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Thread: 1967 July Newspaper & Magazine Articles (Text Only)

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    1967 July Newspaper & Magazine Articles (Text Only)

    [Day?] July (Aug) 1967
    UK
    BEAT INSTRUMENTAL (page?) [B&W photo of Mitch drumming, in his ‘map’ jacket]
    PLAYER OF THE MONTH - Mitch Mitchell interview and profile by Pete Goodman
    - Mitch Mitchell, of the Jimi Hendrix Experience, has emerged as one of the best young drummers
    in the business. It's all happened rather quickly. But his roots are well implanted in show business… he's
    a product of the Corona Drama School, London, studying acting, dancing, singing. How come, then, the
    drumming? Shortening his life story, it adds up to a certain amount of luck. Let's deal with it in note form.
    At
    three years of age gets a tin drum kit as a present… made records as a squeaky-voiced kid... at 13
    got a snare drum ... at 15 bought a whole kit for £50, coming in on the Shadows' kick. Met musicians
    and worked as a semi-pro for about nine months.

    Parents didn't want him to be a musician ... but met Chris Sandford, who used to be on
    "Coronation Street", and also went to Corona …joined his backing group ... found more fulfilment in
    music than in drama. Went with
    Sandford's Coronets to Germany, doing the five-hour-a-night routine.
    Worked on the first
    Ivy League session … then met Larry Page… going into the Riot Squad… very
    unsettled… met Les Reed ... got into sessions because Bobby Graham had given up the business.
    Couldn't read, but found musicians like Kenny Clare very helpful.

    Then met Denny Cordell... had been offered job with Georgie Fame's Blue Flames but couldn't
    accept—and finally joined the group. More gigs and sessions . . . really "dug" the Fame scene… then
    met
    Chas Chandler and was invited to work with Jimi Hendrix.
    Mitch, born July 7,1946, says:
    MM: "I can read now but I'm always learning. Tutors are okay but they can't really teach you to read.
    They show you things but in the end it's all up to you. Fifty per cent adds up to confidence and the other
    50 per cent is probably bluff. It's an old gag about the front line and there's also a drummer... 99 per
    cent of drummers don't bother to learn.

    Our trouble is that not enough drummers care deeply enough about the bass player. Listen to
    Tamla-Motown, or Stateside, or Atlantic and the bassist and the bass drum are working similar patterns.
    It's the closeness that clicks.

    PG: Mitch claims that luck has helped him a lot ... meeting Larry Page, Chris Sandford, Les Reed,
    Denny Cordell,
    Georgie Fame, Chas Chandler,Jimi Hendrix—all at the right time. But talent has a
    lot to do with his current enviable position in the drumming scene.


    Thursday [Date?] July (Aug) 1967
    USA
    DOWN BEAT (# 16) (cover) [B&W photo Canned Heat on stage] festival issue
    ‘jazz at newport · rock at monterey’

    (Page 26) [B&W photo of Jimi on Monterey stage, w/ boa,Jimi Hendrix: The fire that time’]
    [title?] by Barry Hansen
    . . .The Dead’s shorter arrangements are brilliant, but its longer tunes have a habit of ending up in the
    same way. Uncontrolled cascades of notes over a sonic drone
    fbuilt up to the threshold of pain. Then,
    suddenly, everything stops and they go back to the beginning. Certainly mesmerises the freaks (which
    is what the Dead get paid for doing) but it's kind of a slipshod, lazy way to play music.

    Thoroughly shell-shocked by this time, the audience beheld Brian Jones (of the Rolling Stones)
    introduce another British group,
    the Jimi Hendrix Experience. Hendrix, virtually unknown here but
    a major record act in England, is a 19-year-old American Negro guitarist and singer who learned his
    trade touring with
    Little Richard and Joey Dee. After failing as a single artist in New York (under the
    name of
    Jimmie James), Hendrix was persuaded to go to England, where he was an instantaneous
    smash; his new album was second on the charts in England the week of the festival.

    This was the American debut of his English group and quite possibly the major event of the festival.
    Hendrix
    ' roots are deep in blues and soul; yet he has learned all the best licks and tricks from the
    white blues and psychedelic guitarists:
    Bloomfield, Clapton, and all the rest—an unprecedented and
    very likely unbeatable combination. His tone and phrasing on the guitar, which he plays left-handed, are
    amazing.

    In addition, he uses the instrument as a prop for a dazzling repertoire of visual dramatics, playing the
    instrument only with his right (fretting) hand, twirling it around in the manner of
    Lightning Hopkinsand
    other predecessors, playing with his teeth, and using it in a variety of postures that would make
    Bo
    Diddley
    blush.
    The audience, a bit taken aback at first, cheered more loudly with each number, as he went through a
    pair of rock-blues originals, the cataclysmic
    Foxy Lady, Bob Dylan's Like a Rolling Stone, and the
    blues evergreen
    Rock Me, Baby.
    The climax came with a lightly regarded rock tune of a year ago, Wild Thing. This had the audience
    screaming at every line before
    Hendrix even started his final coup de grace, a stage act that included
    an unprecedented variety of erotic dances, and finished with
    Hendrix setting his guitar on fire, then
    smashing it and throwing parts of it to the audience.

    If the Whohad not done some of this before, there might well have been a riot. Hendrix’ act somehow
    had a much more personal, less mechanical feel to it, a spontaneous one-man revolution as opposed
    the
    Who
    's organized assault on the senses.
    The festival concluded, a bit anticlimactically but appropriately, with the group most responsible for its
    existence, the Mamas and the Papas. This was their first live performance in quite some time, and
    perhaps it wasn't their smoothest, but somehow their pretty songs seemed to stand, in that moment,
    for all the accomplishments and good vibrations of the whole pop scene, and it was very moving. We
    were left with a little glow in our hearts.

    A giant of a festival it was. By and large, the organizers chose acts from whom a great deal could be
    expected, and by and large they delivered. Some of the behind-the-scenes planning was regrettable,
    though. The fenced-off V.I.P. section was nowhere near large enough to accommodate all the festival
    performers, not to mention the invited press.

    Compounding this was the total unwillingness of the ushers to find any solution to the seating problem
    other than keeping people out. We watched as a member of one of Saturday afternoon's blues bands
    attempted to talk a gatekeeper into letting him in to see Sunday night's concert; the employee's
    response was to threaten to beat him up unless he went away. Only by schemes and intrigue were
    performers and reporters able to see the concerts—even with official passes.

    The sound system was the clearest and best-balanced we have encountered in a concert area of this
    size. The on-stage lighting was generally quite good, and did not conflict much with the light show.
    The emceeing was disorganized, and there was no attempt to explain or even mention that certain
    artists listed in the printed program did not appear.

    The townsfolk, including the police, treated the hippies remarkable well. We look forward to next year's
    edition—but we'll be a year older then, and hopefully producers Lou Adler and John Phillips will find us a
    place to sit down.
    Last edited by stplsd; 08-08-20 at 01:28 AM.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 July Newspaper & Magazine Articles (Text Only)

    [Day?] July (Aug)1967
    USA (San Francisco, CA)
    HAIGHT ASHBURY TRIBUNE (page 13) Loud hoots still greet long-haired boys and mini skirted girls
    (despite what else you read about these things being accepted). Needless to say adults had a field day
    with the arrest of three of The Rolling Stones on drugs charges. Indeed Brian Jones’ appearance in
    court a week ago made front page headlines which pushed the Egypt/Israeli skirmish on to page two.
    But on the horizon there appeared another personality, who it seems is taking some of the wrath away
    from the Stones - JIMI HENDRIX EXPERIENCE [group photo]
    Jimi, with his wild appearance brought tremendous excitement to the group world with his hard hitting,
    dirty R&B sound and his freak-out showmanship. His music is loud, deafening but full of soul and originality.
    It’s still debatable if he owes his success to his music or his outlandish appearance. When he was asked
    recently if he thought he would be a success when he went back home to the States he replied,
    My appearance could put a lot of people off. . . . . . . in America they are still very conservative
    . . . . . except the West Coast.
    This also applies to a certain extent in the U.K. but not with the kids. As previously with the Stones,
    teenagers have ‘adopted’ his as a form of protest against their parents, and if there were any form of
    indication that he would be accepted by the parents, he would be abandoned and a new successor found.

    [Day?] July (Aug)1967
    USA
    HIT PARADER(cover) [has a diagonal band with text across leading lower edge]:
    Buckinghams • 5 Americans • Frank Zappa • Jimi Hendrix
    (Page 25) The English Scene [news/interviews on Jimi Hendrix, The Troggs, Jeff Beck, The Quik and
    Graham Nash of The Hollies]

    JIMI HENDRIX of the WALKER BROS’
    On the first night of the WALKER BROTHERS/JIMI HENDRIX tour, as JIMI was going into "Purple Haze"
    (his most recent single over here), his guitar burst into flame!

