1967 monterey international pop festival foil poster ~FOR SALE MAKE OFFER~ asking $1500. Highest bidder Contact me: (707) 296-3179 BROTHER BEAR AKA SY EmeraldSiare@gmail I have one of the posters from the Monterey international pop festival of 1967. 12x21. The poster is on a silver foil with a white backing. Very high quality collectable poster! Great present for any occasion. Christmas? The poster I have has been In a frame for many years and is in like new condition. No folds or creases of any kind. Has full color and reflection. No dust, blemishes or anything. Its in like new condition. This poster has been consigned to me thru my elderly mother in order to help her get a place to call home as time grows on. I am in need and would love to help her out. Beautiful, older hippy momma that needs a hand as she blessing the world with positivity. Just wanted to let you know that all the money will go to a great cause and something you can feel warm in your heart about. ;) So... I am taking most of the information about the festival from the internet and will site my sources however my mother was at the festival and obtained this picture originally at the show and has taken great care of It over all these years. 60th anniversary VERY SOON! GREAT MEMORABLE GIFT! SO LETS DiSCUSS THE FESTIVAL AND POSTER. dimensions are: 12x21 Festival genres included: Rock, pop and folk, including blues-rock, folk rock, hard rock and psychedelic rock styles. Dates: June 16–18, 1967 Location: Monterey County Fairgrounds, Monterey, California The impetus behind the staging of the Monterey International Pop Festival evolved one night in 1967, at Mama Cass Elliot’s house. Paul McCartney, John and Michelle Phillips, Cass and Lou Adler were discussing, along with other highly inspired issues, the general perception of Rock ‘n’ Roll…and that although jazz was considered an art form … Rock ‘n’ Roll on the other hand…was continually viewed as a fad, a trend … both were American born musical genres. The actual idea for the Monterey International Pop Festival initially came from Alan Pariser, who had attended the 1966 Monterey Jazz Festival. John Phillips and Lou Adler were approached by Alan Pariser and his partner, a promoter named Ben Shapiro who wanted to hire the Mamas and The Papas to headline a blues and rock concert at the Monterey Fairgrounds…and as the story goes … later that night actually three o’clock in the morning John and Lou had decided, influenced by some heavy California Dreamin’ that it should be a charitable event…and with six weeks to go the Monterey International Pop Festival; a three-day non-profit event was about to become a reality. Alan Pariser would stay on as a co-producer along with Peter Pilafian. Chip Monck would come on to handle lighting and staging. Derek Taylor, who had worked with Brian Epstein and The Beatles, became the publicist. Tom Wilkes was hired as art director, David Wheeler as head of security… A Board of Governors was established that consisted of: Donovan; Mick Jagger; Paul McCartney; Jim McGuinn; Terry Melcher; Andrew Loog Oldham; Alan Pariser; Johnny Rivers; Smokey Robinson; Brian Wilson, John Phillips and Lou Adler. It was agreed that the line-up of acts would represent all genres of the immediate past, the present, and the future of contemporary music, and that all the acts would be treated the same and have first-class travel and accommodations. The Monterey International Pop Festival production offices were in West Hollywood on Sunset Blvd. housed in the old Renaissance Jazz Club building. The festival’s office had a real buzz going through it … David Crosby and Stephen Stills hanging out…Procol Harum’s yet to be released ‘Whiter Shade Of Pale’ being played over and over…Michelle Phillip’s was on the phone selling ads…John and Lou on the telephone talking to managers and potential acts … A whirlwind of excitement, of gentle strong-arming, calling in every chip imaginable, dealing with the concerns of the San Francisco group’s managers, charming the Monterey City Council and Police Department and getting it all done… for charity…giving something back. Sited from: montereyinternationalpopfestival/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. Crowd estimates for the festival have ranged from 25,000-90,000 people, who congregated in and around the festival grounds. The fairgrounds’ enclosed performance arena, where the music took place, had an approved festival capacity of 7,000, but it was estimated that 8,500 jammed into it for Saturday night’s show. Festival-goers who wanted to see the musical performances were required to have either an all-festival ticket or a separate ticket for each of the five scheduled concert events they wanted to attend in the arena: Friday night, Saturday afternoon