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{{Main|Monterey Pop}}


The festival was the subject of an acclaimed documentary [[Film|movie]] entitled ''[[Monterey Pop]]'' by noted documentary filmmaker [[D.A. Pennebaker]]. Pennebaker's team used newly developed portable 16mm color cameras equipped to record synchronized sound. Sound was captured by [[Wally Heider]]'s mobile studio on state-of-the art eight-track tape. The Grateful Dead do not appear in the film because they believed that this was too commercial and thus refused to give permission to appear.
The festival was the subject of an acclaimed documentary [[Film|movie]] entitled ''[[Monterey Pop]]'' by noted documentary filmmaker [[D.A. Pennebaker]]. Pennebaker's team used newly developed portable 16mm color cameras equipped to record synchronized sound. Sound was captured by [[Wally Heider]]'s mobile studio on state-of-the art eight-track tape. The Grateful Dead believed that this was too commercial and refused permission to be shown in the film.


An expanded version of the documentary has been released on [[DVD]] by the [[Criterion Collection]].
An expanded version of the documentary has been released on [[DVD]] by the [[Criterion Collection]].

Revision as of 02:39, 11 March 2012

The Monterey International Pop Music Festival was a three-day concert event held June 16 to June 18, 1967 at the Monterey County Fairgrounds in Monterey, California. Monterey was the first widely promoted and heavily attended rock festival, attracting an estimated 55,000 total attendees with up to 90,000 people present at the event's peak at midnight on Sunday.[1]

The festival is remembered for the first major American appearances by Jimi Hendrix, The Who and Ravi Shankar, the first large scale public performance of Janis Joplin, and the introduction to a large, predominantly white audience of Otis Redding.[2]

The Monterey Pop Festival embodied the themes of California as a focal point for the counterculture and is generally regarded as one of the beginnings of the "Summer of Love" in 1967,[3] along with the smaller Fantasy Fair and Magic Mountain Music Festival held at Mount Tamalpais in Marin County a week earlier.[4] Monterey became the template for future music festivals, notably the Woodstock Festival two years later.

The festival

The festival was planned in seven weeks by promoter Lou Adler, John Phillips of The Mamas & the Papas, producer Alan Pariser, and publicist Derek Taylor. The Monterey location had been known as the site for the long-running Monterey Jazz Festival and Monterey Folk Festival; the promoters saw the Monterey Pop festival as a way to validate rock music as an art form in the way jazz and folk were regarded.[5]

The artists performed for free with all revenue donated to charity, except for Ravi Shankar, who was paid $3,000 for his afternoon-long performance on the sitar. Country Joe and the Fish were paid $5,000 not by the festival itself, but from revenue generated from the D.A. Pennebaker documentary.[6]

Lou Adler later reflected:

…[O]ur idea for Monterey was to provide the best of everything -- sound equipment, sleeping and eating accommodations, transportation -- services that had never been provided for the artist before Monterey…
We set up an on-site first aid clinic, because we knew there would be a need for medical supervision and that we would encounter drug-related problems. We didn't want people who got themselves into trouble and needed medical attention to go untreated. Nor did we want their problems to ruin or in any way disturb other people or disrupt the music…
Our security worked with the Monterey police. The local law enforcement authorities never expected to like the people they came in contact with as much as they did. They never expected the spirit of 'Music, Love and Flowers' to take over to the point where they'd allow themselves to be festooned with flowers.

Many aspects of The Monterey International Pop Festival were firsts: although the audience was predominantly white, Monterey's bill crossed musical boundaries, mixing folk, blues, jazz, soul, R&B, rock, psychedelia, pop and classical genres, boasting a line-up that put established stars like The Mamas and the Papas, Simon & Garfunkel and The Byrds alongside groundbreaking new acts from the UK, the USA, South Africa and India.

Performances

Jefferson Airplane

With two huge singles behind them, the Airplane was one of the major attractions of the festival.

The Who

Although already a big act in the UK, and now gaining some attention in the US after playing some New York dates two months earlier, The Who were propelled into the American mainstream at Monterey. At the end of their frenetic performance of "My Generation", the audience were stunned as guitarist Peter Townshend began smashing his guitar, amid smoke bombs and frightened concert staff rushing onstage to scurry expensive microphones to safety. At the end of the mayhem, drummer Keith Moon kicked over his drum kit as the band exited the stage. The Who, after losing a coin toss, performed before closer Jimi Hendrix, as Townshend and Hendrix each refused to go on after the other - both having planned an instrument-demolishing conclusion to their respective sets.