    “I have this old Fender with only three strings, that once I've got tuned in and going, I can control with a
    foot-pedal to get a continuous feedback whilst I play my other guitar. On the first night, as I was starting
    the old Fender off, something shorted and the plastic scratch plate caught fire!”
    The curtain was brought down somewhat prematurely and JIMI was taken to the hospital. “I only kept
    the bandage on for the next day, I can play, but it hurts a bit. I’ll survive, but the old guitar has had it!”
    Commented manager Chas Chandler:
    “It’s hardly surprising really, that guitar has had a lot of bad usage.
    JIMI got carried away on a gig in Hamburg recently and chucked it right across the stage. It was the
    guitar he got when he first came to England – and he is a somewhat aggressive player!”
    (Page 49-50?) New Stars On The Horizon
    [features several group photos & text, but Jimi is leading 2nd page, on his own & 2x size - head to knees.
    H
    ands on hips, early B&W promo photo]
    Jimi Hendrix
    Eight short weeks was all it took to establish the Jimi Hendrix Experience as one of the major pop names
    in England.
    In existence for just six months, this exciting group has already made its mark on the charts, in clubs, in
    ballrooms and firmly in the minds of all those fortunate enough to have witnessed an experience.
    Jimi is an American who’s had two big hits over there, “Hey Joe” and “Purple Haze,” and will soon hit
    home with a smash.
    Jimi Hendrix, guitar and vocals, was born in Seattle Washington, November 27, 1945. Left school early
    and joined the Army-Airborne, but was invalided out with a broken ankle and an injured back. Started
    hitching around the Southern states guitar pickin’ — eventually made it to New York, working with a
    vaudeville act, his first professional job. One night one of the Isley Brothers heard him playing and
    offered him a place in their band.
    “Yeah, I’ll gig. May as well, man, sleepin’ outside between them tall tenements [NOT! Ed.]was hell. Rats
    runnin’ all
    across your chest, cockroaches stealin’ your last candy bar from your very pocket.”[PR BS. Ed.]
    He soon tired of playing the same old numbers every night, turned in his white silk stage suit and matching
    patent boots, and headed once more for Nashville.
    A tour came through town, headed by B.B. King, Sam Cooke, Solomon Burke, Chuck Jackson and Jackie
    Wilson.
    Through the M.C., Gorgeous George, Jimi managed to join the show and toured all over the states,
    backing these great artists, learning much of his artistry on the way.
    One day he missed the tour bus and found himself stranded in Kansas City, penniless. He scraped together
    enough money to make it to Atlanta, Georgia, where he joined the Little Richard package tour, again
    touring all over, finally playing with Ike and Tina Turner [NOT! Ed.]on the West Coast. When the tour arrived
    in New
    York, Jimi left Little Richard and became one of Joey Dee’s Starliters at a time when the band
    was big news internationally [NOT! Ed.].
    In August 1966, Jimi went solo with a backing band, the Blue Flame [Note: not ‘Flame[s]’, or ‘Jimmy
    James and..’], playing in Greenwich Village, for the princely sum of fifteen dollars a night. Later he backed
    John Hammond for a short time.
    Ex-Animal Chas Chandler and Mike Jeffery, the Animals’ manager, persuaded him to come to England,
    obtained a work permint and he arrived in September, since which he has already excited many audiences
    up and down the country.
    Jimi has rejected the accepted image of the colored American artist, ie, processed hair, slick silk suits,
    meticulously rehearsed, rather stereotyped, dancing on stage. He has the same professionalism but at the
    same time a more relaxed though dynamic approach on stage. His already large band of fans see him as
    a sort of Bob Dylan, lyrically, but creating the excitement of, perhaps, Mick Jagger.
    “I came to England, picked out the two best musicians, the best equipment, and all we are trying
    to do now is create, create, create music, our own personal sound, our own personal being.”
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 July Newspaper & Magazine Articles (Text Only)

    [Day?] July (Aug) 1967
    USA
    HULLABALOO (page?) [title?]
    Following their appearance at Monterey, the group made their second appearance in this country in
    New York. The city‘s first exposure to that ‘live act’ was at the Central Park Music Festival. The
    Rascals were set to headline the bill, but word got out that
    Hendrix would do a set on the first show
    [sic, it was the 2nd show and had been advertised at least as early as the 2nd in the press and in the
    festival program!
    Ed.]. As darkness set in on the park [ie the 2nd show at 10:30 – as advertised. Ed.],
    an audience filled with groups such as the Doors and most of New York’s hip musical crowd had
    assembled.
    Jimi stepped out on stage and smiled at the audience. He began to tune with the comment
    “We tune because we care,” uttered in his soft hushed voice. Then he broke into
    Purple Haze and
    followed with all of his great numbers, including ‘
    Hey Joe’, ‘Like A Rolling Stone and “The British
    and American National Anthems
    ” (‘Wild Thing’). The crowd was stunned but appreciative. During
    the following weeks I saw
    Jimi appear again at the Scene where the musicians dug him and at the
    opening night at Salvation where the pretty people ignored his act and talked of never having heard of
    him. Then I went out to Long island to see him on the Monkees Travelling show.”


    [Day?] July (Aug) 1967
    USA
    JAZZ & POP(pages 18, 19 & 20) [3/4 page B&W photos of, Paul Buttterfield, Janis Joplin, Buddy Miles,
    (Al Kooper &) Jimi, Otis Redding, Jorma Kaukonen]

    ‘MONTEREY POP FESTIVAL’ by PHILIP ELWOOD
    The first Monterey International Pop Festival was, for all practical purposes, an unqualified success.
    There were hang-ups, cancellations, frightful press facilities, rotten weather, unlikely scheduling, a few
    acts that bombed . . . but so what?

    So probably 40,000 individuals came to Monterey, about 7500 crammed themselves into the County
    Fairgrounds Arena during four of five performances (Ravi Shankar drew 5000 on a soggy foggy
    afternoon) and there was a festive atmosphere and congenial feeling about the Pop Music Festival which
    neither Newport (Jazz and Folk) or Monterey's own jazz festival have ever achieved.

    The hippies, authentic or just passing, are less demanding, far more accommodating, warm and
    responsive, and perhaps most important: compared to the jazz festival fan, they came to Monterey to
    hear the music and get with one another, not to drink and show off.

    There was absolutely no difficulty with the huge crowds, no arrests, nothing unruly. Local officials from
    the police chief on down to motel operators were unanimous in their enthusiasm for the whole event.

    The Monterey Pop Festival was organized in a few weeks by Lou Adler, John Phillips, Andrew Oldham
    and a couple of dozen members of the pop-rock industry. It was directed from Los Angeles, and most of
    the participants were those whose schedules made it possible to perform (without pay) at the
    mid-California coastal location.

    All profits will be distributed according to action taken by the Board of Governors, which includes the
    Directors (above), many of the participating artists, and such others as Donovan, Jagger and McCartney.
    The Festival's funds will also include $250,000 which ABC Television paid for exclusive rights to film the
    event for a fall spectacular. The format of the festival (and the location) followed that of the jazz festival:
    Friday, Saturday and Sunday nights, and Saturday and Sunday afternoon.

    There were dozens of brightly decorated booths selling all manner of art goods of interest to the pop-rock
    set, hippie or otherwise: beads and boots and incense; flowers and bells: posters and underground press
    ... a meditation room, and mobiles. Plans called for seminars about the music industry, and
    demonstrations, but (as usual) they didn't come off, other than one at which a representative of ASCAP
    and Malvina Reynolds (there's a combination!) answered questions.

    But the music on stage at Monterey (all 22 hours of it) had a fascination significantly lacking in much of
    the recent jazz festival material this reporter has attended, on both coasts.

    The whole rock scene is shifting, or perhaps dividing into many branches, and Monterey had
    representatives of many of the limbs. Clearly, however, this was far more a rock festival than pop.

    It was evident, for instance, that the British pop world is currently off on a kick for kicks' sake
    phase
    : The Who ended by breaking up a prop guitar against a prop amplifier, with prop smoke belching
    from the stage;
    Jimi Hendrix, after a vulgar masturbatory sequence with his guitar, ends by
    sitting astride the instrument (his guitar) on stage, squirting lighter fluid on it and setting it
    ablaze. Pretty subtle. It's also very old-hat (Chuck Berry, among others, was doing most of this
    stuff, better, 15 years ago
    ) [NOT!] but it grabs the crowd, and it's made the Seattle Negro
    Hendrix a
    big thing in Britain.

