Harlem-native, Kyle Stockman, has suffered through an unexpected 2020 along with many fellow Americans. After receiving buzz on singles “Opal” and “Sunday,” the Shooting Star singer believed it was best to combine his passion and interests by majoring in music at Hudson Valley Community College.
The curriculum was not as progressive as Stockman had hoped. He already self-taught much of the course. Out of that, came Solace. A multi-instrumental laden record that serves as a chameleon amongst the genres. Containing elements of folk, pop, rock and R&B.
With the worldwide COVID-19 pandemic making classes virtual, he decided this was the time to abandon ship and focus on his latest. Stockman’s retreat to the studio ensued, trying out new beats and entering his sound.
“That’s what my music is geared for, I love the dark rawness of songs that bring out emotion.”
Kyle Stockman
In it, Stockman croons about a breakup. First, he tries to find closure in a relationship’s end, dejectedly singing, “you left the heart baby, but you took my soul. It’s clear you don’t care about the way things go.”
He goes on hashing out his feelings towards his significant other. He searches for “solace” in the solitude that comes with life after a breakup.
“I make music for people who could be going through a break up, or lost someone close to them, [anything] that’s hard to deal with that at the moment,” says the indie crooner. Stockman is having fun making records and puts his soul into his music.
His brand of Indie-pop R&B is drawn from the likes of Frank Ocean. “Frank Ocean is who I’m into the most right now. I love his album Blonde for its simplicity [and] the rawness the emotion it incites. For me, that project was a masterpiece. I know that it got a lot of mixed reviews at the time but, the more I listened, the more I got what he was trying to convey. I try to make my music the same way, so you can feel the emotion.”
The Mid-Hudson Civic Center is not a particularly huge arena by normal standards, but the fact that it was less than half-full on this night made it seem that much bigger. This was a solid triple-bill of 1987 real metal – dubbed the ‘Hell on Wheels’ tour – featuring Helloween and Armored Saint, but headliners from the U.K., heavies Grim Reaper, had one hit single to their credit (“See You In Hell”), and that single success had not translated to arena-filling status for the Brits.
So the hall was not packed (a fact not helped by the fact that the much bigger British hard rockers Def Leppard was playing a gig a few hours north at the Glens Falls Civic Center that night), and frankly the audience that was there seemed to be present more for German newcomers/openers Helloween, there on their first US tour, and L.A. metal gods Armored Saint, who played the middle slot. This was a show that could have – and perhaps should have – been booked into The Chance around the corner.
photo by Marc Kurtzner
Helloween had a big buzz at the time with their ‘Keeper of the Seven Keys Pt. I’ album, were already pulling big crowds in the UK and Europe, and years later are considered to be trailblazers for the epic, Power Metal sound which still packs halls in Europe. This night they were a new young metal band with something to prove, and hit the stage fast and heavy, and got the less-than-capacity crowd going immediately, despite the fact that the house lights didn’t go down until halfway through the second song.
photo by Marc Kurtzner
The band played a set full of songs from the then-current Keeper album, including “Future World” and the 13-minute epic “Helloween”, and were given a third-on-the-bill encore by the enthusiastic crowd, and played older song “How Many Tears” to wrap things up. The band seemed primed for much bigger things in 1987, and returned a year or two later to play packed halls with Anthrax in ’89, but mass success did not ensue, in the U.S. anyway.
photo by Marc Kurtzner
As tight and entertaining as Helloween were, this writer was there for band #2, west coast heavies Armored Saint. “March of the Saint” kicked their set off, and from there the Saint (singer John Bush, bassist Joey Vera, drummer Gonzo Sandoval and the late, great guitarist Dave Prichard) attacked the stage with enough energy to melt icebergs.
photo by Marc Kurtzner
At the time AS were promoting their third Chrysalis Records LP, ‘Raising Fear’, and played several tracks from that release, like “Human Vulture”, “Book of Blood”, and the killer “Chemical Euphoria”, but didn’t ignore older songs like “Long Before I Die” and “Can U Deliver”, all served up with sweaty, infectious energy.