and night, and Sunday afternoon and night. Ticket prices varied by seating area, and ranged from $3 to $6.50 ($21–46, adjusted for inflation. The festival is remembered for the first major American appearances by The Jimi Hendrix Experience, The Who and Ravi Shankar, the first large-scale public performance of Janis Joplin and the introduction of Otis Redding to a large, predominantly white audience. The Monterey Pop Festival embodied the theme 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; the first rock festival had been held just one week earlier at Mount Tamalpais in Marin County, the KFRC Fantasy Fair and Magic Mountain Music Festival. Because Monterey was widely promoted and heavily attended, featured historic performances, and was the subject of a popular theatrical documentary film, it became an inspiration and a template for future music festivals, including the Woodstock Festival two years later. 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. The band used rented Vox amps for their set, which were not as powerful as their regular Sound City amps which they had left in England to save shipping costs. At the end of their frenetic performance of My Generation, the audience was stunned as guitarist Pete Townshend smashed his guitar, smoke bombs exploded behind the amps and frightened concert staff rushed onstage to retrieve expensive microphones. At the end of the mayhem, drummer Keith Moon kicked over his drum kit as the band exited the stage. The Who, after winning a coin toss, performed before Jimi Hendrix, as Townshend and Hendrix each refused to go on after the other, both having planned instrument-demolishing conclusions 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 on fire, and then smashing it in to the stage seven times before throwing its remains into the audience.[20] This produced wild, unpredictable sounds, and these actions contributed to his rising popularity in the United States.Robert Christgau later wrote in The Village Voice of Hendrixs performance: “ Music was a given for a Hendrix stuck with topping the Whos guitar-smashing tour de force. Its great sport to watch this outrageous scene-stealer wiggle his tongue, pick with his teeth, and set his axe on fire, but the showboating does distract from the history made that night—the dawning of an instrumental technique so effortlessly fecund and febrile that rock has yet to equal it, though hundreds of metal bands have gotten rich trying. Admittedly, nowhere else will you witness a Hendrix still uncertain of his divinity. 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 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. Otis Redding Redding, backed by Booker T. & The MGs, was included on the bill through the efforts of promoter Jerry Wexler, who saw the festival as an opportunity to advance Reddings career. Until that point, Redding had performed mainly for black audiences, besides a few successful shows at the Whisky a Go Go. Reddings show, received well by the audience (there is certainly more audible crowd participation in Reddings set than in any of the others filmed by Pennebaker that weekend) included Respect and a version of Satisfaction. The festival would be one of his last major performances. He died six 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. The Raga Dhun (Dadra and Fast Teental) (which was later miscredited as Raga Bhimpalasi), an excerpt from Shankars 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[24] and were at one point scheduled to headline and close the show, failed to perform. This resulted from a number of issues plaguing the group. Carl Wilson was in a feud with officials for his refusal to be drafted into military service during the Vietnam War. The groups new, radical album Smile had recently been aborted, with band leader Brian Wilson in a depressed state and unwilling to perform (he hadnt performed live with the group since late 1964, although he would do so in Honolulu, Hawaii in August 1967). Since Smile had not been released, the group felt their older material would not go over well. The cancellation permanently damaged their reputation and popularity in the US, which would contribute to their replacement album Smiley Smile charting lower than any other of their previous album releases. The Beatles were rumored to appear because of the involvement of their press officer Derek Taylor, but they declined, since their music had become too complex to be performed live. Instead, at the instigation of Paul McCartney, the festival booked The Who and the Jimi Hendrix Experience. The Kinks were invited but could not get a work visa to enter the US because of a dispute with the American Federation of Musicians. 