Monterey Pop Festival

Monterey Pop Festival

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 and The Who, as well as the
first major public performances of Janis Joplin. It was also the first major performance by Otis Redding in front of a
predominantly white audience.[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.

Monterey Pop Festival

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, Monterey was the concert that propelled The Who into the American mainstream. At the end of
their frenetic performance of "My Generation", the audience is stunned as guitarist Peter Townshend begins
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 kicks over his drum kit as the band exits the
stage. The Who, after a coin toss, performed before Jimi Hendrix, as Pete Townshend and Jimi 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."

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.

Monterey Pop Festival

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.

Monterey Pop Festival

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 1618, 1967 was the first time it was used to showcase rock music.
The festival launched the careers of many who played there, making some of them into stars virtually overnight.
Some artists who rose to popularity following their appearances at Monterey included 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 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.[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 conspicuous by their absence.[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 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.
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. It was a key factor in the festival's success and it was greatly appreciated by the artistsin 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.
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.[13] 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.

Monterey Pop Festival

Recording and filming the festival

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 do not appear in the film because they believed that this was too commercial and thus refused to
give permission to appear.
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
Friday, June 16

The Association
The Paupers
Lou Rawls[10]
Beverly
Johnny Rivers
Eric Burdon and The Animals
Simon and Garfunkel[10]

Saturday, June 17

Canned Heat
Big Brother and the Holding Company[10]
Country Joe and the Fish
Al Kooper
The Butterfield Blues Band
The Electric Flag
Quicksilver Messenger Service
Steve Miller Band
Moby Grape
Hugh Masekela
The Byrds[10]
Laura Nyro
Jefferson Airplane[10]

Booker T. & the M.G.s

Otis Redding[10]

Monterey Pop Festival

Sunday, June 18

Ravi Shankar[10]
The Blues Project
Big Brother and the Holding Company
The Group With No Name
Buffalo Springfield
The Who[10]
The Jimi Hendrix Experience[10]
The Grateful Dead
Scott McKenzie
The Mamas & the Papas[10]

Notes
[1] Grunenberg, Christoph; Jonathan Harris (2005). Summer of Love: Psychedelic Art, Social Crisis and Counterculture in the 1960s (http:/ /
books. google. com/ ?id=gCLOIhHTAE4C). Liverpool University Press. p.347. ISBN978-0-85323-929-1. . Retrieved 2009-01-08.
[2] Echols, Alice (2000). Scars of sweet paradise: the life and times of Janis Joplin (http:/ / books. google. com/ books?id=0E5Dc1io_hMC&
pg=PA164). Macmillan. p.164. ISBN9780805053944. .
[3] Walser, Robert. "Pop III, North America. 3. 1960s" (http:/ / www. grovemusic. com/ ). In L. Macy. Grove Music Online. . Retrieved
2008-01-24.
[4] Lomas, Mark. "Fantasy Fair & Magic Mountain Music Festival" (http:/ / blogs. marinij. com/ marinhistory/ 2008/ 09/
fantasy_fair_magic_mountain_mu. html). Marin History. Marin Independent Journal. . Retrieved 7 February 2011.
[5] "Lou Adler interview" (http:/ / www. pbs. org/ kcet/ tavissmiley/ archive/ 200706/ 20070604_adler. html). 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. ISBN978-0-68412-752-1.
[7] Miller, James (1999). Flowers in the Dustbin: The Rise of Rock and Roll, 1947-1977 (http:/ / books. google. com/ ?id=F_ydAAAACAAJ).
Simon & Schuster. ISBN978-0-68480-873-4. . Retrieved 2009-01-08.
[8] Lochhead, Judith (Summer 2001). "Hearing Chaos". American Music 19 (2): 237.
[9] Inglis, Ian (2006). Performance and popular music: history, place and time (http:/ / books. google. com/ books?id=I7Pyrk-Koq4C&
pg=PA34). Ashgate. pp.3437. ISBN9780754640578. .
[10] Gilliland, John (1969). "Show 47 - Sergeant Pepper at the Summit: The very best of a very good year. [Part 3] : UNT Digital Library" (http:/
/ digital. library. unt. edu/ ark:/ 67531/ metadc19815/ m1/ ) (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 (Autumn 2001). "Folk Revival Roots Still Evident in 1990s Recordings of San Francisco" (http:/ / muse. jhu. edu/ journals/
journal_of_american_folklore/ toc/ jaf114. 454. html). The Journal of American Folklore 114 (454): 480. . Retrieved 2009-01-08.
[13] Brend, Mark (2005). Strange Sounds: Offbeat Instruments and Sonic Experiments in Pop (http:/ / books. google. com/
?id=m6KRDxYOp4UC). Hal Leonard Corporation. p.88. ISBN978-0-87930-855-1. . 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.

Monterey Pop Festival

External links
The Official Blog for the Monterey Pop Festival Foundation (http://www.monterey-pop-festival.com)
Monterey Pop Festival Art Director Tom Wilkes (http://wilkesworks.com/works.html)
An English girl's summer of love - Monterey International Pop Festival (http://www.dailymail.co.uk/pages/
live/femail/article.html?in_article_id=454271&in_page_id=1879), Glenys Roberts, Daily Mail, 11 May 2007
DVD review - The Complete Monterey Pop Festival (The Criterion Collection) (http://www.dvdjournal.com/
reviews/c/completemontereypop_cc.shtml)
Grace Slick of Jefferson Airplane's painting of Monterey Pop (http://www.limelightagency.com/Grace_Slick/
art_enlarge/friends/monterey.html)
http://www.bcx.org/photos/events/concerts/montereypop/
MUSIC FESTIVALS: III. Monterey: Peace, Love and Flowers (http://www.milesago.com/Festivals/intro.
htm)
California Dreaming becomes reality (http://homepage.mac.com/juanwilson/islandbreath/Year 2007/18-art/
0718-06MonterayPop67.html)
Pop Perfect: Monterey Pop Revisited (http://www.metroactive.com/papers/metro/06.14.01/
montereypop-0124.html)
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)
Janis Joplin, Monterey Pop Festival performance of "Ball and Chain" (http://www.youtube.com/
watch?v=0FlUAxqQkmc) on YouTube
Link to Jimi Hendrix radio commentary on his performance at the Monterey Pop Festival (http://www.
jimi-hendrix.com/radio/digital,radio.html)
Links to audio from the Monterey Pop Festival:
Streaming audio of the Grateful Dead's performance on June 18 (http://www.archive.org/details/gd67-06-18.
sbd.mandrake.19586.sbeok.shnf)
Ravi Shankar (http://digital.library.unt.edu/explore/partners/UNTML/browse/?start=46&
fq=untl_collection:JGPC) interviewed on the Pop Chronicles (1969).

Article Sources and Contributors

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