The 97 Hours of Woodstock That History Never Released

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[00:00:00]Woodstock 1969 the secret 2 a.m. set >> [music] >> they didn't want you to see.

[00:00:09]There is a version of Woodstock, you know, half a million people, three days of rain and mud and music that somehow held together long enough to become a myth. The film, the album, Jimi Hendrix at sunrise closing the whole thing out.

[00:00:24]That version is real, but the film that built that version made choices, deliberate ones, and some of those choices buried careers. This is the story of what got left out. The Woodstock documentary was not a neutral record of what happened. It was a film and films have editors and editors have to make decisions.

[00:00:49]Michael Wadleigh's crew shot approximately 120 hours of footage over those four days.

[00:00:58]The final theatrical cut ran just over 3 hours. That means roughly 97 hours of footage went somewhere else, into an archive, into a vault, into decisions that nobody making them fully understood would last forever.

[00:01:16]But here is the thing about those decisions. Some of them were made by the artists themselves and those stories are almost never told.

[00:01:27]Creedence Clearwater Revival played Woodstock. They played a full set. The cameras caught it.

[00:01:34]>> [music] >> And then John Fogerty personally ordered the footage not to be used in the film.

[00:01:41]He listened back to the recording, decided the performance was substandard, and pulled it.

[00:01:48]One of the biggest bands in America at the peak of their commercial power [music] at Woodstock and you cannot find them in that film. Not a single frame.

[00:02:00]That was not a label decision. That was not a conspiracy. That was John Fogerty making a call and living with it.

[00:02:09]The band did not appear in the original theatrical release either.

[00:02:14]They gave what many people who were there described as one of the great performances of the entire weekend.

[00:02:22]They had played with Bob Dylan.

[00:02:25]They were in the middle of a decade that would confirm them as one [music] of the most important groups in rock history.

[00:02:33]And they were not in the Woodstock film.

[00:02:36]Neil Young refused to be filmed at all.

[00:02:40]He has spoken about this directly.

[00:02:43]He did not want to be documented that way. He was there. He played. And he walked away from the documentation on his own terms. These are not secrets.

[00:02:55]But they are almost never the part of the story you hear first. Because the story you hear first is always Hendrix.

[00:03:04]>> [music] >> And that brings us to the thing that almost no one talks about.

[00:03:09]Jimi Hendrix was not in the original theatrical release of the Woodstock film.

[00:03:15]Read that again. The man who closes out every Woodstock documentary, every [music] retrospective, every anniversary special. The image that has become synonymous with what Woodstock meant.

[00:03:29]The opening of the National Anthem, The Star-Spangled Banner torn apart and rebuilt in real time. Jimi Hendrix was not in the version of the film that played in theaters in 1970. [music] He was added to the director's cut in 1994.

[00:03:48]25 years later.

[00:03:51]The film that won the Academy Award for best documentary in 1971.

[00:03:57]The film that grossed $50 million at the domestic box office.

[00:04:03]That film did not contain Jimi Hendrix.

[00:04:06]>> [music] >> Think about what that means for the mythology.

[00:04:10]The closing image that defines Woodstock in the popular imagination was not present for the first two and a half [music] decades the story was being told.

[00:04:21]The narrative got built around something that wasn't even in the original record.

[00:04:26]If Woodstock's editors could leave Hendrix out and [music] still win an Oscar and gross $50 million, what does that tell you about the choices they made? What does it tell you about the artists they [music] decided the story could survive without?

[00:04:45]Here is something else worth sitting with.

[00:04:47]Hendrix closed Woodstock on the morning of August 18th.

[00:04:53]By that point, the crowd had thinned significantly.

[00:04:57]The estimates most historians cite for [music] the Hendrix set put attendance at somewhere between 30,000 and 40,000 people. That is not nothing.

[00:05:09]But the peak of the festival, the Saturday night into Sunday morning stretch, had drawn far more.

[00:05:17]The film chose Hendrix as its ending because it was powerful filmmaking.

[00:05:22]Because the Star-Spangled Banner performance was the kind of image that doesn't need context. It already carries the whole weight of 1969.

[00:05:34]But that choice was a narrative decision, not a historical one.

[00:05:39]Let's talk about what was actually happening in the industry during and after Woodstock.

[00:05:46]The festival created something the labels immediately understood. The Woodstock film was going to be the permanent record. It was going to be the document that history consulted. And being in that document was worth more than any press campaign, [music] any radio push, any tour.

[00:06:08]The artists [music] who appeared in the film signed major label deals in the months that followed.

[00:06:15]Their trajectory changed. The film created a short list, and being on that short list [music] meant something concrete in terms of what came next. The artists who were left out, whether by their own choice, by editorial decision, or by the grinding practical reality of what 120 hours of footage becomes when you compress it into 3 hours, those artists were working against the weight of their own absence.

[00:06:48]There were acts at Woodstock who never made it into [music] any version of the film.

[00:06:54]The Keef Hartley Band, Quill, Bert Sommer.

[00:06:59]Country Joe McDonald appeared, but his band did not make [music] the final cut in the same way.

[00:07:06]These were not minor names passing [music] through.

[00:07:09]These were working professional musicians who played in front of one of the largest gatherings in American history, and then watched the official record of that gathering get assembled without them in it.

[00:07:24]The festival was supposed to accommodate 50,000 people.

[00:07:29]Half a million arrived. The infrastructure collapsed on day one.

[00:07:34]And [music] in the chaos of that, some performances were documented with full film crew presence, and some were not.

[00:07:43]The middle of the night was harder to film. The equipment was expensive. The logistics were brutal.

[00:07:50]But, some of what happened in those overnight hours was not absence.

[00:07:55]It was decision.

[00:07:58]Janis Joplin performed at Woodstock. She played a full set in the early hours of Sunday morning, somewhere around 2:00 in the morning, in the rain, in front of a crowd that had been standing in that field for 2 days. She appears in the original theatrical release for a fraction of what she actually performed.

[00:08:21]A partial impression [music] of a complete set. The full performance existed. It was filmed. And, the version of Janis Joplin that the Woodstock film gave the world [music] was a compressed fragment of what she actually did that night.

[00:08:39]If you know anything about Janis Joplin's history with the music industry, about the ways the machinery around her consistently undervalued what she was delivering in real time, this is not a surprise. But, it is worth naming.

[00:08:55]Dale Bell was a production coordinator on the Woodstock film.

[00:09:00]In 1999, he published an oral history called Woodstock: An Inside Look that brought together accounts from people who were on the production.

[00:09:12]It is one of the few documents that gives [music] you something from inside the machinery of how that film got made.

[00:09:20]The accounts in [music] that book describe the conditions the crew was working under, the exhaustion, the equipment failures, the logistical collapse that was happening simultaneously with the filming.

[00:09:34]The decisions that got made in real time by people who did not fully know what they were documenting.

[00:09:43]What comes through in those accounts is that the editorial process [music] that turned 120 hours of footage into a theatrical release was not a conspiracy.

[00:09:56]It was something almost harder to reckon with.

[00:09:59]It was people making fast decisions under pressure.

[00:10:03]Decisions that would calcify into permanent history without anyone fully understanding the stakes.

[00:10:11]The artists [music] who got left out were not in most cases left out because of malice.

[00:10:19]They were left out because of choices.

[00:10:22]And choices, once made and filed away, become facts.

[00:10:27]The director's cut released in 1994 runs to 224 minutes.

[00:10:33]It includes footage that was in the 1970 theatrical release, including Hendrix, including fuller performances from artists who appeared only briefly the first time.

[00:10:47]The existence [music] of that director's cut is itself a kind of proof.

[00:10:52]It proves the archive contained more than the original film suggested. It proves the choices made in 1970 were choices, not limitations.

[00:11:04]The material was there.

[00:11:06]Someone decided what form it would take.

[00:11:09]The question that the director's cut raises, and that no one fully answers, is what else is still in that archive?

[00:11:18]What exists in a form that has never been publicly released?

[00:11:23]What performances happened in those overnight hours in the rain in front of crowds that had nowhere to go and nothing to do but listen that the cameras caught and the editors left behind.

[00:11:36]We do not know the full answer to that, but the director's cut tells us the official record was never the whole record. Here is the comparison that should have been made for 50 years and almost never has been.

[00:11:51]The image that defines Woodstock >> [music] >> is Hendrix. 30,000 to 40,000 people on a Sunday morning.

[00:12:00]But the festival's actual peak by attendance was Saturday night >> [music] >> into Sunday morning.

[00:12:07]That stretch of hours saw the largest crowd still gathered, the most energy still in the field, the most of that half million people who had descended on Max Yasgur's farm still present and awake and listening.

[00:12:24]The film chose a story. It chose its ending. And because the film became the record, the ending it chose became indistinguishable from what actually happened. That is not a crime. That is what films do. But when the film is also the history, the mythology it builds and the choices it makes and the artists it elevates and the ones it leaves behind, all of that becomes permanent in a way the editors in 1970 could not have fully anticipated.

[00:13:03]Janis Joplin died in October 1970 before the film was released. She never saw what version of herself the Woodstock record would preserve.

[00:13:14]Jimi Hendrix died the same month. He never saw that his performance would not be in the original theatrical cut.

[00:13:23]He never knew the mythology would build around him anyway. Through bootlegs and retrospectives and the long work of music journalism because the film had already made its decisions.

[00:13:36]The artists who were left out and survived to see the documentary become history had to live with a particular kind of absence.

[00:13:47]They were there. They played. They knew what they had done.

[00:13:51]And then they [music] watched the official record tell a different story.

[00:13:56]History does not just happen. It gets filmed. It gets edited. It gets filed in [music] an archive somewhere and released in the form that the people with the authority to make those decisions decided was the right form.

[00:14:12]The Woodstock documentary is one of the great films ever made.

[00:14:18]That is true.

[00:14:19]It is also a document built on choices that had consequences for real people, for careers, for [music] legacies, for the way music history understood itself.

[00:14:32]The artists who are in it became history.

[00:14:36]The artists who were not, some of them became footnotes.

[00:14:40]>> [music] >> Some of them became obscurities. Some of them spent decades playing regional circuits while their contemporaries who happened to be captured on film in the right way at the right moment became legends.

[00:14:55]That is not exclusively a story about the Woodstock film.

[00:15:00]It is a story about what happens when a document [music] becomes a mythology and a mythology becomes the record.

[00:15:08]But it starts here.

[00:15:10]August 1969, a farm in Bethel, New York, half a million people, 120 hours of footage, and somewhere in an archive performances that happened and were filmed and got filed away in a form the public has never fully seen.

[00:15:31]The official record was never [music] the whole record. It never is.