    There was a definitive difference between the Southern California and the San Francisco rock bands; a
    difference which will eventually lead, I am sure, to a battle similar to the East Coast-West Coast jazz
    disputes of the early 50s. The Byrds, the Association, Canned Heat, Buffalo Springfield and (of course)
    the Mamas and Papas are far more show-biz than are the hard-rock blues oriented groups from the San
    Francisco area like Big Brother and the Holding Company, Country Joe and the Fish, Quicksilver
    Messenger Service, and the best two of this genre at the Festival: the Grateful Dead and the Steve Miller
    Blues Band.

    Even the Jefferson Airplane, commercially the hottest such group going, are a harder stronger-beated
    band than their L.A. counterparts, such as, perhaps the Buffalo Springfield (who are very very good in
    their own field).

    Mike Bloomfield's new Electric Flash and the Paul Butterfield Blues Band, with some variations, are
    working the same blues-convariations bag as the Northern Californians. The Blues Project, as has always
    been their wont [sic], is committed to a jazz sound, especially when Andy Kulberg plays flute.

    Of what might be called the pop-rock-blues groups the Airplane and Eric Burdon and the Animals were
    outstanding, with
    Burdon's blues vocals and the violin of John Wheeler [sic] quite impressive; everything
    the Airplane tried came off well: they were in magnificent form, more about them later.

    Otis Redding squeezed into 25 minutes, most of which were after 1 a.m., came out stomping, kicked off
    four beats and had the crowd screaming; we've all seen Otis do it a dozen times, but each instance is only
    a reminder of the commanding presence he assumes on stage

    Lou Rawls did a slick road show set within the structure he's been working for the past couple of years.
    Interestingly Rawls was the only performer who presented the sort of stuff which most Americans would
    think of as “pop" music—
    Shadow of Your Smile, On A Clear Day, etc. Mixed in were some of the Rawls
    soul songs and his monotonous chatter.

    For those who didn't quite remember where most of the current rock stuff started, Johnny Rivers did a
    half hour which might as well have been "down memory lane". A Beatles number, and
    Seventh Son,
    Memphis
    (which Rivers still does in an Elvis, scooby-dooby fashion) ... a few others .. . and Secret
    Agent Man
    . Rivers is a bit out of it now, by Monterey standards, but it was a neat performance.
    The important parts of the Monterey festival need not be capsulized like an annotated program. The
    important things, really, were the spirit in the audience (and all over the festival) and the interesting
    new sounds and attitudes of many of the artists.

    The crowd became exuberant only when the artistry deserved it. It was refreshing NOT to have standing
    ovations (a la Newport and Monterey jazz) after most performances. It was delightful not to have an
    atmosphere of alcohol, or people running in and out of the arena all night. I saw a few cans of beer
    (none sold on the grounds) and some wine. None of the flasks and martini thermoses which have helped
    to artificialize the responses and numb the senses of too many jazz festival fans.

    The crowd, it seemed to me, was about 60% Southern California: i.e. a group more pop-rock-Hollywood
    oriented than the hard
    -core-blues-oriented San Francisco hippies. There were a great many younger kids
    there (in the 12-16 bracket) who seemed to enjoy everything, although they were the most distressed
    group when it became obvious that
    the Beatles would not be there.
    Some radio stations and the Festival officials themselves had kept the Beatles rumor alive for weeks.
    There was a feeling of love, comradery, good fun, without any artificiality. When girls tossed hundreds of
    Hawaiian miniature orchids around over the heads of the crowd it was a pretty sight, not a cynical
    promotional stunt (and I never did find out where the orchids came from all weekend, but there must
    have been 10,000 of them.)

    When Ravi Shankar finished his long afternoon sitar performance the audience applauded for about five
    minutes. Shankar tossed a few flowers to them, took there encore-bows, and everyone felt good.

    Shankar had said in the course of his performance that he "loved the idea of his music being 'pop' music,
    even though it really wasn't at all; and he loved the crowd for loving him, and his music."

    Shankar's work held the audience mesmerized throughout three hours and his gentle explanations of his
    songs and his instruments provided just the right touch.

    In the same emotional plane was the performance of Paul Simon and Art Garfunkel. Well after midnight
    this unassuming pair relaxed the audience, sang some new ones and old ones exquisitely and wound up
    with a 16th Century Benedictus,
    a capella. Beat that for programming at a pop festival!! They encored
    with the frivolous
    Punky's Dilemma which involves a cornflake in a bowl of milk taking movies: the world
    of an English muffin... and more of Simon's distinctive little glimpses at life. Simon and Garfunkel are,
    essentially, folk singers for the rock-times; their stage presence is remarkable.

    The Who, other than in their guitar-smashing, also have some fine and pro-vocative lyric content and
    an impressive lead vocalist in
    Roger Daltry. Their imagery, like Simon's (and, of course Dylan), has a
    pertinency far removed from the moon and spoon days of song writing.

    It was interesting to note the presence of Negro-blues derived rhythms, styles, and lyrics and yet the
    absence of any strong r&b contingent, except the astonishing Otis Redding.

    The best of the girl vocalists were the two San Franciscans Janis Joplin with Big Brother and the Holding
    Company and Grace Slick of the Jefferson Airplane.

    Miss Joplin, a Texan in her mid 20s, has been a part of the S.F. rock world for a couple of years but her
    singing lately has become the most powerful voice in the business; I am not one to exaggerate — Miss
    Joplin is the best white blues singer I have ever heard, and certainly also the most powerful.

    When the Big Brother rhythm gets churning behind her (and it's a dandy band) she clenches her fists by
    her side, closes her eyes, rears back shaking her head and just lets fly. Magnificent!

    She has a timbre like old Ida Cox (a bit nasal), and some of Bessie Smith's rhythmic devices, especially
    on the stop-time stuff. But her demeanor is rougher than either of those old gals (sometimes she's rough
    like Ma Rainey) . . . and any
    -way, Janis Joplin is no mouldy fig: she's on top of today's world.
    Grace Slick, of the Airplane crew, has a more sultry voice with more musical quality and less guts than
    Miss Joplin. She is particularly effective in the contrapuntal second part with Marty Balin's lead voice;
    often Miss Slick and Balin switch parts, and solo ... it's an effective team and an excellent band.

    Miss Slick is also an accomplished composer and musician, and working in the context of the impeccable
    professionalism of the Jefferson Airplane she has plenty of room to demonstrate her talents.

    The Airplane is one of the few rock groups to have emerged in the last year and understands that the way
    to avoid the monotony of a hard two or four beat, running forever, is through syncopation. Their bassist,
    Jack Casady, sets up a furious undercurrent of runs and stop-time accented riffs which keeps the Airplane's
    sound always changing no matter how straight the front line or lyric sound.

    Their Monterey performance was marked by two electronic accomplishments which help to explain the
    A
    irirplane's success, and also the new approach to performance which most of the rock groups take.
    They travel only with their own sound man and equipment; and that engineer (David Freese, once of
    KPFA, Berkeley) also supervises the Airplane's recorded sounds. Attention to detail, never a strong trait in
    American popular music or jazz, is obviously paying off for many rock groups.

    In addition, at Monterey, the visual stimulation (light show) which went on behind the Airplane was the
    finest ever seen in this area, where all light shows are already superior to the rest of the nation.

    The Monterey stage had translucent backdrop walls (screens) onto which the Head Lights company of
    San Francisco threw images from about 10 slide, movie, and overhead projectors. The center screen
    was based on the liquids, with other subjects coming and going, and the side screens had everything
    from phosphorescent flower patterns to what looked like transparencies of prayer rugs over-layed on
    one another.

    It is harder to describe moving visual abstractions than it is to portray music, in print; but the
    combinations of fine electronic music and the Head Lights visuals at Monterey was astonishing ... in fact
    you might say psychedelic.

    Another vocalist of particular interest to the jazz fan is Eric Burdon with the new Animals. Burdon
    learned a lot from American records by the old gals (he sings Bessie's Gin House Blues) and he
    under
    stands rhythm. He patterns his material like a jazz vocalist, singing 12 or 24 then laying off for a
    couple of choruses of instrumental, then coming back for more vocal . . . and back and forth.