The Jimi Hendrix Experience

Hendrix ended his Monterey performance with an unpredictable version of "Wild Thing", which he capped by kneeling over his guitar, pouring lighter fluid over it, setting it aflame, and then smashing it in to the stage seven times before throwing its remains into the audience.[7] This produced unforeseen sounds and these actions contributed to his rising popularity in the USA.[8]

Janis Joplin

Monterey Pop was also one of the earliest major public performances for Janis Joplin, who appeared as a member of Big Brother and The Holding Company. Joplin was seen swigging from a bottle of Southern Comfort as she gave a provocative rendition of the song "Ball 'n' Chain". Columbia Records signed Big Brother and The Holding Company on the basis of their performance at Monterey.[7] "I became a supporter of feminism watching Janis Joplin at the Monterey Festival", says John McCleary, author of The Hippie Dictionary. "A lot of people had similar experiences watching female role models with that kind of power, unafraid to express themselves sexually while demanding their rights."[citation needed]

Otis Redding

Redding, backed by Booker T. & The MG's, was included on the bill through the efforts of promoter Jerry Wexler, who saw the festival as an opportunity to advance Redding's career.[7] Up until that point, Redding had performed mainly for black audiences,[2] besides a few successful shows at the Whisky a Go Go. Redding's show, received well by the audience ("there is certainly more audible crowd participation in Redding's set than in any of the others filmed by Pennebaker that weekend") included "Respect" and a version of "Satisfaction".[9] The festival would be one of his last major performances. He died 6 months later in a plane crash at the age of 26.

Ravi Shankar

Ravi Shankar was another artist who was introduced to America at the Monterey festival. Eighteen minutes of Dhun (Dadra and Fast Teental) an excerpt from Shankar's four-hour performance at the 1967 Monterey Pop Festival, concluded the Monterey Pop film, introducing the artist to a new generation of music fans.

The Mamas & the Papas

The Mamas & the Papas performed the closing act of the festival, as member John Phillips helped organize the festival. They also introduced several of the acts including Scott McKenzie. They played some of their biggest hits including Monday, Monday and California Dreamin'.

Cancellations and no-shows

Several acts were also notable for their non-appearance.

The Beach Boys, who had been involved in the conception of the event[10] and at one point scheduled to close the show, failed to perform.

The Kinks were invited but could not get a work visa to enter the US due to a dispute with the American Federation of Musicians.

Donovan was refused a visa to enter the United States because of a 1966 drug bust.[10]

Captain Beefheart & The Magic Band was also invited to appear but, according to the liner notes for the CD reissue of their album Safe As Milk, the band turned the offer down at the insistence of guitarist Ry Cooder, who felt the group was not ready.

According to Eric Clapton, Cream did not perform because the band's manager wanted to make a bigger splash for their American debut.

Dionne Warwick and the Impressions were advertised on some of the early posters for the event, but Warwick dropped out due to a conflict in booking that weekend: she was booked at the Fairmont Hotel and it was thought that if she canceled that appearance it would negatively affect her career.

Though the logo for the band Kaleidoscope is seen in the film, they did not perform at the Monterey Pop Festival.

Although The Rolling Stones did not play, guitarist and founder Brian Jones attended and appeared onstage to introduce Hendrix.

Though it was long rumored that Love had declined an invitation to Woodstock, Mojo Magazine later confirmed that it was Monterey they had rejected.

The promoters also invited several Motown artists to perform and even were going to give the label's artists their own slot. However, Berry Gordy refused to let any of his acts appear, even though Smokey Robinson was on the board of directors.

The Doors did not appear because the coordinators forgot to invite them. John Densmore, the band's drummer, in his book, "Riders on the Storm", expressed his belief that they were not invited because their music didn't express the ideals of the time, Peace and Love.

Influence

Music writer Rusty DeSoto argues that pop music history tends to downplay the importance of Monterey in favour of the "bigger, higher-profile, more decadent" Woodstock Festival, held two years later. But, as he notes:

…Monterey Pop was a seminal event: it was the first real rock festival ever held, featuring debut performances of bands that would shape the history of rock and affect popular culture from that day forward. The County Fairgrounds in Monterey, California … had been home to folk, jazz and blues festivals for many years. But the weekend of June 16–18, 1967 was the first time it was used to showcase rock music.[citation needed]

The festival launched the careers of many who played there, making some of them into stars virtually overnight, including Janis Joplin,[11] Laura Nyro, Canned Heat, Otis Redding, Steve Miller and Indian sitar maestro Ravi Shankar.