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 turned the offer down at the insistence of guitarist Ry Cooder, who felt the group was not ready. Dionne Warwick and The Impressions were advertised on some of the early posters for the event, but Warwick dropped out because of a conflict in booking that weekend. She was booked at the Fairmont Hotel; the hotel was reluctant to release her and it was thought that cancelling that appearance would negatively affect her career. Even though the logo for the band Kaleidoscope is seen in the film as a pink sign just below the stage, the band did not perform at the Monterey Festival. Although The Rolling Stones did not play, guitarist and founder Brian Jones attended and appeared on stage to introduce Hendrix. The group was on the short list of invitees, but was unable to get work visas because of the drug arrests of Mick Jagger and Keith Richards. It was long rumored that Love had declined an invitation to Woodstock, but Mojo Magazine later confirmed that it was the Monterey Festival they had rejected. The promoters also invited several Motown artists to perform and even were going to give the labels 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 Monkees were the biggest-selling musical act in the United States in 1967 and were seriously considered to play, but after weeks of deliberation, John Phillips and Lou Adler decided not to invite them. However, group members Micky Dolenz (in full American Indian buckskins and headdress) and Peter Tork attended the festival and mingled with musicians backstage. Tork was asked to introduce Buffalo Springfield, his favorite group, for their set. Tork also introduced Lou Rawls and was involved in a bizarre incident where he walked out onstage in the middle of the Grateful Deads set when he went out to try to stop fans from climbing on stage and dancing as well as to inform the crowd that The Beatles were not at the festival in disguise. According to Eric Clapton, Cream did not perform because the bands manager wanted to make a bigger splash for their American debut. However, it has since been revealed that the band were not considered by the festival organizers. A movie called monterey pop The festival was the subject of an acclaimed documentary movie entitled Monterey Pop, by noted documentary filmmaker D.A. Pennebaker. Pennebakers team used recently developed portable 16mm crystal-sync motion picture cameras that stayed synchronized with double-system sound-recording systems. The film stock was Eastman Kodaks recently released high-speed 16mm Ektachrome 100 ASA color reversal motion picture stock, without which the nighttime shows would have been virtually impossible to shoot in color. Sound was captured by Wally Heiders mobile studio on state-of-the art eight-track tape, with one track used for the crystal-sync tone, to synchronize it with the film cameras. The Grateful Dead believed that the film was too commercial and refused permission to be shown. The screening of the film in theaters nationwide helped raise the festival to mythic status, rapidly swelled the ranks of would-be festival-goers looking for the next festival, and inspired new entrepreneurs to stage more such festivals around the country. 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 notably 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 a radio promotional feature that accompanied the box set release, on modified stages, including flatbed {Kaleidscope (LA)} trucks, set up in the surrounding environs, there had been several spontaneous jam sessions for the overflow crowds and campers. Among them was one at the Monterey Peninsula Community College sports stadium (right across the Hwy. 1 interchange), where Jimi Hendrix, flanked by Jorma Kaukonen and John Cipollina, played for the adoring throng. It was also reported locally that Eric Burdon had checked out the provisions and healthcare facilities. Harrington, Richard. Recapturing The Magic of Monterey. The Washington Post June 16, 2006 Final Edition ed.: T35. Monterey — they rocked till they dropped. Sunday Age (Melbourne, Australia) June 12, 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 May 25, 2007 U.K. 1st Edition ed.: News30. Morse, Steve. Hendrixs guitar was on fire. The Boston Globe Nov. 18, 2007 Third Edition ed.: LivingartsN16. Perusse, Bernard. Ravi Shankars music intoxicating on its own: Contrary to his musics association with drug culture, the sitar master plays with a focus that would be impossible under the influence. The Gazette Oct. 2, 2003 Thursday Final Edition ed.: Arts&LifeD1 I got the above Information about the festival from en.m.wikipedia.org/wiki/Monterey_Pop_Festival HAVE A GRATEFUL DAY! THANK YOU FOR STOPPING IN! HAPPY HOLIDAYS!
Posted on: Sun, 14 Dec 2014 19:56:49 +0000
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