    San Francisco's Grateful Dead are working in a whole new area of sound. They play continuously for
    30-40 minutes varying theme and rhythm at will, developing a mood, singing, soloing . . . using
    feed
    -back; it is an electronic musical circus. Jerry Garcia, lead guitar and vocalist, is the best guitar I
    heard the whole week
    -end, and Pigpen McKernan plays a fine mouth harp. The Dead are close to being
    an experimental jazz group right now.
    [NOT! Ed.]
    There were a number of things which I hoped would appear at Monterey, but I'll have to wait until next
    year (if there is one.) One good sign of maturity and assurance would be more informal humor by the
    various groups. Not slapstick, not campfire stuff, just something

    other than furrowed-brow dedication. When Berkeley's irrepressible Country Joe and The Fish came on
    it was like a refreshing breeze.

    Joe McDonald wears paint on his face, flamboyant rainbow colors in shirt and pants, beads, and an
    American flag (on stick) protruding from his belt.
    Don't Drop That Bomb On Me, Fixin' To Die Rag,
    (done to the middle strain of
    Muskrat Ramble) and various other reflections of the Berkeley scene make
    GJ&F an unusual group, even if their vocal and instrumental balance doesn't have the strength of many
    of the others.

    Another missing feature at Monterey was a chance for artists to mix it up a little. Everyone comes out
    and does their thing but there is no crossing of group lines, yet, in rock.

    I would like, for instance, to hear the Miller Blues Band, the Bloomfield Electric Flash (and how
    Bloomfield can play!), and the Butterfield Band, all jam together ... or at least segments of each play
    together. I suspect that this is the next step, and of course, it is about the only thing missing before the
    contemporary popular music scene, by way of the blues, becomes a contemporary jazz scene.

    The principal people noticeably absent at the Monterey Pop Festival were the jazz fans and writers. I
    think Ralph Gleason and I were the only reviewers from the "jazz field." This is a good indication of what
    is wrong in jazz: those who write about it too often also define it. And their definitions usually are as
    limited as their own interests.

    I heard more improvisation and individual creativity at the Pop Festival (alas!) than I have heard at many
    recent jazz events.

    I have left out a number of groups. Most of them were good but not as impressive or interesting as those
    noted. The British singer
    Beverly, for instance, a kind of folk-rock type with long hair and her own guitar
    accompaniment, didn't get together; nice voice, some style, and exhilarating looks . . she'll make it, some
    day.

    Laura Nyro was just awful, trying to do a Motown kind of thing with two embarrassed colored girls named
    Dolores and Juliet. All that saved Miss Nyro's dreary performance, in retrospect, was that on the same
    program there had been some
    -thing worse: 55 minutes of Hugh Masekela and his current band, featuring
    conga star Big Black (who was magnificent in his solos) and trombonist Wayne Henderson (who seems
    to have fallen under Masekela's spell.)

    Masekela pranced around the stage, blew frightful noises on his trumpet, sang even worse, and (typically)
    was the long
    -est act of the whole festival. Ralph Gleason, in the S.F. Chronicle, said, "Masekela gave an
    object lesson in boredom."; the S.F. Examiner called it "Masekela's nothing-music."

    The fact that this festival was, in truth, a selective rock festival with little nod-ding toward pop, may mean
    that all pop is rock, but I think not. I think creative pop is rock, just as creative pop 30 years ago was jazz
    (or swing?). And it seems to me that if folk festivals are now including electronic music (and they are) and
    jazz festivals are now including electronic music (and they are) and pop festivals are now including
    electronic music, then some of the jazz stuffed shirts had better awaken to the realization that it is their
    narrow definitions and not the music it
    -self that have stifled "jazz" in recent years.
    With all its limitations and faults, the Monterey Pop Festival broke ground for a whole new area of musical
    expression in America. And it made it quite clear that today's younger generation are not just going to
    create their own music— they are going to teach an older genertion a few things about how to appreciate
    it, besides.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 July Newspaper & Magazine Articles (Text Only)

    [Day?] July (Aug) 1967
    UK
    MUSIC MAKER (page 25) [title?] [B&W photos of each: [Ginger] Baker, Bennett, [Bobby] Elliot,
    [Tony] Meehan, [Ric] Rothwell, Nelson, [Mitch]
    Mitchell, [Mike] Hugg, [Jon] Hiseman]
    [...]
    distracting fill-ins, plus a sense of the dramatic in his solo work, reaching a climax in which various patterns
    are played simultaneously on all three drums (or more, depending on the size of his kit), with fevered
    power. Ginger may not have the polish of an Allan Ganley, he may have his off nights, but he has instilled
    personality into his instrument. Many better technicians never achieve this in a lifetime of playing.

    Ginger was the first of the "rebel" drummers. Since then we have seen Keith Moon who, despite all the
    Whoo-ha, is a very fine drummer. Most witnesses are either amused, baffled or made angry when they
    see
    Keith, the inveterate knocker-over of drum kits at work. Many see this as cheap sensationalism. In
    fact it represents a facet of
    Keith's strange personality. Keith is like a small time-bomb ticking away with
    a built-in magnesium flare which blows up at the most unexpected moments. This reflects in the flailing
    arms that knock cymbal stands flying, dealing hideous damage to expensive cymbals; and the thrusting
    feet that scatter bass drums and tom-toms like shrapnel. My first encounter with the
    Moon at work was
    at Manor House, London, in the early days of the Who. The club was packed and the heat stifling. It was
    at the time of "My Generation", surely one of the most exciting records of the group era.
    Keith was in a
    white tee shirt that became sodden with sweat as the evening wore on, and
    Keith wore out. By the end
    of the last set, as he battered non-stop in a sort of flagellation of himself and the drum kit, I began to
    fear for the continued operation of his heart and lungs. Then the last number smashed to a halt, and
    Keith was carried out feet first by friends, his eyes closed, gasping for breath. It was a remarkable and
    frightening spectacle. His style was to hit everything as fast and as loudly as possible, which, as
    drummers have been warned for years, shouldn't be done.
    Keith did, and it proves an exciting
    experience.
    Not all the new wave of group drummers are as violent as Baker and Moon. Peter York with the
    Spencer Davis group is a tasteful player who treats his drums as if they were made of beaten gold and
    rare fabrics. There is a whole school of drummers with varying styles and ability on today's scene, who
    enjoy getting together for discussions and practice, or at least admire each other from afar. With heavy
    jazz leanings, advanced technique and tremendous enthusiasm the list includes Micky Waller,
    Jon Hiseman, Keef Hartley, Colin Allen, Ainsley Dunbar, Blinky Davison, Kenny Jones, Phil Kinorra, Ric
    Rothwell, Mike Hugg and
    Mitch Mitchell.
    John "Mitch" Mitchell, aged 19, is the latest minor sensation on the drum scene and his playing with
    the Jimi Hendrix Experiencecame as a big surprise to those who knew him from his days with
    Georgie Fame and the Blue Flames.Mitch, from playing a rather restricted "mainstream-rock" style
    with Fame, suddenly blossomed out into an all-action thunderbolt with
    Hendrix. His speed, confidence
    and attack increased over night, and now his riotous barrage is an integral part of
    the Experience
    sound.

    I was once, rightly accused of gross exaggeration when stating Mitch's style is a combination of Ginger
    Baker
    , Keith Moon and Elvin Jones. Mitchdoesn't play like Baker, Moon and Jones to the power of
    three. That would be taking things into the realms of
    Buddy Rich. But Mitch, as a modern music fan
    who hates barriers between styles, has drawn from and been influenced by all three, and combined with
    his own explosive technique has definitely produced a valid style. His continuous wall of sound, roaring
    round the kit in lightning cross-rhythms is a far cry from the days when Bert Blackhead, fingerless
    percussionist with Rip Torn and the Thunderbeats played the same old beat, day and night.

    Talking of his own influences Mitch says: "I was never interested in pop drummers until I heard Bobby
    Elliott
    with the Hollies. He's such a great drummer. Also I've found that no matter how bad a drummer
    might be, there is always something you can learn from him. He's always got something you haven't got.
    Early pop drumming was strictly off-beat. The first guy that really got away from simple off-beat was

    Tony Meehan
    . Drummers are listeners and most have a complex about not being treated as musicians.
    Most of the guys I know are really interested, including
    Charlie Watts and Ringo Starr, who do nice
    things on every record they make.

    "Also, all the drummers I know are interested in bassists and bass playing. When I hear a group I always
    listen to the bass player. I still believe English players are among the best in the world, but in American
    groups the bass player and drummer always work together tightly. A typical example is in
    Tamla
    Motown
    . There are lots of drummers here that are really good and will be great. Personally, I don't play
    with any taste at all
    , and I play far too much, but that's because in the trio Jimineeds an anchor man."
    Mitch named his favourite drummers as Barry Jenkins, Mike Hugg, Bobby Elliott, Grady Tate and
    Elvin Jones. "I think the only guy that we have in this country who is going to be on a par with the
    Americans is
    Jon Hiseman. There are some hip session players like Kenny Clare, but too many are on
    their own small scene and are very narrow-minded. I hate time players who are too lazy to play anything
    else, and people who don't play with feeling. Too many are hung-up with going to lessons and learning to
    play the ‘right’ way. But Americans like
    Buddy Rich and Art Blakey don't play the orthodox way: they
    play their own way. Forget about playing what you know, play with feeling. So many drummers have a
    mental block about that.

