians beat a hasty retreat. On the other hand, according to Ellen McIlwaine, Pan was like a mother to her. In fact so much so that Copeland managed and guided Ellen’s career during the early seventies.

Ann’s Delicatessen was a town hangout. Musicians of all stripes and proclivities met and charged their purchases there. Bob Dylan was a regular, as were entertainers like Jim Black, Larry Packer and Garth Hudson. Larry Packer, the fiddle player for Cat Mother and the All Night Newsboys, recalls meeting Garth Hudson at the deli one day in the spring of 1968. Garth shyly offered Larry an acetate of a project the boys had been working on. This, of course, was Music from Big Pink, the project that turned out to be The Band’s ground-breaking first album.

Pan’s goodtime Southern cooking and generous portions drew starving musicians and artists to her enclave. In 1965 Copeland obtained title to a farm in West Saugerties. It was only a matter of time before she was hosting shindigs at the old farm site. In addition to the deli, Pan owned and operated the Copeland Gallery. Bob Liikala, the Group 212 coordinator, was an early manager there.

In 1967 Pan teamed up with Jocko Moffitt and Steve Bishop to host the first Woodstock Sound-Out over Labor Day weekend. It was an enormous success—it drew thousands and even rated a mention in the New York Times. In successive years the cream of rock royalty hung out and/or performed at the Sound-Outs. These acts included Bob Dylan, Richie Havens, Jimi Hendrix, Jerry Jeff Walker, the Incredible String Band, Ellen McIlwaine with Fear Itself, New Lost City Ramblers, Bunky and Jake, Children of God, Tim Hardin and countless others. Among the notable attendees who came to be entertained were people like Michael Lang—who went on to model his 1969 mega festival after the Sound-Outs.

It is no accident that this website honors Pan as its patron deity.

A Photo of Cyril Caster from 1974

The Woodstock Sound-Outs were mini-festivals after which Michael Lang modeled his mega event in 1969. They were held on Pan Copeland’s farm on the outskirts of Woodstock, New York, from 1967 to 1970. The stage was inches from the ground and the amphitheater was a former cow pasture. Over the years different producers partnered with Pan, but by 1969 a musician from Seneca Falls, NY, named Cyril Caster was tapped to head up the festival production team. That group became known as Coyote Productions. Bob Fass, Pan Copeland, Cyril and a couple of others were in charge of the enterprise.

By 1969 the Sound-Outs were officially renamed the Woodstock-Saugerties Sound Festival, or simply The Woodstock Festival. (That was one reason Michael Lang and his partners called their event the Woodstock Music and Arts Fair.) That season the Coyote team planned eight concerts, signing headliners like Van Morrison, Paul Butterfield, Cyril and his band, Tim Hardin, Chrysalis and Children of God. But due to inclement weather very few of the concerts were staged that year. When festival-goers heading to the Bethel event accidentally came to Woodstock, they were directed to Pan’s field. At least they could say they had attended The Woodstock Festival in Woodstock.

Remembering Woodstock

Dave Laing, the first essayist in Remembering Woodstock, writes that the “Woodstock festival was a part of a distinct history of (non-classical) outdoor music festivals stretching back to the early twentieth century. The earliest festivals were rural events, often celebrating local styles and skills in music and folk dance.” He goes on to suggest that the Georgia Fiddlers Convention held in Atlanta in 1913 was one of the first such events.

That may be, but as Michael Lang, co-creator of the Woodstock Festival of 1969, so succinctly says in Roots of the 1969 Woodstock Festival: The Backstory to “Woodstock,” the festival was named the Woodstock Music and Art Fair because he intended to stage the festival in Woodstock, NY. Secondly, he wanted to reference the Maverick Festivals held from 1915 through 1931 in the Woodstock area. These weekend-long classical music and art events often drew thousands to the festival grounds. For more on the Maverick Festivals see Anita M. Smith’s Woodstock History and Hearsay.

George McKay, another essay writer for Remembering Woodstock, suggests that the Beaulieu Jazz Festivals in England were precursors or mini Woodstocks that helped to pave the way for festivals in the UK. Woodstock, NY’s own mini folk/rock festivals (Sound-Outs) were considered by many a suburban myth until 2009. But Roots of the 1969 Woodstock Festival was able to persuasively document the Sound-Outs through photos of contracts, players and playbills. It was these concerts that helped to launch the mega festival in 1969. For more on this click here. Also, check out Wikipedia for an article on the Woodstock Sound-Outs.

Tim Hardin's Woodstock Piano; Remembering Tim on 12/23

Tim Hardin (1941-1980) moved to the Woodstock area in 1968 with his wife Susan Morss and his young son Damion. Already the town was a thriving music destination— with The Band, Bob Dylan, the Mothers of Invention, Richie Havens and the Blues Magoos in residence. It is said that Hardin, of all the songwriters in early 1960s Greenwich Village, was the best. His first album, recorded for Verve in 1966, yielded such tunes as “Reason to Believe,” which was covered by Rod Stewart, and “Hang On To a Dream” which became a staple for The Nice. In the aftermath of this release Bob Dylan referred to Hardin as the best songwriter alive.

It was with Tim Hardin 2, his second album, that the songwriter released “If I Were a Carpenter,” his most memorable song. Also on the album were such tunes as “Black Sheep Boy“ and “Lady Came from Baltimore.” During an eight-month period from 1965 to 1966 some of his best-known songs were written on a piano in his room in Los Angeles. By the time Hardin moved to Woodstock his career was taking off. Although his album sales weren’t great, his talent garnered respect in the music world. Particularly after his song “If I Were A Carpenter” was covered by such established acts as Bobby Darin, Johnny Cash and June Carter, The Four Tops and many others. Hardin headlined at many of the Sound-Outs and at WOODSTOCK. In his book, The Road to Woodstock, Michael Lang writes, “Tim was a friend, and I was a big fan of his music and was hoping he’d be at his best onstage.” This could have been a big break for Tim. Hardin had a strong first set and then he invited his band to join him onstage. Gilles Malkine was playing rhythm guitar for Tim and said in Lang’s book that the set went so badly that Malkine quit the music business for many years.

Post-festival, Hardin continued to record for Columbia and other labels and enjoyed some commercial success with numbers like “Simple Song of Freedom,” but his early promise was never realized. On December 29, 1980 he passed away at the age of 39 from a heroin overdose.