Monterey Pop Festival
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The Monterey International Pop Music Festival took place from June 16 to June 18, 1967. Over 200,000 people attended, and it is often regarded as the precursor to Woodstock. LSD was very abundant at the event under the name of "Monterey Purple"[1].
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[edit] The Festival
Held at the Monterey County Fairgrounds in Monterey, California, the festival was planned by John Phillips of The Mamas & the Papas, producer Alan Pariser, and publicist Derek Taylor. The festival board included members of The Beatles and The Beach Boys.
San Francisco was the epicenter of the ‘counter—culture’; young people journeyed there to live an alternative lifestyle meant to increase personal freedom, yet live in collective harmony. This transformation of ideals and life was explored through psychedelic light shows, art, music, and drugs, like marijuana and LSD. The Monterey Pop Festival embodied these themes of San Francisco and the counter-culture and is generally regarded as one of the beginnings of the “Summer of Love” in 1967[2].
The artists performed for free, with all revenue donated to charity, with the exception of Ravi Shankar, who was paid $3,000 for his afternoon-long performance on the sitar. More than 200,000 people attended the festival. Reserved seats were $6.50 for each evening show, while entrance to the adjacent field was a nominal $1.00.[3] The festival is generally regarded (along with the album Sgt. Pepper's Lonely Hearts Club Band released two weeks earlier) as the apex of the "Summer of Love."
The festival became legendary for the first major American appearances by Jimi Hendrix (who was booked on the insistence of board member Paul McCartney) and The Who. It was also the first major public performance for Janis Joplin, who appeared as a member of Big Brother and The Holding Company, and Otis Redding, backed by Booker T. & The MG's. Redding would die only a few months later.
Hendrix, inspired by Pete Townshend's guitar-smashing, ended his Monterey performance by kneeling over his guitar with reverence, pouring lighter fluid over it, setting it aflame, and then smashing it up.[3]
Many record company executives were in attendance (paying $150 apiece for their seats in a special area just below the stage), and a number of the performers won recording contracts based on their appearance at the festival. Columbia Records signed Big Brother and The Holding Company, and Jerry Wexler used the festival to advance the career of Otis Redding.[3]
Several acts were also notable for their non-appearance. A variety of reasons were given for The Beach Boys' cancellation: as an admission that they could not compete alongside hipper acts, a rift between Brian Wilson and the rest of the band over their failure to complete Smile, the follow up to Pet Sounds, or Carl Wilson's problems with the draft board. Musician Donovan was refused a visa to enter the United States because of a 1966 drug bust. 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 reportedly turned the offer down at the insistence of guitarist Ry Cooder, who felt the group was not ready. Although The Rolling Stones did not play, guitarist and founder Brian Jones attended and appeared on stage to introduce Hendrix. Jones was known as "king of the festival". According to Eric Clapton, Cream (band) 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. She considered sneaking off between sets to perform at the festival, but ultimately decided against it. 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.
Eric Burdon and The Animals later that same year sang a song about the festival entitled "Monterey", which quoted a line from the Byrds song "Renaissance Fair" ("I think that maybe I'm dreamin'"). In the song, Burdon mentions Monterey performers The Byrds, Jefferson Airplane, Ravi Shankar, Jimi Hendrix, The Who, Hugh Masekela, The Grateful Dead,and The Rolling Stones' Brian Jones ("Her Majesty's Prince Jones smiled as he moved among the crowd"). Jones did not perform. The instruments used in the song imitate the styles of these performers.
A number of other artists performed, including blues singer Lou Rawls, singer-songwriter Laura Nyro, and the South African jazz trumpeter Hugh Masekela. Many rock bands made appearances as well, including The Association, Buffalo Springfield, Country Joe and The Fish, Moby Grape, and Quicksilver Messenger Service. Blues-rock bands were well-represented, among them Canned Heat, The Paul Butterfield Blues Band, The Steve Miller Band, and The Blues Project. The Mamas and the Papas, who helped organize the event (which prevented them from doing any rehearsals), were the closing act of the festival.
[edit] Major Performances
Jimi Hendrix
The festival may have become legendary because of the first major American appearances by Jimi Hendrix (who was booked on the insistence of board member Paul McCartney) and the Who. Jimi Hendrix huddled backstage before the Monterey Pop Festival with Pete Townshend, Janis Joplin, and Brian Jones. When Townshend insisted that Hendrix headline over the Who that day, Hendrix said, "I'm going to have to pull out all the stops." Hendrix then blazed through a 45-minute set capped by setting his guitar afire, then smashing it and throwing the remnants into a delirious crowd who were watching Hendrix's first-ever American show.