    "They've got no guts. Older guys like Tony Crombie steam in, but so many act like Mr Cool 1967. They
    just play what they know, and that's all, sitting behind the drums in their 1959 Ivy League suits. And you
    can't play drums in full evening dress either!"

    Our best pop drummers still have a long way to go to equal jazzmen for creativity and technique. But
    they have come a long way in a short time. Youth and spontaneity are on their side. In players like
    Mitch,
    and more particularly
    Jon Hiseman, lie the seeds of progression in drumming, the seemingly limited art,
    open to seemingly limitless changes.

    (Page?) [B&W pic ad.]
    The ‘marshall sound’ is getting around...
    ...used by many of today’s big names including
    JIMI HENDRIX EXPERIENCE, THE
    TREMELOES,THE WHO,SPENCER DAVIS,
    THE CREAM, BEE GEES, SMALL FACES,
    JIMMY JAMES AND THE VAGABONDS
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 July Newspaper & Magazine Articles (Text Only)

    [Day?] July (Aug) 1967
    Holland
    MUZIEK EXPRES (page?) [full page colour photo of Jimi on stool in Kobenhavn, ‘Jimi Hendrix’]

    [Day?] July (Aug) 1967
    Holland
    MUZIEKPARADE (page?) MP’s hit parade
    THE WIND CRIES MARY
    The Jimi Hendrix Experience
    -----------------------------------
    After all the Jacks are in their boxes
    And the clowns have all gone to bed
    You can hear happiness
    Staggering on down the street
    Footprints dressed in reed
    And the wind whispers, Mary

    A broom is drearily sweeping
    Up the broken pieces of yesterdays life
    Somewhere a Queen is weeping
    Somewhere a King has no wife
    And the wind it criesMary

    The traffic lights they turn blue tomorrow
    And shine their emptiness down on my bed
    The tiny island sags down stream
    ‘Cause the life that they lived is dead
    And the wind screamsMary!

    Will the wind ever remember
    The names it has blown in the past
    And with this crutch, it’s old age and it’s wisdom
    It whispers, “No, this will be the last”
    And the wind cries, Mary
    -----------------------------
    Copyright for Benelux: A. Shroeder Basart N.V.[…etc.]
    (Page?) [Large B&W photo JH on RSG]
    are you experienced?’
    Half a year ago still completely unknown in our area, his "Hey Joe" hit our hit parade like a bomb. Jimi
    Hendrix Experience
    was a name that was difficult for many to say when his first album was already in
    everyone's possession. The
    Columbian [sic!] living in England turned out to be a first-order sensation.
    While his teeth play the guitar strings, every part of his body moves with the music. Endless music,
    many English pop stars explain, who come to see his performances every day.

    Music written by Jimi Hendrix himself, or rather: polite. Because the music of Jimi Hendrix arises
    during a "high period" in which he plays himself. The sounds hit you loudly, while the movements of
    Jimi
    bring you into a kind of trance, you
    experience the music with you. The rhythm penetrates you
    everywhere. It is a fantastic
    experience to see and hear Jimi Hendrix playing. His musical penetration
    power is also reflected on the album. You just feel that this is not a product of a lot of technical tinkering
    and a lot of studio hours. Here the sound of this time is heard. "
    Hey Joe" was a very big hit. "Purple
    H
    aze" a little less, but "The Wind Cries Mary" promises to be another hit of the first order. Arriving at
    18 in the Netherlands, the album is directly in first place.
    Jimi’s album "Are YouExperienced" is also
    an unprecedented
    experience. If you have an hour left, just sit in your room and treat yourself to a
    Jimi Hendrix Experience music event. It is worth it.

    [Day?] July (Aug) 1967
    Holland
    POP FOTO(cover) [yellow ‘sticker’ like disc]: ‘Extra Attachment’ Free (53x80cm) Giant Colour Page.
    JIMI HENDRIX EXPERIENCE

    (insert)[large colour photo poster, ‘Jimi Hendrix Experience’]
    (Page?) [full page B&W photo portrait ‘Jimi Hendrix Experience’]]
    (Page?)[full page B&W photo portrait ad for Jimi Hendrix’ ‘Are You Experienced & The Wind
    Cries Mary ‘Polydor’ [logo].
    (Page?) THE JIMI HENDRIX EXPERIENCE
    show off this month on the POP-FOTO / T.T.-poster. That is understandable because Jimi Hendrix is one
    of the most popular artists of the moment. And rightly so, because what this boy performs on stage with
    his two supervisors almost borders on the incredible.
    Jimi Hendrix was born at the age of 0 on
    November 27, 1945 in Seattle, Washington. He hated learning and took refuge in the army, where he
    soon had his
    discharge due to an ankle defect. He decided to try his luck and hitchhiked through the
    southern states of America. Armed with
    his guitar, he ended up in New York. He played in several clubs
    and was lucky enough to meet the
    Isley Brothers, a very popular group at the time. These boys had
    heard
    Jimi play and loved him so much that they offered him a place in their group. Jimi, however,
    tired of playing the same songs night after night, decided to move on, destination Nashville, world
    famous center of country & western music. From here he toured with B. B. King, Sam Cooke, Solomon
    Burke, Chuck Jackson and Jackie Wilson.

    Jimi made good use of his eyes and ears and learned a lot from his fellow musicians. He moved on,
    performed with
    Little Richard and with Ike & Tina Turner. Coincidentally, he ended up with the
    Starlighters
    , Joey Dee's support group at the time, who had celebrated triumphs during the “Twist
    era”. It was
    in August 1966 that Jimi tried again on his own, with his own backing group, playing in a
    nightclub in Greenwich Village.
    Ex-AnimalChas Chandler and Mike Jeffery met him there and
    invited him to England where they would help him find work.
    Jimi arrived in England in September '66,
    and after a long search he found 2 musicians whom he wanted to 'make'. It was
    Noel Redding,
    21-year-old bass guitarist, ex-advertising artist, and particularly gifted at the kind of music
    Jimi wanted
    to play, and 19-year-old drummer
    Mitch Mitchell, who had previously played with the Georgie Fame
    group. In this line-up, success for
    The Jimi Hendrix Experience, as Jimi called his group, began, and
    the “sound,” which anyone who has a little understanding of music agrees on, is unmatched. Deserved
    success for
    Jimi Hendrix and his Experience and therefore also a deserved place on this month's
    POP-PHOTO super color poster for the boys who scored 3 hits in a row,
    namely Hey Joe”, “Purple
    Haze
    , and "The Wind Cries Mary.

    [Day?] July (Aug) 1967
    USA
    TEENSET (page 4) Features
    60 IT’S TIME TO EXPERIENCE JIMI HENDRIX/Warning: you may never be the same...
    (pp. 60—61)[4 B&W photos - 2 of Jimi & 2 of JHE backstage at BBC Playhouse Theatre]
    ‘It’s Time You Experienced Jimi Hendrix” by Carol Gold (UK correspondent)
    T
    here are all sorts of experiences in pop, but the Jimi Hendrix Experience is unique among them.
    And, truly, they are an
    experience! An experience to hear, with the sexy, screaming guitar of Jimi
    Hendrix
    leading the driving bass of Noel Redding and the flashing drums of Mitch Mitchell.
    An experience to see, on stage or off, especially for the first time before you're aware of the
    personalities behind the looks.
    Jimi with his African bushman hairdo and his brooding expression looks
    a fierce and formidable character. But as in all good
    experiences, quite the opposite is true. He's very
    shy and blushes at the slightest provocation, is sweet and gentle and almost childlike. He has such an
    air of vagueness about him that you're never sure if he can get home all right. (Even at the BBC studios
    where the interview for this article took place,
    Jimi led me backstage, but took a wrong turning and
    almost landed us in the Ladies' Room!)

    The other ultra-hirsute member of the group, Noel Redding, looks bright (and is), flippant (he can be)
    and carefree (he's not—he worries a lot).
    Mitch, at least, bears some physical resemblance to an
    ordinary lad, but don't let that fool you!

