Woodstock lives on

In an attempt to ascertain whether Benjy Mudie and I were right in our recollection about the screening in apartheid South Africa of the classic documentary movie about the 1969 Woodstock festival, I managed to get an adapted version of my previous posting published in the Weekend Post, Port Elizabeth, on April 30, 2011. (Please click on the image to read it full-size.) Four SMS responses were published the following week, May 7, which endorsed our view that only the nude and overtly drug-taking scenes were censored, and that indeed the film was shown across the country.

This is the article I had published.

Here are the responses, which show that this event, thanks to Michael Wadleigh's magnificent film and the triple-album soundtrack, had a profound influence on people and continues to strike a chord. It's just a shame he blotted his copybook in Pete Fornatale's book.

Woodstock, the movie, wasn't banned in South Africa

Benjy Mudie

In my previous posting, I wrote about a book which quotes the Woodstock movie’s director, Michael Wadleigh, as saying that the film was either banned outright, or had all black musicians removed from it before its release in apartheid South Africa in the early 1970s.

Well, I have subsequently e-mailed rock music guru Benjy Mudie, asking him to read what I wrote, and to comment on Wadleigh’s claims. And, as I expected, it seems Wadleigh’s recollection of what transpired was a little off the mark.

That is what Benjy, in his own right a South African global rock legend, had to say:

“Michael Wadleigh is talking absolute rubbish, not only was the film shown throughout South Africa but all the so-called ‘black’ artists were featured in the film, ie Richie Havens, Sly Stone, etc.

“I saw the movie 8 times at the Grand bioscope in Benoni and bought the album and T-shirt. I even heard excerpts from the album (including the aforementioned artists) played on LM and Swazi Radio.

“Looking at the DVD recently the only scenes that were cut from the original film in SA were the nude and the more overt drug-taking scenes.

“I really can’t comment on his claim that he filmed anti-apartheid films in SA. What I will say is this: If I had a buck for every ‘international’ who claims to have in some way been involved in the ‘struggle’ I would be a very rich man indeed.

“You see it’s a bit like Woodstock itself … if everyone who claims to have been at the festival were accurate then almost the whole US baby boomer generation was there, plus/minus 20 million! If he did indeed make 2 films then why have they never seen the light of day? I think maybe the brown acid affected his sense of memory.”

Who is Benjy Mudie?

Well on his Rock of Ages website, http://www.rock.co.za/rockofages/, he describes himself as a “self-confessed ‘rockaholic’ with little chance of recovery ... a music obsessive whose entire life has been spent in search of the lost chord ...

“From discovering Jimi’s ‘Are you experienced’ at 13, he has constantly devoured music through LPs, singles, tapes, CDs, DVDs, books, magazines, film, concerts, radio, TV and the internet.

“His entire working life has also been music-related: from running a record store and later joining WEA Records in the mid ’70s through to his 21-year A&R/Marketing stint at Tusk Music where he signed some of the biggest names in South African rock and pop. Since 1999 he has been nurturing new talent at his indie label Fresh Music and reissuing classic albums as part of its ongoing Retro series ... To say that ‘music is his first love’ (to paraphrase John Miles's classic song) is somewhat understated.”

Woodstock, Wadleigh and South Africa

A view of the Woodstock festival in August, 1969. With an estimated half a million people in attendance, it is incredible the infrastructure lasted as well as it did. Notice how the crowd seems to press up against a flimsy-looking wooden wall, separating the throng from the performers and backstage organisers.

Michael Wadleigh was certainly a global rock legend – because as director of the feature film documenting the 1969 Woodstock Festival he brought the music and culture of the late 1960s to a global audience, and in so doing helped shape a generation or two.

But he has a few things to explain regarding comments he has made about the release of the film in apartheid South Africa – where I grew up – in the early 1970s.

For instance, he claims the movie was banned in South Africa. Yet I remember clearly watching it, around 1971, in a church hall in Oxford Street, East London.

Wadleigh makes other bizarre claims in a recent book about the seminal Woodstock Music and Art Fair, which saw over half a million fans converge on Max Yasgur’s farm in upstate New York in a unique display of hippie love spanning four days.

Michael Wadleigh today.