The Who
Although already a big act in the UK, and gaining some attention in the US, Monterey was the concert that propelled The Who into the American maintstream. The band's famed performance was decided by a coin toss, since guitarist Pete Townshend and Jimi Hendrix each refused to go on after the other. The Who won, and went on to perform an explosive show which ended with the band destroying their instruments (they would repeat the same act a few months later on The Smothers Brothers Show). By the end of 1967, The Who scored their first, and only, top ten single in the US with "I Can See For Miles".
Ravi Shankar
Ravi Shankar was another artist who was introduced to America at the Monterey festival. The pulse-quickening 18 minutes of Raga Bhimpalasi, an excerpt from Shankar's four-hour performance at the 1967 Monterey Pop Festival, was being burned into the minds of a new generation of music fans.
Janis Joplin
Monterey Pop was also one of the earliest major public performances for Janis Joplin, and her group Big Brother and The Holding Company. There, Janis Joplin was seen swigging from a bottle of bourbon as she gave a provocative rendition of the song Ball And Chain. "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."
Otis Redding
Monterey was also the festival that introduced soul singer Otis Redding to a predominatly white audience. His electrifying performance was featured in the movie and has since become legendary. Redding's show included the version of Respect (which by this time had become and international hit when it was done by Aretha Franklin). Although the festival finally gave Otis mainstream attention, it would be one of his last major performances. He died 6 months later in a plane crash at the age of 26. However, Redding became the first artist to score a posthumous number one hit single with (Sittin' On) the Dock of the Bay.
[edit] Influence
Monterey was the first widely promoted rock festival in the world (the first rock festival was the Fantasy Fair & Magic Mountain Music Festival at the summit of Mount Tamalpais in Marin County on June 2-3) and became the model for future festivals, notably Woodstock -- although unlike Woodstock it was not a profit-making venture, and Monterey's various audio and visual products still earn income for the non-profit Monterey Festival Foundation.
The festival was the subject of an acclaimed documentary movie entitled Monterey Pop by D. A. Pennebaker. It has been released on DVD by the Criterion Collection. Also, many albums have been released of performances from the festival. Most notable are those featuring the sets by Otis Redding and Jimi Hendrix, The Grateful Dead, Jefferson Airplane, and Ravi Shankar. In 1997, a four CD box set was released featuring performances by most of the artists.
Although Monterey was the first major music festival to predominantly feature rock music, the idea of large-scale outdoor festivals held over several consecutive days was not new. In America, the famous three-day Newport Jazz Festival had begun in the 1950s and had provided some immortal moments, including fabled performances by Duke Ellington, Louis Armstrong, Thelonious Monk and Muddy Waters. Its sister event, the Newport Folk Festival, was an annual fixture for the folk movement during the early Sixties, until it was poleaxed by Bob Dylan's watershed electric performance in 1965. Following the Newport model, there were also regular folk and jazz festivals on the west coast, held at Monterey in California.
But these events had relatively small audiences and they were also limited by the nature of the music they featured and by the way it was disseminated to the public at large. The most significant aspect of the Monterey Pop Festival was that it created an entirely new schema for the large outdoor music festivals.
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."
Monterey was a big event even by today's standards -- daily attendance peaked at 50,000, and over 200,000 people in total attended throughout the three days -- yet there were no deaths, no injuries, no overdoses, no violence and no arrests. The Monterey Deputy Chief of Police was quoted as saying "We've had more trouble at PTA conventions".
The festival was a triumph of organization and cooperation, setting a standard that few subsequent festivals have ever matched, and was doubly remarkable given that nothing quite like it had ever been staged before.
- Lou Adler: "I'd been in the music business since 1957, and had worked every kind of hall as a manager. I was all too familiar with how acts were treated -- the dressing rooms were toilets, there wasn't a restaurant open by the time the show was over, the accommodations were, 'Oh, I'm sorry, the guy forgot to make them,' and all the rest.
- "So our 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 camp, brought in a construction crew, established a communications center, and assigned a crew armed with walkie-talkies to canvass the entire Fairgrounds.
- "The transportation crew we organized included not only cars and drivers for all the acts, but scooters, motorcycles, bicycles, whatever else it took to get around. We had cleanup crews, and an arts committee to oversee the booths and displays.