    Jimiis quiet and unobstrusive (except physically), Noel sees an objective and goes after it like a terrior
    [sic] and
    Mitch is the original Mr. Personality, the table-hopper and ladies' man. How did three such
    diverse characters get together? Not by accident!

    Unless you consider tall, ex-Animal Chas Chandler an accident. He saw Jimi playing in a tiny Greenwich
    Village Club last fall. In New York, that is, for
    Jimi's American, from Seattle. And since he left school
    (a—sshhh—high school dropout) he's played with some of the biggest names in rhythm 'n' blues and
    soul—names like
    Little Richard, the Isley Bros., Sam Cooke, Jackie Wilson, and Ike & Tina Turner [NOT!],
    to name but several. He'd had no success of his own yet, so when
    Chas invited him to come to England,
    Jimi
    picked up and went.
    Once in England, they held auditions to find a bass guitarist and drummer, for no matter how excellent,
    exciting and visual a guitarist may be (and
    Jimi is all three) he is not much good on his own.
    Enter Noel and Mitch. Twenty-one-year-old Noel came from a background of littler groups, playing the
    scene in England and Germany for several years as a lead guitarist. He came with expectations of joining
    Eric Burdon's New Animals but decided, "There were better prospects with this group. The New
    Animals
    are only a backing group, after all —they won't last very long. In the Experience, there are
    only three of us; there's room to develop and I thought we would all get recognition."
    So he was
    persuaded to change from lead to bass guitar, which he finds "interesting but much simpler"
    and
    two-thirds of
    the Experience had happened.
    Mitch, who's 19, came a bit later. He'd been with Georgie Fame's Blue Flames, as well as having
    been a session drummer. Freed from the restrictions of a planned group (this is definitely a free-form

    Experience
    ), he's become one of the finer drummers on the scene.
    So there was an Experience. And almost immediately, they had a hit—"Hey, Joe" and soon after,
    another. And not much later, we were talking in the BBC Playhouse, a curiously incongruous place with
    its gilt statues and ornate scroll-work.

    Though Jimi is, as I've said, quiet and shy, he has a fund of very funny and very true stories to tell.
    Like his account of the way he began the acrobatics with his guitar, which make
    the Jimi Hendrix
    Experience
    so visually as well as musically exciting. "I was playing with a band around Nashville
    with another guitar player and when we got bored we'd start cutt
    itn' one another—you know
    what that means, trying to outdo one another. He'd put the guitar around behind his back so
    I'd play mine behind my back. He'd put it behind his legs, I'd put mine behind my legs. He'd
    raise it above his head, I'd raise mine above my head. Finally we ran out of things to do, and
    I thought, 'I know what I can dol'"
    he paused for effect, and looked little-boy wicked."So I played
    it with my teeth!! It was really only one note, but the audience loved it, so I went home
    practiced up on it. But the music is more important than the showmanship. The music is what
    I love-nothing else comes before it."

    At one point, they were called to perform (since that was what they were there for), just as I'd asked
    them if anything in particular made them angry, and so started a marathon reply.
    "Ignorant people,
    people who won't learn" answered
    Mitch immediately as he headed out the door. "I don't get angry much,"
    said Noel definitely, as he did the same. But he kept popping up with "Oh, there's another thing ..."
    throughout the rest of the afternoon. Among
    Noel's "Oh, and another thing that makes me angry ..."
    collection are
    "Being mucked about, being told to do things and then having everyone change their
    minds," and "Moody people,"
    (which made everyone laugh and rib him about being in the wrong group)
    and
    "Early pub closing hours" (which brought cries of agreement—English pubs close around 11 p.m.,
    before most groups get off stage). He was still coming up with things when I left them hours later.
    Jimi
    had only one reply, and that was delivered when they returned from playing.
    "What makes me angry,"
    he said glaring at his guitar as if it were to blame,
    "is being out of key when I play." Music is
    everything to
    Jimi.
    As a sidelight to the rapid rise of the Jimi Hendrix Experience, it’s a bit sad to note that unless they
    read Teenset,
    Jimi's parents still don't know what a success their son has become! "The last
    time I talked to them was six months ago, when I came to England and then I just said, 'Hey,
    I'm in England.' I can't write home because letters aren't good enough. I can't say what I
    want to say, tell them how I feel, so I don't write."
    So, Mr. and Mrs. Hendrix, your son Jimi is
    planning to go back to the States soon for a tour and he was healthy and quite happy when I last saw
    him, though perhaps a bit overworked.

    But the way this trio feels about music, overwork just makes them happier, though they do dream of
    collapsing on a warm beach somewhere and not moving for days. Unlike most pop people, they're
    satisfied with what they're doing musically—they feel that they're doing what they want to do.
    "We're
    satisfied when we get across to people,"
    said Jimi, "when they start to dig what we're doing.
    And when we hit on something that satisfies everybody in the group, a song or a bit we all
    like, because we've all got different musical backgrounds and we're three different people.
    It's our music and it's changing with us."
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 July Newspaper & Magazine Articles (Text Only)

    [Day?] July 1967
    USA (Los Angeles, CA)
    WORLD COUNTDOWN (Vol. 2 No. 11. Pop Festival Collectors Edition)
    ‘Pop Festival’ by Derek Taylor
    The festival was people and it was joyful because the people were so beautiful. All of them, nearly
    enough. There were those who had leas than a good time but then it is an imperfect world and in that
    context it was truly marvellous that so many of us were able so substantially to shed our egos and
    float downstream on people, music love and flowers.

    The people are the lingering memories. The colors were the people — the carry-on of color from the
    people into the streamers and the flags and the fantastic richness of the avenue of booths, like nothing
    any of us had experienced.

    People were Jimi Hendrix, a one-man rainbow of fire and delight. Hendrix, forgotten negro muddllng
    through frustration and debt and redundancy in the East, found by the lovely
    ex-Animal Chandler and
    warmly embraced to England where he showed what be had always been showing except that for once
    and forever it was seen and illuminated by those with the power to illuminate.

    Hendrix was greatly moved and sadly grateful to have been invited to return to America as a festival
    Star. But it was nothing to do with gratitude. He came because he belonged. The Who too, the Furies of
    rock ’n' roll. Wonderfully robed in silk and satin and bathed in a mystique born out of being famous
    without having been seen in America, the Who were splendidly successful because they too were the
    people for the event. The event was for the people too as
    Eric Burdon proved with his new Animals,
    when he spoke of bygone days when booze was the thing, when gin was the support. We all knew what
    he meant, all of us. As he knew we would. Eric sang gently of San Francisco and Scott McKenzie sang of
    tbe same city in yet more delicate terms and there was a rightness about each singer and each song.
    Pure music. Pure people with eyes clearer than yesterday.

    Another Eric from the Avalon came down a couple of days before the festival opened and some of the
    Diggers arrived. They brought San Francisco with them in their flowers and hair and beards and clothes of
    no known ethnic origin, out of no indentifiable period in history or attitude. Just of now and of them.
    Themselves, they know now to be enough. It always was but now they know themselves to be sufficient.

    There was a girl who was on a beautiful trip who was deeply involved with a toy car, a tiny broken down
    thing without wheels. She held it like a communion offering and gave it to one of my children who were
    on their own purity-trip without chemical help and the handing over of the toy was totally real and equal.
    Strange that children can reach thosewho are on acid. LBJ and his friends, for all their sophistication,
    seem unable to do so.

    People. People like the Grateful Dead so in touch with each other on stage and far beyond the
    performance level. Deeply moving. . . .Garcia talking to Pig Pen in music. Pig Pen himself,the anti- hero
    huge and black and immobile in everything but his leaping soul dancing on the organ, through the air
    and into the organisms of many minds. People like Lou Adler, whose control of the festival was so lightly
    imposed, so powerfully sensed, so mightily complete. People like the Mamas and Papas, Cass newly out
    of defiant delivery of a freeborn infant, eyes bright and body firm and Michelle, darting darling of the final
    show, so much a symbol of the beauty of the Monterey weekend. Denny who wasn’t seen until the final
    day and then was so much a part of the light, bright scene which he and John Phillips make seem so easy.
    It’s easy doing anything because there’s nothing you can do that can’t be done.

    There were other people, short-haired with guns and sticks but it didn’t matter because there’s nothing in
    a gun and a stick if they’re not used. Flowers, guns, sticks, helmets, bells, they're all one. Only matter.

    The police were majestic--they responded as people to people because the police too are people. They
    have a point in them which can be reached. They may not have known they could be reached, but
    reached they were. Chief Marinello, old man long on the road of law enforcement, he was reached and
    he himself stretched out his arm to touch others with the warmth which was in him when he was born
    and begged thereafter to be allowed to spread. We gave him a necklace of leather and glass. He wore
    it and enjoyed it.