photo by Marc Kurtzner
The set finished with the then-new record’s high-velocity, headbanging title track, “Raising Fear”, before the band were summoned for an encore, the even faster, heavier “Madhouse” from their debut record.
photo by Marc Kurtzner
Headliners Grim Reaper finished the night, and seemed to get less front-of-the-stage energy from the crowd than the first two bands had. GR were solid metal, singer Steve Grimmett had (and has) a mighty howl, and guitarist Nick Bowcott is no slouch, but the band seemed superlative after the more exciting first two bands, and they played an hour of shrieking metal, culminating in the inevitable “See You In Hell” before a dwindling crowd. That said, a fine night of pure metal, perhaps in a hall bigger than was warranted by the headline act.
United By Dance: A Camping, Art, Music, and Drive-In Event is set for Sept. 26 from 4:00 p.m.-9:00 a.m. at Yasgur Farm in Bethel, NY. The festival will start in the daytime and continue into the night with an overnight camping option for guests. With safety protocols in effect, fans can camp in their car or rent a camping plot to enjoy a sunrise filled with music.
The Drive-In event will take place at the same location as the historic Woodstock Festival, with a maximum capacity of 600 guests and 150 car parking slots. In addition to music, attendees will have access to art installations, food, and merch vendors. Attendees can expect a laser show later in the night as well. The lineup for the United by Dance event includes music from house, techno, and tech-house artists.
Fans can purchase tickets for the United By Dance Drive-In here. United by Dance will enforce CDC guidelines including social distancing with marked walkways and car parking spots marked 6 feet apart. Attendees must wear their masks when they leave their designated car spot. United By Dance plans to use their events to provide a sense of unity through music, art, and dance by welcoming everyone with no restrictions.
We had to be aware and cautious about all the regulations. The new norm has made us adapt and find new options, but has also allowed us more of an opportunity to create diverse events like our drive-in.
Hamilton Leithauser announced his record release party will be held on a virtual platform for his upcoming record, Live! at Café Carlyle LP. The record release party is taking place on September 12, at 8PM EST.
Hamilton Leithauser is an american singer-songwriter best known for being the lead vocalist of the American indie rock band The Walkmen. He is also widely known for his solo work like “A 1000 Times” and “Here They Come” His newest record, Live! at Café Carlyle LP, was recorded at New York City’s landmark Café Carlyle in January 2020. The Café Carlyle is known for being a luxurious, mural-lined cabaret venue at the Carlyle Hotel. It’s a high end establishment with a dress code and is known for having many celebrity appearances and originally opened in 1955.
The record release party will be broadcasted from Levon Helm Studios in Woodstock, NY where Hamilton Leithauser will be performing the album. Levon Helm Studios was established in 1975 and is famously known as an american studio and venue founded by Levon Helm who is widely known as the drummer and one of the vocalists in The Band who played Woodstock back in 1969. Tickets to the record release show can be bought here are available now and are $15 now and $20 on the day of the show.
For more information visit Hamilton Leithauser’s website.
The Woodstock Film Festival 2020 has released the lineup for feature length premieres being showcased at this year’s festival. LOS HERMANOS/THE BROTHERS, WOODSTOCK TUVAN STYLE, ZAPPA, and BEHIND THE STRINGS are four music-related films that will be premiering at the festival. Click on the movie titles below to view a synopses and diretor’s bio for each film.
Organizers of the 21st Woodstock Film Festival announced that this year’s festival will be brought to fans through a combination of drive in showings and online viewings. Starting September 30 at 9 a.m. est., the festival will run until October 4 at 11 p.m. est.
A full lineup of films will be featured at the Greenville Drive-In Outdoor Cinema in Greenville along with the Overlook Drive-In in Poughkeepsie. Other area drive-ins are also slated to participate in this year’s film festival along with special events planned for Woodstock itself.