- "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.
- "If someone got in trouble they were taken care of as quickly as possible. Dr. Bowersocks of Monterey was in charge of the on-site medical treatment center. In an interview, he said the volunteer first-aid team there was years ahead of its time, citing the one-on-one rapport and communication techniques employed to cool out concert-goers who were freaking out due to ingested substances.
- "We established our own security, supervised by David Wheeler. With Wheeler as the liaison, 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."
Almost every aspect of The Monterey International Pop Festival was a "first". Although the audience was predominantly white, Monterey's bill was truly multi-cultural and crossed all 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.
The festival launched the careers of many who played there, making some of them into stars virtually overnight. Some of these performers included The Who and Jimi Hendrix (both already sensations in the UK and Europe but practically unknown in the USA), Janis Joplin, Laura Nyro, Canned Heat, Otis Redding, Steve Miller and Indian sitar maestro Ravi Shankar. At the festival, Jimi Hendrix gave an unpredictable performance of “Wild Thing”. When ending his act, Hendrix pounded his guitar on stage, doused it in lighter fluid, and set it on fire. This produced unforeseen sounds and these actions contributed to his rising popularity in the USA [4]. Janis Joplin’s success can also be correlated to the image she established at Monterey. After the festival, she became a growing, nationwide sensation and sold two gold record albums, Cheap Thrills and I Got Dem Ol’ Kozmic Blues Again Mama[5].
It was also highly significant that Monterey was a racially integrated bill that featured white and black performers, side by side. Among many debuts, Monterey was the first time that soul star Otis Redding performed in front of a large and predominantly white audience in his home country. His appearance there was instrumental in breaking him to the general pop audience. However, there were some racial problems, notably between musician Jimi Hendrix and the band The Who. Before the festival, the artists had contended about the order of performance. Even after the festival, there was still tension. At the airport, Pete Townshend (guitarist for The Who) tried talking to Hendrix and said, “Listen, no hard feelings. I’d love to get a bit of that guitar you smashed.” Rock critic Charles Shaar Murray reports that Hendrix replied, “Oh yeah? I’ll autograph it for you, honkie.” [6].
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 'Frisco bands -- and until that point the two scenes had been developing separately and along fairly distinct lines. Paul Kantner, of Jefferson Airplane, said, “The idea that San Francisco was heralding was a bit of freedom from oppression.” [7].
The festival's only major "no-show" was the last minute cancellation by The Beach Boys, who were also closely involved in arranging the festival. Although it is now a matter for speculation, it can be argued that an appearance at Monterey, performing their newer repertoire like "Good Vibrations", would have been a crucial step forward in their transition from surf-pop pinups to serious rock band.
Monterey also marked a significant changing of the guard in British music. The Who and Eric Burdon & The New Animals represented the UK, with The Beatles and The Rolling Stones conspicuous by their absence. The Beatles had by then retired from touring (their American tour of 1966 having been marred by a backlash against John Lennon's reported remarks about the band's popularity relative to Jesus Christ) and The Stones were unable to tour America due the recent drug busts and trials of Mick Jagger and Keith Richards. Paul McCartney was on the Festival board (he insisted on having Jimi Hendrix added to the bill) and rumors abounded that "The Fabs" were there in disguise, a hope no doubt fueled by the sight of Brian Jones, who did attend. Jones appeared on his own, wafting through the crowd, resplendent in full psychedelic regalia, and appearing on stage briefly to introduce Jimi Hendrix. As it transpired, it was two more years before The Stones toured again, by which time Jones was dead; The Beatles never toured again. Meanwhile, The Who leaped into the breach and became the top UK touring act of the period.
One extremely important aspect that is rarely acknowledged is that Monterey was also the first true rock benefit concert -- all the performers played free (except Shankar), and thirty years on the Monterey films, photos, recordings and other materials still generate revenue for the non-profit MIPF Foundation.
In terms of the later directions in rock music, there were two other enormously significant aspects of the festival. Another of its major "firsts" 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; among his many achievements were the innovative sound systems for the original New York stage productions of Hair and Jesus Christ Superstar.
Although technical information is limited, Jacob's groundbreaking Monterey sound system was the progenitor of all the large-scale PA's that followed. 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. Nothing like it had been attempted before, as festival organizer Lou Adler recalled: "... we started from scratch. When we moved into the Monterey Fairgrounds ten days before the festival, nothing was there, not even a proper stage to house the kind of amplification that was coming in. We had to build the speaker systems right on the site."