I was just 12 when the event occurred, and it featured many of the rock and folk music heroes I had grown up with, including Jimi Hendrix, The Who, Joan Baez, Ten Years After, Canned Heat and Crosby Stills and Nash. Conspicuously absent were the Beatles, who were in the process of disintegrating, the Rolling Stones and Bob Dylan, who lived not far from the site.

When the triple vinyl album – the world’s first – came out, my generation of rock lovers became honorary members of the Woodstock Nation as we soaked up that momentous occasion. It was all about love and peace, and miraculously passed without any major incidents, despite people battling to obtain food, water and shelter as rainstorms turned the venue into a sea of mud. It was also an overt challenge to the US government’s involvement in the Vietnam War.

Of course we had our own “Nam” – a growing insurrection in northern Namibia (South West Africa) – which was another theatre in the Cold War that followed the Second World War and ended around 1990 with the collapse of communism. Kids my age were all facing a long “sentence” of military conscription, which drove us into the hippie, anti-war camp.

A year after the August, 1969, Woodstock festival, Wadleigh and his team of editors had pruned 172 hours of footage to a more manageable 3-and-a-half hour film which would go on to win an Oscar for best documentary feature. The film is a classic, breaking new ground in many technical areas, including the use of split screens.

New York disc jockey Pete Fornatale was among those who actually advertised the Woodstock festival on his show, and has been part of the New York City radio scene for over 40 years. In his 2009 book, “Back to the Garden: The story of Woodstock and how it changed a Generation” – which I have just read – he really puts the whole Woodstock phenomenon into context, with intriguing new facts and interviews with many of the key role players.

In the epilogue, however, I was suddenly struck by an alarming assertion from the film’s director, Michael Wadleigh. Interviewed for the book, Wadleigh speaks about the film’s impact internationally. He says: “The film was banned in South Africa. The film was so popular – we’re talking back in apartheid times – that people in South Africa demanded to see it. Of course, we had these black performers on the stage, which was completely forbidden. You could not have black and white people together at a performance. Or certainly performing on the same stage, even separately.”

Now, as noted earlier, I can’t recall it being banned, but I may be wrong. I do know musicians were barred from performing together, which was one of the big challenges people like Johnny Clegg bravely overcame. But let’s see what else he says: “So I went to South Africa and was greeted by tons of press. They interviewed me, asked me all these questions, took all these photographs, and the next day the press came out and there were no pictures of me at all except from my high school days when I had very short hair. There was an embargo on putting up shots of long-haired people. Then I found out that they nearly shaved my head at my (sic) airport. This happened to me any number of times.”

Are there any people out there who remember these times? I’ve done a comprehensive google search and been unable to find out if the film was banned. I know there was no embargo on publishing pictures of long-haired hippies, although it wouldn’t surprise me if verkrampte newspapers deliberately excluded such pictures at a time when schools, for instance, insisted on boys having short back and sides haircuts.

I can’t believe his story about them shaving people’s heads at airports either. Perhaps someone who was involved in the apartheid era censorship and other repressive machinery could enlighten us.

My gut feeling is that, like so many other left-wing journalists and activists of the time, he exaggerated the whole thing. But let’s see what else he says.

“After giving this huge press conference, the thing that struck me was that I had never been in a country with such power of censorship. They simply had the ability with the newspapers to take out anything. And here all these reporters had asked me all these questions and taken all these pictures. They were completely innocuous comments in the articles. Nothing I had talked about: I had talked about American immigration, I had quoted Martin Luther King – talked about all this stuff. It was completely taken out. It was an amazing, amazing experience for me.”

I doubt – and here veteran journalists may be of help – that there was that sort of censorship of reporting. Certainly not among the more liberal English-language papers, anyway.

Then this contradiction. Earlier Wadleigh says the film was banned. Later he says: “The next thing that was amazing was that they opened the movie and they had cut out all the black performers. And they had cut any audience close-up where you could see a black person. They had ripped out Richie Havens, Sly (and the Family Stone), Santana because there was a black guy in the group. And once again I went to the journalists to say something and it did not work.”

So now it seems the film was indeed shown, but with all the black musicians and fans cut out. Well, not the version I saw back in 1971/2, a highlight of which was the concluding performance of Jimi Hendrix, who was hardly white. But then again the showing I saw may have been done clandestinely by the church where we saw it in a large hall, with a short of David Bowie singing Space Oddity. If there is anyone reading this who recalls the actual events, please let us know through this blog.