The premier independent film festival will be inclusive of those that would prefer to stay at home by offering films for online viewing complete with Q&A sessions with the filmmakers. According to the press release, attendees can also expect a conversation series with members of the film industry. Filmmakers will still be able to attend a modified Maverick Awards ceremony and networking opportunities online.
“We are all going through challenging times, and challenging times call for innovative approaches. I am thankful that recent advances in contemporary technology, along with the reinvigorated nostalgia for the classic American drive-in have made it possible for us to continue supporting outstanding independent cinema, while offering new and returning audiences alike the opportunity to experience excellent films in safety and comfort.”
Woodstock Film Festival Co-Founder and Executive Director Meira Blaustein
Due to the ongoing coronavirus pandemic, changing direction became the only course of action in order to keep everyone involved safe. The Woodstock Film Festival offices have been closed since mid-March and all in person events were cancelled.
The Woodstock Film Festival has continued to provide stellar content, shifting programming to online platforms. Provided to the public free of charge, the spring calendar included; live conversations with industry luminaries, notable directors and actors, as well as a curated selection of films with introductions from their filmmakers.
Individual tickets for films and events at the drive-ins and online will be made available beginning of September, while passes for either the full online film portion of the festival, the full online panel series, or both, are available for purchase now HERE.
And now for something completely different. Two New York-based guitarists, Harvey Valdes and Álvaro Domene, come together for an ear-opening album of nine deliciously deviant duets. It’s an ever-evolving, sonic tornado that is part free jazz, ambient somatic, mournful acousticity, industrial noise and the most searing, dark brand of heavy metal thunder – Nueva Guitarra.
Madrid-born, Kingston-based Álvaro Domene is not only a most formidable and original guitarist; he’s a tireless advocate for the creative music scene in the Hudson Valley and beyond. His Singularity Concert Series has brought many renowned musicians like guitarists Ben Monder and Elliot Sharp for intimate performances at his Kingston loft. Since 2013, his co-owned Iluso Records has released over two dozen discs featuring some of the most fearlessly composed and improvised music you’d even want to spin. As with this album, Domene continues his habit of keeping some heavy company, recording and performing regularly with the likes of Joe McPhee, Karl Berger, Henry Kaiser, Ches Smith, Michael Bisio, Billy Martin and many more.
Like Domene, Brooklyn-based Harvey Valdes is another guitarist (and oud master too!) for whom genre boundaries have little meaning. His three solo albums have encompassed the radical reshaping of jazz standards (“Roundabout”), Mahavishnu-esque jazz fusion fury meets math rock (“PointCounterPoint”) and the 18 concise solo guitar compositions of his latest, “Solitude Intones Its Echo,” mixed and mastered by sonic guitar innovator David Torn (David Bowie).
“Nueva Guitarra” is not designed for the faint of heart and that’s a very good thing.
The duo make their uncompromising and delightfully madcap intentions known in the album opener, “A Crooked Odyssey.” It’s a sonic assault of tapping, looping, glissandos, drones, whammy dives and frizzled corrupted guitar signalry, a mad ride to the mountain top that only let’s up with a soothing ambient cloud appearing in the last 45 seconds of the six-minute outing.
The best place to start your listening might be with the two solo pieces, which showcase the players’ varied approaches and signature sounds.
Valdes’ “Zealous Reflections” is a chord and melody exploration, with close voiced dissonances alternating with pleasant resolutions that he lets ring out. “Biomimicry” is Álvaro Domene swinging for the fences. It’s all quicksilver, speeded up melodies over noisy pads, loops and thumps, over under upside down signals, otherworldly whammy bar and harmonizer torture. A noise jazz industrial racket of the highest order, from the bastard son of Buckethead and Albert Ayler.
My personal favorites, and maybe the easiest for the noise jazz newbie to dip into, are “Lady Dog Night Terror” and the album closer, “The Sophist Pundit.”