Another intriguing facet of the Festival was the fact that 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. Beaver and Krause had bought one of Moog's first synthesizers in 1966 but they had spent a fruitless year trying to get someone in Hollywood interested in using it. They decided to set up a booth at the Monterey Pop Festival in 1967, and through their exposure there, 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. playing on Martin Denny's Exotic Moog album and the soundtrack for "Rosemary's Baby", and he and Krause earned a contract with Warner Brothers.
[edit] Recording and filming the festival
Although the Monterey Pop Festival was the scene of many pop "firsts," perhaps the most important fact about it was the organizers' far-sighted decision to film and record the entire festival. They hired Wally Heider's mobile studio to record all the performances on eight-track tape, and engaged noted filmmaker D.A. Pennebaker to film the proceedings. It was an enormously fortunate conjunction. Heider's mobile studio gave them access to the best remote recording equipment then available, thanks to which many albums' worth of material have since been released. In Pennebaker (who had recently made the legendary Dylan documentary Don't Look Back) they had perhaps the best documentary film-maker of his time, someone who had both a genuine interest in and understanding of popular music as well as access to newly-developed portable 16mm color cameras equipped to record synchronized sound. By thus capturing the many magical moments for posterity, the Monterey Pop Festival's organizers ensured its immortality.
[edit] Performers
[edit] Friday, June 16
[edit] Saturday, June 17
- Canned Heat
- Big Brother and the Holding Company
- Country Joe and the Fish
- Al Kooper
- The Butterfield Blues Band
- Quicksilver Messenger Service
- Steve Miller Band
- The Electric Flag
- Moby Grape
- Hugh Masekela
- The Byrds
- Laura Nyro
- Jefferson Airplane
- Booker T. & the M.G.s
- Otis Redding
[edit] Sunday, June 18
- Ravi Shankar
- The Blues Project
- Big Brother and the Holding Company
- The Group With No Name
- Buffalo Springfield
- Scott McKenzie
- The Who
- The Jimi Hendrix Experience
- Grateful Dead
- The Mamas & the Papas
[edit] Notes and references
- ^ For the unrepentant patriarch of LSD, long, strange trip winds back to Bay Area
- ^ Walser, Robert: “Pop III, North America. 3. 1960s”. Grove Music Online ed. L. Macy (Accessed [24, January 2008]), http://www.grovemusic.com
- ^ a b c Miller, James (1999). Flowers in the Dustbin: The Rise of Rock and Roll, 1947-1977. Simon & Schuster. ISBN 0-684-80873-0.
- ^ Lochhead, Judy. 2001. “Hearing Chaos.” American Music 19(2), pp. 237.
- ^ Rodnitzky, Jerry. “Janis Joplin: The Hippie Blues Singer as Feminist Heroine.” Journal of Texas Music History 2.1. (2002): 10.
- ^ Sanneh, Kelefa. “Believe the Hype.” Transition, No. 80. 1999: pp 134.
- ^ Morrison, Craig. “Folk Revival Roots Still Evident in 1990s Recordings of San Francisco.” The Journal of American Folklore, Vol 114, No 454, James Macpherson and the Ossian Epic Debate. (Autumn, 2001), pp. 480.
- ^ Harrington, Richard. “Recapturing The Magic of Monterey.” The Washington Post 16 June 2006 Final Editon 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 Editon 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 Editon ed.: Arts&LifeD1.
[edit] External links
- The Official Blog for the Monterey Pop Festival Foundation
- Monterey Pop Festival Art Director Tom Wilkes
- An English girl's summer of love - Monterey International Pop Festival, Glenys Roberts, Daily Mail, 11 May 2007
- DVD review - The Complete Monterey Pop Festival (The Criterion Collection)
- Grace Slick of Jefferson Airplane's painting of Monterey Pop
- http://www.bcx.org/photos/events/concerts/montereypop/
Links to videos from the Monterey Pop Festival:
- The Who, Monterey Pop Festival performance of “Substitute”
http://www.thewho.com/index.php?module=movies&movies_item=movies_whotube[1]
- Janis Joplin, Monterey Pop Festival performance of “Ball and Chain”
http://www.youtube.com/watch?v=0FlUAxqQkmc[2]
Link to Jimi Hendrix radio commentary on his performance at the Monterey Pop Festival:
