The Monument of the Woodstock Music and Art Fair: A Curious Symbol of a Legendary Event at Yasgur’s Farm
Today is the 55th Anniversary of the morning Jimi Hendrix blasted out the Star Spangled Banner as part of his closing set at the Woodstock Music and Art Fair.
Last autumn, Charlene and I made a visit to the original site of the concert (in Bethel, New York) to see the monument that commemorates the event — it was the first time I had been back to the site since a visit in 1994 for the 25 Year Anniversary event.
This morning, I thought it was probably as good a time as any to share these few photos I took on location during our 2023 stopover — along with a few interesting facts about the Woodstock monument.
In the hills of Bethel, New York, where the legendary Woodstock Music and Art Fair took place in 1969, a popular yet peculiar monument now marks the historic site.
Offering a sweeping view of the original festival grounds, this 5.5-ton structure of concrete and cast iron stands slightly askew, adjacent to the Bethel Woods Center for the Arts. The center, which includes the Museum at Bethel Woods, is a popular destination for those looking to dive deep into the Woodstock era and the 1960s counterculture that the festival epitomized. Yet, for all its cultural significance, the monument itself presents an intriguing mix of trivia and errors that might leave visitors scratching their heads.
Strangely, the most prominent names (in the largest typefaces) on the monument are not of famous Woodstock musicians or key festival organizers but rather those of Louis Nicky, June Gelish, and Wayne C. Saward. Indeed, none of these three people were even present at the original Woodstock event.
Nicky acquired the land in 1981 from Max Yasgur’s estate. When the site was initially purchased, only a small number of people gathered at the site each August to mark the anniversary. One of those individuals who was often present happened to be Wayne C. Saward. Saward was 12 years old when the original Woodstock event happened and lived approximately 35 miles away.
In 1985, Nicky commissioned Saward to create and install the now-iconic Woodstock monument at the edge of the property, not too far from where the stage was located in 1969.
Nicky passed away in 1989 just days before the 20th anniversary of the festival. Ownership of the land then transferred to his companion, June Gelish.
Gelish was something of a complicated figure. Gelish sought to profit from the site, especially during anniversary gatherings, when droves of Woodstock devotees flocked to Bethel. The tradition of visiting the site every August truly gained momentum after an initially unsuccessful Woodstock anniversary event in 1989 unexpectedly ignited what would evolve into an annual pilgrimage.
Sometimes, Gelish welcomed the thousands of visitors who descended upon her property each summer. In other years, however, she took measures to keep them away, even enlisting the police to block access. On one occasion, she went so far as to have chicken manure spread across the fields to deter campers. Ultimately, the festival’s legacy proved unstoppable and the growing crowds continued to gather annually to commemorate the anniversary of Woodstock.
Gelish passed away on April 15th, 1997 — exactly 12 years to the day after the monument was installed.
Saward eventually passed away in 2009 at the age of 52.
Scroll down and continue reading below to see why I’ve called the Woodstock Monument peculiar — and see some additional photos from the site of the concert.
Obituaries
VIDEO: Max Yasgur Addressing The Crowd At Woodstock
So, why are you calling the Woodstock Monument peculiar?
A close inspection of the Woodstock monument reveals several noteworthy inaccuracies. The first is the error in the event’s official name. The actual name was the Woodstock Music and Art Fair, but the monument mistakenly reads “Woodstock Music and Arts Fair“.
While the dates listed on the monument match those printed on the original Woodstock promotional poster (“August 15, 16, 17“) — in actuality, the music was still going on the morning of Sunday, August the 18th.
Continuing to gaze at the monument, you’re certain to notice the misspelling of Woodstock performer John Sebastian’s last name as “Sabastian.” Moreover, it omits several Woodstock acts like Bert Sommer, Tim Hardin, Quill, and The Keef Hartley Band. Apparently, the exact sequence of performers at Woodstock remained uncertain until the museum discovered multiple hard copies confirming the lineup.
The key festival producers Artie Kornfeld, Michael Lang, John Roberts, and Joel Rosenman are not mentioned on the monument. Also absent is Sri Swami Satchidananda, who, though not a traditional performer, played a key role by opening Woodstock with an address that stated, in part, “Music is a celestial sound and it is the sound that controls the whole universe, not atomic vibrations. Sound energy, sound power, is much, much greater than any other power in this world.”
Most surprising, Max Yasgur — the very landowner who saved the festival by leasing his farm when the original venue in Wallkill, NY fell through — is also missing from the monument’s list entirely.
Yasgur, a pro-Vietnam War conservative, was nonetheless a staunch defender of free expression. While he was compensated a reported $75,000 for renting out 600 acres of his dairy farm (though estimates vary), his decision was also motivated by the idea that the Woodstock event could do some good for the country. He famously told The New York Times, “If the generation gap is to be closed, we older people have to do more than we have done.”
Of course, Yasgur was initially told there would only be 50,000 concertgoers in attendance.
When the Bethel Town Board hesitated to approve the Woodstock Festival, Yasgur delivered this message:
“I hear you are considering changing the zoning law to prevent the festival. I hear you don’t like the look of the kids who are working at the site. I hear you don’t like their lifestyle. I hear you don’t like they are against the war and that they say so very loudly. I don’t particularly like the looks of some of those kids either. I don’t particularly like their lifestyle, especially the drugs and free love. And I don’t like what some of them are saying about our government. However, if I know my American history, tens of thousands of Americans in uniform gave their lives in war after war just so those kids would have the freedom to do exactly what they are doing. That’s what this country is all about and I am not going to let you throw them out of our town just because you don’t like their dress or their hair or the way they live or what they believe. This is America and they are going to have their festival.”
Yasgur relocated to Marathon, Florida in 1971 and died of a heart attack in 1973.
In the decades following Woodstock, the event site underwent a massive transformation helmed by Alan Gerry, a cable TV mogul who sold his company to Time Warner in 1996 for $2.8 billion. That same year, Gerry purchased the land and eventually established the Bethel Woods Center for the Arts in 2006. Today, the center’s 15,000-capacity amphitheater, coupled with the Museum at Bethel Woods, keeps the spirit of the 1960s alive through concerts, exhibitions, and educational programs. The historic site and museum have become must-visit locations for anyone fascinated by the Woodstock era and its enduring cultural impact.
The Bethel Woods Museum, which opened in 2008, delves into the cultural relevance of Woodstock and the seismic changes of the 1960s. The family-friendly exhibits connect the dots between the turbulent decade and the festival that became its emblem, inviting visitors of all ages to reflect on its legacy. Notable events at the center include a 2006 performance by Crosby, Stills, Nash & Young and the scattering of Richie Havens’s ashes in 2013, echoing the deep connection many still feel to the original festival.
Today, 55 years later (to the day), the monument, the museum, and the rolling fields of Yasgur’s farm continue to draw visitors from around the world. They come not just for nostalgia but also to contemplate a pivotal moment in history — one where music, culture, and a yearning for change collided to create something truly unforgettable.
Stop by some time and check it out. It’s an easy trip from most points in New England.
Photos: Woodstock Monument + Surrounding Area
Writing and photos by Eric J. Taubert. Chef. Artist (Taubert Gallery). Fine art photographer. Writer. Marketing executive. Vintage cast iron enthusiast. Publisher of New England Innkeeper. Find him on Facebook at @newenglandinnkeeper + @taubertgallery. X at @erictaubert. Find him on Instagram at @newenglandinnkeeper + @taubertgallery.
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