“Lady Dog Night Terror” emerges quietly from the darkness. Its deep warm volume swells from Domene’s rise to surround and complement Valdes’ clean chording and single note lines. Slowly, the dissonance in the melody and backdrop increases. It gets symphonic and fuzz laden, then slowly slips away just after the four minute mark.
https://youtu.be/p0idBsB0z6Q
With “The Sophist Pundit,” the duo saved the best for last. This is a summary statement of all the ideas set before, spread over nearly nine and a half minutes of guitar hellacious.
The track begins with stutter stop phrases looped to create a variable pulse, over which the duo improvise jagged lines. It just gets more intense as it goes on, with the duo creating a wall of feedback looped upon feedback, punctured by siren calls and squeals designed to melt your preconceived notions of what guitars can do.
All musicians have been hit by COVID-19, but not many have as hard as Domene. He battled the ailment all through the spring, but still managed to ready this and other collections for release.
If you want to do a good deed for music kind, and vastly widen your own appreciation of music and the creative possibilities still left in the guitar, download this uncompromising disc.
Key Tracks: Lady Dog Night Terror, The Sophist Pundit, Biomimicry
Randall Craig Fleischer, Maestro of the Hudson Valley Philharmonic (HVP), passed away suddenly Wednesday night at his home in Los Angeles, CA. Fleischer was much loved by all who knew him and were fortunate enough to create music with him. Fleischer was considered the heart and soul of the HVP.
Fleischer became music director of the Hudson Valley Philharmonic in 1992 and was a leading force in the classical music scene all over the United States. His charismatic personality and contagious love of music ignited orchestral brilliance in every concert he conducted.
He was an active guest conducting career with many major orchestras in the United States and internationally including repeat engagements with the Israel Philharmonic, Hong Kong Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, Boston Pops, St. Paul Chamber Orchestra, Seattle Symphony, Utah Symphony, San Diego Symphony, Chamber Orchestra of Philadelphia, and Houston Symphony, among others.
Active as a composer, Mr. Fleischer was also a national leader in the area of symphonic rock and world music fusion. Pioneering these new and growing genres for more than 20 years, he had worked with artists such as John Densmore (The Doors), Natalie Merchant, Blondie, Ani DiFranco, John Cale (Velvet Underground), Garth Hudson (The Band) and Kenny Rogers. Mr. Fleischer’s arrangements and orchestral works have been performed by major orchestras worldwide.
He also composed several new works focusing on the interrelationship of Native American music and culture and the symphonic realm. He collaborated with artists R. Carlos Nakai, Burning Sky, The Hawk Project and The Benaly Family. Mr. Fleischer’s work “Triumph” premiered in Flagstaff, Arizona in 2005. His work “Echoes” premiered in Washington, D.C. in November of 2008 at the National Museum of the American Indian (Smithsonian). Fleischer’s most recent work entitled “Symphony in Step” features the dance ensemble “Step Afrika” and is the first and only orchestral work featuring the African American dance tradition of “stepping.”
Mr. Fleischer first came to international attention when, while serving his first of five years as assistant and then associate conductor of the National Symphony Orchestra (NSO), he conducted Dvorak’s Cello Concerto with Mstislav Rostropovich as soloist during the NSO’s 1990 tour of Japan and the U.S.S.R. Mr. Fleischer again had the honor of being chosen to accompany Maestro Rostropovich, once more conducting the NSO, this time in Lincoln Center’s Avery Fisher Hall in a performance of Prokofiev’s “Sinfonia Concertante” in celebration of the composer’s birth. In December of 1992, he conducted an ensemble of over 70 cellists, including Yo-Yo Ma, and a 190-voice chorus in the Kennedy Center Awards tribute to Rostropovich, televised nationally on CBS, with President and Mrs. Bush presiding.
Mr. Fleischer studied with Leonard Bernstein as a conducting fellow at Tanglewood in 1989. He served as the assistant conductor of the American Symphony Orchestra from 1986 to 1989. While working toward his master of music at the Indiana University School of Music, he served as chorus master of the I.U. Opera Theater program from 1983 – 1985. Fleischer received his bachelor of music education from the Oberlin Conservatory of Music and has studied conducting privately with Otto Werner Mueller and in master class with Seiji Ozawa, Ricardo Muti, Gustav Meier and others.