Monterey was also the first high-profile event to mix acts from major regional music centres in the U.S.A. — San Francisco, Los Angeles, Chicago, Memphis and New York City — and it was the first time many of these bands had met each other in person. It was a particularly important meeting place for bands from the Bay Area and L.A., who had tended to regard each other with a degree of suspicion — Frank Zappa for one made no secret of his low regard for some of the San Francisco bands — and until that point the two scenes had been developing separately along fairly distinct lines. Paul Kantner, of Jefferson Airplane, said, “The idea that San Francisco was heralding was a bit of freedom from oppression.”[12]

Monterey also marked a significant changing of the guard in British music. The Who and Eric Burdon and The Animals represented the UK, with The Beatles and The Rolling Stones conspicuously absent.[10] The Beatles had by then retired from touring and The Stones were unable to tour America due to the recent drug busts and trials of Mick Jagger and Keith Richards. The Stones' Brian Jones wafted through the crowd, resplendent in full psychedelic regalia, and appeared on stage briefly to introduce Jimi Hendrix. As it transpired, it was two more years before The Stones hit the road, by which time Jones was dead, and the Beatles never toured again. Meanwhile, The Who leapt into the breach and became the top UK touring act of the period.

Also notable was the festival's innovative sound system, designed and built by audio engineer Abe Jacob, who started his career doing live sound for San Francisco bands and went on to become a leading sound designer for the American theatre. Jacob's groundbreaking Monterey sound system was the progenitor of all the large-scale PAs that followed.[citation needed] It was a key factor in the festival's success and it was greatly appreciated by the artists—in the Monterey film, David Crosby can clearly be seen saying "Great sound system!" to band-mate Chris Hillman at the start of The Byrds' performance. Lighting by Chip Monck attracted the attention of the Woodstock Festival promoters.[13]

Electronic music pioneers Paul Beaver and Bernie Krause set up a booth at Monterey to demonstrate the new electronic music synthesizer developed by Robert Moog.[14] Beaver and Krause had bought one of Moog's first synthesizers in 1966 and had spent a fruitless year trying to get someone in Hollywood interested in using it. Through their demonstration booth at Monterey, they gained the interest of acts including The Doors, The Byrds, The Rolling Stones, Simon & Garfunkel and others. This quickly built into a steady stream of business and the eccentric Beaver was soon one of the busiest session men in L.A., and he and Krause earned a contract with Warner Brothers.

Eric Burdon and The Animals later that same year in their hit "Monterey" quoted a line from The Byrds song "Renaissance Fair" ("I think that maybe I'm dreamin'") and mentioned performers The Byrds, Jefferson Airplane, Ravi Shankar, Jimi Hendrix, The Who, Hugh Masekela, The Grateful Dead, and The Rolling Stones' Brian Jones ("His Majesty Prince Jones smiled as he moved among the crowd"). The instruments used in the song imitate the styles of these performers.

Recording and filming the festival

Main article: Monterey Pop

The festival was the subject of an acclaimed documentary movie entitled Monterey Pop by noted documentary filmmaker D.A. Pennebaker. Pennebaker's team used newly developed portable 16mm color cameras equipped to record synchronized sound. Sound was captured by Wally Heider's mobile studio on state-of-the art eight-track tape. The Grateful Dead believed that this was too commercial and refused permission to be shown in the film.

An expanded version of the documentary has been released on DVD by the Criterion Collection.

The audio recordings of the festival eventually became the basis for many albums. Most notable are the 1970 release Historic Performances Recorded at the Monterey International Pop Festival featuring partial sets by Otis Redding and Jimi Hendrix. Other releases recorded at the festival included The Grateful Dead, Jefferson Airplane, and Ravi Shankar. In 1992, a four-CD box set was released featuring performances by most of the artists; various other compilations have been released over the years. According to the radio promotional feature that accompanied the '92 box set release: on modified stages, including flatbed {Kaleidscope (LA)} trucks, set up in the surrounding environs, there were several spontaneous jam sessions for the overflow crowds, and erstwhile campers which included at the Monterey Peninsula Community College sports stadium (right across the Hwy. 1 interchange) where Jimi Hendrix flanked by (re: the Axis: Bold as Love cover) Jorma Kaukonen and John Cippolina played for the adoring throng. It was also reported locally that Eric Burdon had checked out the provisions and health care facilities.