Wadleigh’s final paragraph has more than a ring of truth to it, however.

“To make a long story short, I made a couple of films secretly in South Africa about apartheid, and during one of my times there, I was in a Volkswagen with a very famous filmmaker and journalist, and we were struck by a truck. I was in a coma in a hospital and nearly died, as did he. It turned out it was the secret police who had rammed us. While we were in hospital, of course, they took all the film equipment that was in the van, then they went to this guy’s house and took everything. After I was released from the hospital, they put me in jail for a while and said, ‘You can either leave the country or continue in jail’. That was it.”

Makes one wonder who the famous filmmaker was he was with. I wonder if anyone recalls this incident – either from the side of the apartheid state, or those who may have worked with Wadleigh.

If anyone can shed some light on these issues, please feel free to do so.

Three best rock albums ever?

This blog has been in a hiatus for some time now, but I have found the need to interrupt its slumbers to bring a quick, possibly controversial, insight, or opinion. I have just treated myself to three albums which are probably the finest in the history of rock.

I have already covered a plethora of great musicians on this site, but some of my favourites, from the 1970s, remain unsullied by my niggling, nagging intrusion. But this week I couldn't resist it. I first felt the urgent need to listen, really listen, to David Bowie's Ziggy Stardust and the Spiders from Mars. After being bowled over afresh by that gem, I was led by the Bowie-Ronson connection to Lou Reed's Transformer. Again astonished afresh by the wonderfully understated Britishness of this very New York album, the next step was the Strawbs masterpiece, Grave New World.

Look, I still intend to do the full Monty on Bowie, but some things can't wait for the bigger picture, as it were. This album was pure dynamite - in an impeccably subtle sort of way. As a music lover living in remote South Africa at the time, I wasn't too concerned with the Bowie persona. For me those first five or six seminal albums were what it was all about, and this was probably the pick of the bunch. Recorded in 1972 and produced by Bowie and Ken Scott at Trident Studios, London, this album was probably the apotheosis of an era which started with the Beatles, Stones, Animals and a whole lot more. There is something about the sound textures here that appeals to the wiring in my brain. I don't intend to explore the reasons now, but wonder what others out there think. Is this the ultimate rock album?

My South African pressing of this album has the back cover in black and white, which is in fact more effective than this glossy version. Be that as it may, this ever-so-English album cover, with photographs by Brian Ward, has to be one of the most iconic ever.

But then again, what about this! Again I shan't go into detail about Lou Reed, the Velvet Underground frontman, at this stage. Suffice it to say that this album, also released in 1972, has many of the qualities which made Ziggy so successful. Not least of them was the understated, yet incredibly gifted musicality which British session musicians brought to bear - along with producers Bowie and Mick Ronson's expertise. Would you believe that the rocker Ronson was capable of the string arrangement on the classic, Perfect Day? Well he has a profound impact on this album, which of course features many of the greatest rock songs of our time, including Vicious, Satellite of Love and, naturally, Walk on the Wild Side. Again somewhat eccentric, it is this very offbeatness which sets this album apart. An electric and string bass on Wild Side, tubas, recorders. Brilliant drumming. This is an absolute classic.

The controversial back cover. I've heard Reed confirm that the person on the left is indeed a woman, not him in drag, while that is in fact a banana down the front of his trousers.

Dave Cousins has to be one of the most underrated musicians of our age. His songwriting was sublime, his lyrics among the most poetic around, and his voice hauntingly beautiful. Indeed, like Bowie, he used the English language, its fullness and grace, to the utmost. It is the music textures on this concept album which most impress. It is rock, but it is again wonderfully understated. No surprise, it too was released in 1972, and, despite Rick Wakeman having left the band by then, his replacement Blue Weaver more than compensates on keyboards. Indeed, his work on organ, piano, harmonium, mellotron and clavioline is possibly what sets this apart. There is also a lovely mix between heavy rock tracks, and subtle, folk-based songs like Cousins's On Growing Older and John Ford's Heavy Disguise. Another classic.

But are these the greatest rock albums ever? I'd like to hear your views.

By the way, I listened to each of these on vinyl on my old Philips music centre, which dates back to about 1983. The band has been replaced several times, but it still gives a more rounded sound, I believe, than most CDs will yield.