Ticketed music events will now be banned at bars, restaurants, and similar venues in the state of New York due to new coronavirus guidelines for Stage 3 and 4 reopening for licensed on premise establishments released on August 18, 2020. These new guidelines prohibit these establishments in NY from offering live music that customers pay for separately.
The Hollow, Albany – photo by Zach Culver.
Not only do they prohibit ticketing music events but prohibit any events where a patron has to buy a ticket. On top of that it prohibits venues from advertising live entertainment. These new guidelines will bring all events that have been planned by venues to a screeching halt. Music will be allowed at establishments but has to be “incidental” music according to the rules posted in Q&A format on the State Liquor Authority website. Incidental music basically means music can be at performed at establishments but it can’t be advertised and promoted as a reason people should go to the establishment.
“Restaurants and other on premises food and beverage establishments that have a license through the SLA are only allowed to offer on-premise music if their license certificate specifically allows for such activity (i.e., live music, DJ, recorded, etc.). A manufacturer that has an on premises license also must assure that its on premises license certificate specifically allows for the type of music it is offering. A manufacturer without a separate on premises license may offer music unless its license certificate specifically prohibits such music.
If offering music, indoors or out, all relevant aspects of the respective Department of Health guidance dining must be followed, e.g., patrons should not be standing except for necessary reasons (e.g., restroom, entering/exiting), standing patrons should wear face coverings, etc. Performers should be at least 12 feet from patrons.
All other forms of live entertainment, such as exotic dancing, comedy shows, karaoke etc., are not permissible currently regardless of phase.
Additionally, please note that only incidental music is permissible at this time. This means that advertised and/or ticketed shows are not permissible. Music should be incidental to the dining experience and not the draw itself.”
New York State Phase 3/4 Guidelines for Licensed On-Premises Establishments Answer for “Can I have live entertainment or a DJ in my indoor or outdoor dining area?”
This new coronavirus guidelines will disproportionately hurt musicians and venue operators. Many musicians depend on ticketed events for income. Many bars and venues depend on special music events to pay the bills. According the New York Upstate article Julie Leone, who is co-owner of The 443 Social Club & Lounge on Burnet Avenue in Syracuse had spoken to a State Liquor Authority enforcement officer August 18 and, “Was told the agency could automatically suspend the liquor licenses for any venues found to be advertising shows. That seems to be different from regular enforcement, in which officers physically visit the venues to verify non-compliance.”
To many, this guideline seems shocking, unfair, and far out of left field. It will effectively shut down many establishments again that have only recently been able to reopen. These guidelines were implemented with the intention to try to keep people from mingling for prolonged periods of time to help contain the spread of the virus by Governor Andrew Cuomo and other state officials but to musicians and venue operators it feels like an attack on the music industry.
Funk n’ Waffles, Syracuse – photo by Josh Davis.
Dave Ehmann, owner and founder at Adirondack Independence Music Festival elaborated on his feelings about this implementation of these guidelines on his Facebook page saying, “I don’t know about anyone else but I feel like someone needs to hear enough is enough with this bullshit. This is nothing more than a straight up attack on the music industry. Why aren’t we yelling louder and pushing back? It’s gone way past being safe into straight up nonsense. Peaceful protests are in order here.”
The Haunt, Ithaca – photo by Casey Martin
Adam Gold, owner of Syracuse’s well know Funk ‘n Waffles gave his two cents on the new guidelines saying, “I was under the impression these were the regulations anyways. For me it was more of a reminder: ‘By the way, you still can’t do anything (music-wise). We aren’t currently having any indoor dining, even with it being technically allowed for several weeks now. It seems the one thing experts tell you to avoid doing is being near a bunch of strangers in a building for more than an hour.’”
Jarrett Hartstone, promoter at Hartstone Productions, feels that safety is paramount and guidelines should not limit live music performances.