    People. The Byrds, led newly by David Crosby. Were never more the Byrds than at Monterey,
    freewheeling jetstream they were strong and significant. Crosby made a statement on LSD and lost a
    little direction by taking us on a mixed trip into the Warren Report, but he was being Crosby and he
    wanted us to know where he was at for which in terms of communication and honesty, cannot be
    faulted.

    There was a delightful button salesman who baked them in the oven—finding in the baking colors so
    fantastic that they could scarcely be believed except that there is nothing you see that isn’t shown. It
    was always there.

    Alan Pariser was also people. He had the idea of having a festival and it must have been overwhelming
    for him to experience the reality. An emotional affectionate man, much misunderstood, he loved the
    Happening and it was good to see him happy. Tom Wilkes, one of the real festival heroes—hero is not the
    right word for there were no villains, but let it pass—was the visual designer whose mind was reflected in
    all that we saw that was not people. Yet he too knew what was right for the people who would come in the
    designs. So did I, though I could have been wrong. We threw our press badges to all-comers the first two
    days and only Life, Time, ABC TV News, the Los Angeles Times objected. They didn’t, however, carry their
    dismay into what they wrote which shows that they too were people and there were times when in the
    past one might have doubted that.
    No arrests, no bullying. Nothing but happiness. An amazing festival.
    David Wheeler, bearded and in buckskins, head of security with guards recruited from the flowerchildren.
    Jerry Moss, head of A & M slipped away from the concerts starring Herby Alpert, his friend and partner, to
    sensate with the people at Monterey . . . .likewise, from his duties elsewhere, Goddard Lieberson, head of
    CBS. A fine turned-on man.

    So many people, 60,000 of them. Who knows how many. It doesn’t matter. A million, 1000 million or one.
    All one.

    I miss the people now. We had a matchless team down in Hollywood, in the spring all in whirling private
    pockets of activity planning the festival without collisions. Some of us are left, the others have scattered
    to other scenes. Voss the adman, Gardner the transport chief. Jim Chubb, Monterey Public Relations,
    wartime fighter pilot, I miss him too. He always believed he was a square. He warmly found he wasn't,
    ever. He was real and discovered it at the age of 50.

    Chris Hill, Jackie Ingle, Carol Cole, Julie Gray, defenders of the badge-room. All spread out now but bound
    for all of time. We are all one and life flows on within us and without us.

    We had a festival and it is for ever.
    (Page?) ‘A 3 DAY LOVE-IN’ by Eileen Kaufman
    There were rock and blues bands of all types at the 1st annual International Pop Festival in Monterey last
    weekend, but our loving gratitude goes to the overwhelming generosity of The Grateful Dead and portions
    of The Airplane,
    Jimi Hendrix Experience who jammed with them all night Sunday for a farewell dance
    freakout in the Home Ec Building on the Fairgrounds. That was a gassy thing to do, because there were
    many parties for the moneyed, but for the cats who hauled in a sleeping bag and slept in the Digger
    loaned quarters it looked bleak on the last night of the Festival, until the word went around that The
    Grateful Dead were playing live at the central building. Then, party hungry exhilarated, happy and
    bombed people rolled into the place and began their all night dancing party. Complete with groovy light
    show and everything that the Fillmore and Avalon Ballrooms in San Francisco afford each weekend for
    the hippies. We, the Grateful Living, thank you, Grateful Dead, Chet Helms, who helped it come about,
    and the cats who stayed up all night and jammed. This was the final touch in the most total environment
    we have seen in years.

    Early Saturday afternoon I was sitting at the far end of the arena, out on the grounds, behind the fence
    when I heard this fantastic sound. It appeared to be coming from cats I had never seen before, and I tried
    to check out who was happening there. No help from anyone around. So when 1:30 matinee arrived, I
    waited anxiously for the sight and sound of those tremendous musicians I had heard. Saturday the bands
    came on like crazy. Each one was playing like something you never heard; The Canned Heat was fantastic.
    Al Cooper and the Sidemen rocked the arena; Big Brother and The Holding Company arrived and kept up
    the pace; Country Joe and the Fish—the West Coast’s answer to The Fugs came on the scene and
    presented their satire to a solid rock beat. Saturday afternoon you just begin to think, “They’ll never be
    able to top this—or even keep up the high quality of the sessions , and suddenly that band would stop
    and another hard rock organization from San Francisco would appear and bend your head. Paul
    Butterfield ripped into a few blues selections flipping the audience with his driving style. On to The
    Quicksilver Messenger Serivce, who included a
    tune by Dino Valenti called, All I Ever Wanted to Do was
    Know You.” When you had just about recovered from this onsaught, Chet Helms arrived and announced
    to the noisesome crowd, “May the baby Jesus shut your mouth and open your mind as you listen now
    to The Steve Miller Blues Band.” And weren't they a groove. There we noted a very syncopated hard
    rock beat. Just those five cats—bass, rhythm guitar, lead guitar, organ and drums created a lot of sound.
    If the lead guitar player hadn't been chained to his amp, he might have jumped off the stage during his
    bouncing about.

    And at long last—here came those same musicians I had heard rehearse. They were The Electric Flag, as
    introduced by one of the Byrds as “the scariest drummer in the world" coupled with the “second greatest
    guitarist in music". And they were so alive. The lead guitarist lived up to his introduction. He was happily
    out of his mind and into your head. This band is going to cause a lot of disturbance in music circles . It is
    Mike Bloomfield's latest labor of love, and there was great applause complete with the first standing
    ovation of the Festival, as honey sweet acceptance poured from the audience. The guitarist took the
    mike and happily declared, “Wow, it's so groovy. Thank you. This is our first gig." He couldn't stop
    thanking the crowd for their applause. This won’t be their last gig, I tell you. Everyone was talking of the
    fantastic Electric Flag as they left the afternoon concert.

    All were keyed up to a very high pitch on Saturday evening. Moby Grape, resplendent in their groovy
    outfits and solid rock beat appeared. They are most professional in their presentation, and I was so struck
    with their stage presence that I forget the names of the songs. But they really work out.

    The Head Lights conducted a groovy light show all evening to heighten the already glowing vibrations
    that everyone was feeling. Hugh Masakela, swinging exponent of Swahili rock, socked it to us Saturday
    evening. Big Black on congas was given due consideration from the crowd, while Douglas, fantastic
    dancer of The Acid Testers, was freaking out in the wings during Hugh’s session. Hugh Masakela gave
    everyone a lesson in courage when he did Janis Ian’s essay on tolerance, “Society’s Child" from the
    other side of the question. Tell it like it is, baby. The Byrds and the Jefferson Airplane came on, in that
    order. Gracie Slick of The Airplane was appropriately attired in a groovy print floor length caftan. They
    did all the things their vehicle is famous for; White Rabbit and Somebody to Love were the most
    applauded. And then Otis Redding broke it up. He is of the old school of rhythm and blues, and there’s
    nothing subtle about his attack. He belted out those numbers, and the audience loved it. They dug it
    so much they gave him a standing ovation. This may or may not have been earned; But Saturday night
    everyone seemed to be at a fever pitch. This party anxiety seemed to extend throughout the crowd and
    the performers.

    Sunday was an ecstatic day. Ravi Shankar lifted us out of the mundane into the spiritual realm from
    1:30 to about 6. He remarked that in India he plays out of doors at concerts—and shares more or less
    the same rapport he was sharing in Monterey. There was such a holy feeling about the entire concert.
    Ravi, Rhakka, and the lovely lady on Tamboura, seated on their magic carpet, lifted the audience to the
    greatest heights reached at the Festival. Orchids were showered on the audience, and it recalled that
    beautiful audience at Music Center where the audience from the 3rd tier rained flowers down on the
    audience downstairs. It must have been the hippest audience ever assembled at Music Center. It
    resembled a hip United Nations with caftans flowing, burnooses and robes from Kenya, India—not to
    mention saris of every design and color. What really distinguished that night was the clothing worn by
    the men. There were dhotis, Indian type white raiments, Eduardian suits, and most of the men sported
    long hair or beards. Not to digress much longer, but that was also the case at Monterey. And as in India,
    a garland of flowers was made for Ravi Shankar.

    The entire afternoon was such an emotional experience. When Douglas, formerly with Ken Kesey’s Acid
    Testers, arose and began to dance, there were a few frowns and sordid comments, but these people
    didn’t realize that this was Douglas’ way of worshipping the gods.

    Sunday night The Mamas and the Papas, The Jimi Hendrix Experience were outstanding. Cass
    introduced John Phillips, very handsomely attired in a long flowing robe. The whole group was stunning
    in its appearance, And their songs were out of sight.