Performers

Further information: Monterey Pop Festival (Set List)

Friday, June 16

Saturday, June 17

Sunday, June 18

Notes

  1. ^ Grunenberg, Christoph (2005). Summer of Love: Psychedelic Art, Social Crisis and Counterculture in the 1960s. Liverpool University Press. p. 347. ISBN 978-0-85323-929-1. Retrieved 2009-01-08. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  2. ^ a b Echols, Alice (2000). Scars of sweet paradise: the life and times of Janis Joplin. Macmillan. p. 164. ISBN 9780805053944.
  3. ^ Walser, Robert. L. Macy (ed.). "Pop III, North America. 3. 1960s". Grove Music Online. Retrieved 2008-01-24.
  4. ^ Lomas, Mark. "Fantasy Fair & Magic Mountain Music Festival". Marin History. Marin Independent Journal. Retrieved 7 February 2011.
  5. ^ "Lou Adler interview". The Tavis Smiley Show. PBS. 2007-06-04. Retrieved 2009-01-08.
  6. ^ Sander, Ellen (1973). Trips: Rock Life in the Sixties, p.93. Charles Scribner's Sons. ISBN 978-0-68412-752-1.
  7. ^ a b c Miller, James (1999). Flowers in the Dustbin: The Rise of Rock and Roll, 1947-1977. Simon & Schuster. ISBN 978-0-68480-873-4. Retrieved 2009-01-08.
  8. ^ Lochhead, Judith (2001). "Hearing Chaos". American Music. 19 (2): 237. {{cite journal}}: Unknown parameter |month= ignored (help)
  9. ^ Inglis, Ian (2006). Performance and popular music: history, place and time. Ashgate. pp. 34–37. ISBN 9780754640578. {{cite book}}: C1 control character in |pages= at position 4 (help)
  10. ^ a b c d e f g h i j k l m Gilliland, John (1969). "Show 47 - Sergeant Pepper at the Summit: The very best of a very good year. [Part 3] : UNT Digital Library" (audio). Pop Chronicles. Digital.library.unt.edu. Retrieved 2011-06-07. With the exception of the music of Ravi Shankar ... songs were recreated.
  11. ^ Rodnitzky, Jerry (2002). "Janis Joplin: The Hippie Blues Singer as Feminist Heroine". Journal of Texas Music History. 2 (1): 10.
  12. ^ Morrison, Craig (2001). "Folk Revival Roots Still Evident in 1990s Recordings of San Francisco". The Journal of American Folklore. 114 (454): 480. Retrieved 2009-01-08. {{cite journal}}: Unknown parameter |month= ignored (help)
  13. ^ Mitchell, Kevin. "Chip Monck: Grandfather of Rock and Roll Productions". Retrieved 13 October 2011.
  14. ^ Brend, Mark (2005). Strange Sounds: Offbeat Instruments and Sonic Experiments in Pop. Hal Leonard Corporation. p. 88. ISBN 978-0-87930-855-1. Retrieved 2009-01-08.

References

  • Harrington, Richard. "Recapturing The Magic of Monterey." The Washington Post 16 June 2006 Final Edition ed.: T35.
  • "Monterey — they rocked till they dropped." Sunday Age (Melbourne, Australia) 12 June 1994 Late Edition ed.: Agenda1.
  • Carpenter, Julie. "The Summer of Love; It was a time of peace, love and flowers in your hair. But, 40 years on, the hippie ideals of 1967 have had a longer lasting impact than the most far-out dreamer could have predicted." The Express 25 May 2007 U.K. 1st Edition ed.: News30.
  • Morse, Steve. "Hendrix's guitar was on fire." The Boston Globe 18 Nov. 2007 Third Edition ed.: LivingartsN16.
  • Perusse, Bernard. "Ravi Shankar's music intoxicating on its own: Contrary to his music's association with drug culture, the sitar master plays with a focus that would be impossible under the influence." The Gazette 2 Oct. 2003 Thursday Final Edition ed.: Arts&LifeD1.

Links to videos from the Monterey Pop Festival:

Links to audio from the Monterey Pop Festival:

36°35′40″N 121°51′46″W / 36.59444°N 121.86278°W / 36.59444; -121.86278

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