Having closely followed this entire pandemic since the beginning, I fully believe in the need for reopening guidelines in order to keep people safe and control the spread of COVID-19. That said, I think that this latest order by the State and SLA saying that establishments can’t advertise live music and that it has to be “incidental” takes it step too far.
As long as an establishment is operating within the safety guidelines (ie; maintaining social distancing, requiring face coverings, frequently disinfecting, even making people remain seated at tables if need be), there is no reason why they can’t safely host live music and advertise it to help generate business to their already reduced-capacity establishment.
While safety measures are indeed critical to controlling the spread of the virus, so is the need to give businesses (in this case musicians, music venues, bars and restaurants) a fighting chance to survive.
If an establishment isn’t operating within the safety guidelines, by all means, issue a violation. But the focus should be on whether or not they are operating safely, which has nothing to do with advertising and hosting a particular band.
Jarrett Hartstone, Hartstone Productions
Corey Rossoff, owner of the Monopole in Plattsburgh, feels awful for musicians and bands who rely on live performances for income. He divulged on this saying, “I feel bad for all the musicians. We have cancelled all of our live music due to social distancing being impossible with a band playing. Everyone wants to be near the stage. We cancelled open mic because of all different people having to share instruments. We don’t even have the upstairs where bands play even open. With no end in immediate site I just have told bands there is no sense booking anything at this point. We have the downstairs open at reduced capacity at this time. This was even before this information was emailed to us from the SLA a couple of days ago. We don’t charge covers when we do have live music but under this ruling we could not even have any live music. So as I said I don’t know what avenue all the musicians have to make an income so I feel awful for all the many bands everywhere.”
If you are part of an independent music scene in New York State and would like to comment on this story, email nora@nysmusic.com.
The Bardavon Opera House in Poughkeepsie has temporarily closed its doors, but the music is still coming. Their “Albums Revisited” streaming series will resume on Sunday, August 30 at 8:00 p.m., with a tribute to Bob Dylan’s Highway 61 Revisited. Known as Dylan’s first true rock album, the tribute falls on Highway 61’s 55th anniversary. To celebrate the occasion, Bardavon’s Production Manager Stephen LaMarca has curated a setlist of artists to perform each of its nine songs. While the event will be broadcast on Bardavon Presents’ YouTube for free, they’re accepting donations for People’s Place in Kingston and Dutchess Outreach in Poughkeepsie.
The full list of performances includes:
“Like a Rolling Stone” – Jack DeJohnette & John Medeski
“Tombstone Blues” – The Weight Band
“It Takes a Lot to Laugh, It Takes a Train to Cry” – Jimmy Vivino, Rich Pagano & John Sebastian
“From a Buick 6” – Guy Davis
“Ballad of a Thin Man” – Steve Earle
“Queen Jane Approximately” – Lucinda Williams
“Highway 61 Revisited” – Kate Pierson w/ The Restless Age
“Just Like Tom Thumb’s Blues” – Happy Traum w/ special guests
“Desolation Row” – Simone Felice
“Can You Please Crawl Out Your Window” – Laura Stevenson
The event will also feature commentary from Bardavon’s Executive Director Chris Silva, as well as others.
Bardavon Presents’ next “Albums Revisited” installment is at 8:00 p.m. on Sunday, November 1, where they’ll celebrate the 50th anniversary of the Grateful Dead’s American Beauty. They’ll also be streaming a Hudson Valley Philharmonic virtual concert hall at 8:00 p.m. on Saturday, September 26, as well as a live DJ set at 8:00 p.m. on Friday, October 8.
For more information regarding this stream and future shows, go to Bardavon’s website.
At noon on August 17, 1969, the crowd at Woodstock had dwindled slightly, but roughly 90% of attendees responded favorably to Hugh Romney (best known as Wavy Gravy) who woke the crowd up, saying:
Good morning! What we have in mind is breakfast in bed for 400,000. Now, it’s gonna be good food and we’re going to get it to you. It’s not just the Hog Farm, either. It’s everybody. We’re all feedin’ each other. We must be in heaven, man! There’s always a little bit of heaven in a disaster area.
