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11/19/2025
11/19/2025
11/18/2025

Max Bernard Yasgur (December 15, 1919 – February 9, 1973) was an American farmer, best known as the owner of the dairy farm in Bethel, New York, at which the Woodstock Music and Art Fair was held between August 15 and August 18, 1969. He sold his farm in 1971 and retired to Florida, where he died in 1973.

Yasgur was born in Manhattan, New York City, to Jewish immigrants Samuel and Bella (née Feder) Yasgur. Sam had been born in Minsk, now in Belarus, and Bella had been born in Poland. Max was raised with his brother Isidore (1926–2010) on the family's farm (where his parents also ran a small hotel), and attended New York University, studying real estate law.

By the late 1960s, he was the largest milk producer in Sullivan County, New York. His farm had 650 cows, mostly Guernseys.

At the time of the festival in 1969, Yasgur was married to Miriam (Mimi) Gertrude Miller Yasgur and had a son, Sam (1942–2016) and daughter, Lois (1944–1977). His son was an assistant district attorney in New York City at the time.

In later years, it was revealed that Yasgur was in fact a conservative Republican who supported the Vietnam War. Nevertheless, he felt that the Woodstock festival could help business at his farm and also tame the generation gap.

Woodstock promoter Michael Lang, who considered Yasgur to be his "hero," stated that Yasgur was "the antithesis" of what the Woodstock festival stood for. Yasgur's early death prevented him from answering questions about why he agreed to allow the festival to take place at his farm.

After area villages Saugerties (located about 40 miles from Yasgur's farm) and Wallkill declined to provide a venue for the festival, Yasgur leased one of his farm's fields for a fee that festival sponsors later said was $10,000.

Soon after agreeing to host the event, he began to receive both threatening and supporting phone calls (which could not be placed without the assistance of an operator because the community of White Lake, New York, where the telephone exchange was located, still used manual switching). While many calls were critical of his decision, the helpful calls outnumbered the threatening ones.

Opposition to the festival began soon after the festival's relocation to Bethel was announced. Signs were erected around town, saying, "Local People Speak Out Stop Max's Hippie Music Festival", "No 150,000 hippies here", and "Buy no milk".

Yasgur was 49 at the time of the festival and had a heart condition. He said at the time that he never expected the festival to be so large, but that "if the generation gap is to be closed, we older people have to do more than we have done."

Yasgur quickly established a rapport with the concert-goers, providing food at cost or for free. When he heard that some local residents were reportedly selling water to people coming to the concert, he put up a big sign at his barn on New York State Route 17B reading "Free Water." The New York Times reported that Yasgur "slammed a work-hardened fist on the table and demanded of some friends, 'How can anyone ask money for water?'"

His son Sam recalled his father telling his children to "take every empty milk bottle from the plant, fill them with water and give them to the kids, and give away all the milk and milk products we had at the dairy."

At the time of the concert, friends described Yasgur as an individualist who was motivated as much by his principles as by the money. According to Sam Yasgur, his father agreed to rent the field to the festival organizers because it was a very wet year, which curtailed hay production. The income from the rental would offset the cost of purchasing thousands of bales of hay.

Yasgur also believed strongly in freedom of expression, and was angered by the hostility of some townspeople toward "anti-war hippies". Hosting the festival became, for him, a "cause".

On the third day of the festival, just before Joe Cocker's early afternoon set, Yasgur addressed the crowd:

"I'm a farmer. I don't know how to speak to twenty people at one time, let alone a crowd like this. But I think you people have proven something to the world — not only to the Town of Bethel, or Sullivan County, or New York State; you've proven something to the world. This is the largest group of people ever assembled in one place. We have had no idea that there would be this size group, and because of that you've had quite a few inconveniences as far as water, food, and so forth. Your producers have done a mammoth job to see that you're taken care of... they'd enjoy a vote of thanks. But above that, the important thing that you've proven to the world is that a half a million kids — and I call you kids because I have children that are older than you are — a half million young people can get together and have three days of fun and music and have nothing but fun and music, and I – God bless you for it!"

His speech was met with a massive cheer from the audience.

11/18/2025

Music connects us all

11/18/2025

Carole King once sat in a publisher’s office listening to a male executive explain why her name should appear second on a song she had written nearly alone, and she replied, “I am done letting anyone borrow my work without my permission.”
The executive laughed.
King stood up.
The Brill Building had just gained a problem it did not expect.
Before Tapestry made her a household name, King was the writer behind hits that other performers got credit for. Labels pushed the singers, not the writers. Publishers favored male composers. King turned out songs faster than most teams in the building, but her name rarely appeared in the spotlight. She received checks. Others received fame.
The quiet scandal started when one producer suggested that her songs would sell better if a man signed first on the sheet. King refused. He insisted. She left the room before he finished speaking. That small rebellion spread through the corridors. Several writers told her she was risking her entire career. King said she could not keep giving away her voice to people who never thanked her for it.
Her turning point came when she wrote a song that a major artist wanted immediately. The label demanded changes that would remove the emotional core of the lyrics. King rejected every note. The artist begged her to reconsider. King refused again. The label eventually caved. The song became a hit, and the artist publicly credited her as the creative center of the track. That moment changed her leverage overnight.
But the real battle came when she told industry leaders she intended to release her own album as a performer. Several executives told her bluntly that her voice was not marketable. They wanted her to stay behind the scenes. She recorded Tapestry anyway. She funded writing sessions herself. She insisted on producing decisions she was not invited to make. The project looked fragile to everyone but her.
When Tapestry exploded into a cultural phenomenon, executives who doubted her pretended they had supported her from the start. King saved the receipts. She told friends she remembered every meeting, every dismissal, every casual insult disguised as advice.
Years later, younger singer songwriters asked her how she survived an industry that tried to keep her invisible. King told them one rule.
“If you give away your voice, someone else will use it to build their name. So keep your voice.”
Carole King is celebrated for warmth, honesty, and timeless melody.
The truth carries more force.
She fought the system that tried to hide her, she won battles no one thought she could win, and she turned the quiet power of a songwriter into the loudest success the industry had ever seen.

11/14/2025

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