Now there’s a guy up there – some hamburger guy – that had his stand burned down last night. But he’s still got a little stuff left, and for you people that still believe capitalism isn’t that weird, you might help him out and buy a couple hamburgers.
The Hog Farm then distributed plates of cold mush, while a hippie known as Muskrat, read the front page of the Sunday New York Times to “the hippest brunch this side of Fifth Avenue.”
The first two days of Woodstock had the appearances of a tremendous success, especially for fans and observers. The unsung heroes working the show were dealing with any issue that came to them – rain, mud, delays, making sure food and clean water were available, and keeping the show running.
Sunday though, there were the inevitable issues that arise from a three day music festival. Bathrooms were overflowing, and fans were taking to cornfields and the backyards of locals in Bethel to relieve themselves. There were emergency medical issues that needed to be addressed, but roads were blocked. Helicopters attempted to airlift those in the greatest need, but lack of fuel made it difficult to get them to the proper hospital. A helicopter at Grossinger’s was on site at Yasgur’s within 10 minutes of a call to handle a victim of alcohol poisoning.
Joe Cocker kicked the day off at 2pm with a career-defining performance. Woodstock promoter Artie Kornfeld is reported by Spitz to have ‘humped a motorcycle in time to “Delta Lady,” and wept uncontrollably into his arm.
This is just great! Outta sight! Oh man, look what we’ve done, look what we’ve done. This is forever
But the joy was shortlived. A huge storm barrelled towards the festival grounds, and stage was covered in tarps as Cocker and his band retreated. Having yelled into the microphone for everyone to get away from the towers, John Morris changed his tone and approached the rain differently, saying to the crowd, “If you think really hard enough, maybe we can stop this rain!” A chant of “No rain, No rain, No rain” started in the crowd and built up, to the point where even though the stage itself was sliding in the mud, but fans were dancing in the rain and playing in the mud, the iconic imagery associated with Woodstock still today.
While the storm blew through in 20 minutes, the stage that had slid six inches downhill was restrained so the show could continue. Max Yasgur, the landowner who hosted a few hundred thousand hippies that weekend, was asked by Mel Lawrence and Michael Lang to say a few words to the crowd. Eagerly, Yasgur, who reveled in how nice and police the kids were, took to the stage with encouragement from Lawrence and Lang. Master of Ceremonies Chip Monck introduced Yasgur to the crowd saying “This is the man whose farm we’re on – Mr. Max Yasgur.” Monck stepped back and let Yasgur addressed the crowd, saying:
I’m a farmer. I don’t know how to speak to twenty people at one time let alone a crowd like this. This is the largest group of people ever assembled in one place, but I think you people have proven something to the world – that a half a million kids 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!
Music would restart around 5pm with Country Joe & the Fish (the only act to perform twice that weekend) and Ten Years Later followed at 8pm. Crosby, Stills, Nash & Young left the stage at 6AM, and Sha Na Na followed. Jimi Hendrix would not take the stage until 8:30AM Monday morning, performing to only 30,000 who were determined to stick it out. The historic “Star Spangled Banner,” followed by “Taps,” would cement his place, and Woodstock’s, in music history.
Watch a performance from the nine artists who performed at Woodstock on August 17 and well into the morning of August 18, 1969
Joe Cocker
https://www.youtube.com/watch?v=tfLyK2DVVUU
Country Joe & The Fish
Ten Years After
Johnny Winter
Blood Sweat and Tears
Crosby, Stills, Nash & Young
https://www.youtube.com/watch?v=-azgwfnZu7c
Paul Butterfield Blues Band
https://www.youtube.com/watch?v=WibfUfVpfAI
Sha Na Na
Jimi Hendrix
https://www.youtube.com/watch?v=MFLy8eGtSYo
Watch performances from every Woodstock artist with our full playlist