    Scott Mackenzie sang his tender comments about Son Francisco and flowers. During 'Dancing in the
    Streets” there was dancing in the aisles. And suddenly the entire Festival was over. What a downer that
    was. Everyone was feeling depressed, until the harbinger of good news came along and announced,
    "The Grateful Dead” and some other cats are playing live in the Home Economics Building. And that was
    the upper we all needed. Back into the ecstatic night. And until dawn there were music and lights,
    oranges, incense, smiles and dancing. When dawn came, it was really over. And many of us split. The
    really lucky ones were able to stay all night at Monterey and leave the following morning, for without the
    gala event, the Festival would have not been the artistic success it became. Just that little touch of soul
    saved it.

    -------------
    Dear Editor,
    The Monterey International Festival of Pop-Music was one of the greatest influences to the music-loving
    people of all time.

    The captivated audiences of the festival consisted of people from many different aspects of life. As one
    walked down the aisles, vibrations of love and happiness penetrated from one person to another. A
    feeling of belonging and togetherness seemed universal.

    I, as well as the thousands of other people that were at the Pop festival were enchanted by the Sunday
    afternoon performance of Ravi Shanhar. Surrounded by incense, flowers and warmth, Shankar filled the
    air with mystical sounds of the Sitar.

    Talented entertainers such as the Who, the Jimi Hendrik, Experience, Jefferson Airplane, Eric Burdon
    and the Animals, Mama’s and Papa's, Simon and Garfunkel, and Country Joe and the Fish and many
    others appeared in five concerts without fee.

    MUSIC, LOVE AND FLOWERS was the soul; foundation of the Monterey International Pop Festival. I hope
    that this, won’t be the last, but the first of many such festivals to come.

    LYNNE COUTIN Glendale, California
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 July Newspaper & Magazine Articles (Text Only)

    Monday 2 July 1967
    USA (NY)
    NEW YORK TIMES (page 41)[B&W text ad.] This Week At The Reingold Central Park Music
    Festival.

    Salute to Israel: Sunday, July 2, 6 pm.
    Monday, Nina Simone, Montego Joe, July 3, 6:30 & 10:30 pm.
    Wednesday, The Young Rascals, Len Chandler, Jimmy Hendrix (10:30 pm only)
    July 5, 8 pm (Sold Out) & 10:30 pm.
    Friday, Phil Ochs, Spanky & Our Gang, July 7, 8 & 10:30 pm.
    Saturday, Dave Brubeck Quartet, Willie Bobo, July 8, 6:30 & 10:30 pm.
    No mail order accepted
    ALL SEATS $1.00
    Wollman Memorial Skating Rink, 5th Avenue and 59th Street. Tel:249-8870
    Tickets available at Stern Bros., E.J. Korvette, Record Shack & Wollman Skating Rink.
    (Page 50)Who Makes The Music and Where
    Rheingold Festival
    Wollman Skating Rink
    Central Park
    [...]
    Wednesday, 8 P.M., The Young Rascals, Len Chandler.
    […JHE late addition so not mentioned]

    Monday 2 July 1967
    USA (Jacksonville)
    FLORIDA TIMES UNION(page?)[B&W ad]
    IN PERSON
    MONKEES [logo]
    JACKSONVILLE COLISEUM
    SATURDAY, JULY 8th - 8 P.M
    Only showing within 350 miles
    [B&W photo of Monkees with their signatures]
    SPONSORED BY RADIO STATION WAPE
    TICKET PRICES: '4.00-'5.00-'6.00
    [Note no mention of support acts even existing, never mind their names! Ed.]

    Monday 2 July 1967
    USA (Santa Rosa, CA)
    PRESS DEMOCRAT (page?) ‘It Happened in Monterey . . .” by Diane Morgan
    “Music has love-power ... it can beget love and stimulate peace”
    —Royal’s World Countdown
    It was what you might call your super - boss, groovy, beautiful, blow-your-mind kind of
    HAPPENING.

    To put it mildly.
    But actually, even today’s SUPERlatives fail to capture the First Annual Monterey International Pop
    Festival.

    You had to be there.
    There were hippies, weekend hippies (the vast majority) and observer-photographers — some
    45,000 of them during the three days of the festival.

    They came with bells and flowers and feathers and boots and cameras and incense and painted
    faces.

    And most of all—they came with LOVE.
    So perfect was the peace and harmony on the grassy, tree-covered fairgrounds that by the second
    day Monterey authorities called off a good portion of the special police force. The officers who
    remained spent most of their time trying to keep stem faces in the middle of a scene they, too, were
    beginning to dig. (Ever see a fuzz with an orchid on his helmet?)

    Celebrities (Brian Jones, Chad Stuart, Richard Beymer and Eric Burdon were a few that we spotted)
    moved freely in the crowds without fear of harrassment.

    Of course, the list of performers read like a Who’s Who of pop music.
    Due to last-minute problems, the Beach Boys and Dionne Warwick never made it. But nobody
    complained.

    In fact, audience behavior was positively unbelievable to those of us who have had first-hand
    experience with Beatlemania. Hands clapped, tambourines jingled and feet stomped on the dirt of the
    outdoor arena, but nobody screamed hysterically, pushed frantically toward the stage or blocked the
    aisles. (Despite an extra 1,500 standees on the final night.)

    To do so would have been sacrilege.
    And as the soft sounds of Simon & Garfunkel closed out the first night’s show well after 1 a.m., it was
    so quiet among the more than 7,000 fog-dampened but enthusiastic spectators that you could detect
    the whirring of the TV cameras on the arena roof.

    FINALE
    As was fitting, the Sunday night finale was the most sensational show of the set, although it was hard
    to beat earlier performances by the Jefferson Airplane, Mike Bloomfield’s Electric Flag, Lou Rawls and
    Otis Redding. They all left the crowds cheering for more.

    The Blues Project, Big Brother & the Holding Co. (all eyes were on the Holding Co.’s Janis Joplin who
    obviously DID NOT come to the festival in her Maidenform bra) and the Buffalo Springfield got things
    grooving Sunday night with more of the festival’s predominant hard rock-blues sound.

    In the background, the fantastic visual effects of Head Lights Inc. (breathtaking all three nights)
    swirled and throbbed to the beat . . . like puddles of color coming to life.

    Members of the “seat power” crew (ushers) danced down the aisles, tossing out thousands and
    thousands of baby orchids that had been flown in from Hawaii. (What greater therapy than to be
    smothered in orchids?)

    Tension built up as word spread through the audience that the Beatles were backstage. (Several
    references to the “Penny Lane people” had been made the night before).

    Emcee Tommy Smothers came out and stated in his inimitable manner that he didn’t know if they
    were there or not.

    A short time later Monkee Peter Tork interrupted a set to announce that the Beatles were not there
    and suggest that some of the non-ticket holders “stop climbing over the roof and trying to break down
    the doors.”

    Cool was temporarily restored.
    But then came The Who .... whew!
    This colorful British group (of Happy Jack fame) finished by setting off a smoke bomb on the stage and
    smashing a guitar to bits on top of an amplifier. Incredible.

    The audience gasped and jumped on top of the seats to get a better view of a “real happening.” Sound
    technicians scrambled frantically amid the flying debris to grab teetering microphones.

    And somewhere back in the sixth row a hippie hollered out, “Bring on Connie Francis!”
    The deep, slow rock of the Grateful Dead followed the smoke.
    Enter Jimi Hendrix, who writhed and screamed amid pink ostrich feathers, concluding his passionate
    freak-out by pouring lighter fluid on his guitar and dropping a match.

    But the fire didn’t catch and he resorted to bashing the guitar on the floor and tossing the pieces out
    to the audience.

    And while still-shaky crews made hasty stage repairs, the sixth row hippie yelled, “Elvis Presley, burn
    your hair! ”

    The festival ended the only way it could . . . with the four beautiful people who were largely responsible
    for making “a dream come true.”

    It was close to midnight when someone rubbed a magic lantern and the Mama’s & Papa’s emerged from
    the fog in exotic, flowing gowns. (Except for Mama Cass — the “psychedelic mushroom” — who was
    dressed in what could safely be called a Salvation Army reject).

    Papa John, in his chinchilla hat and a floor-length black velvet coat trimmed in gold, was indeed the
    wizard.

    White-robed Scott McKenzie joined the foursome for an unforgettable version of San Francisco, Wear
    Some Flowers in Your Hair.

    And in all too short a time, they disappeared as the audience rocked on to the refrain of Dancing in the
    Streets.

    Then everyone gave a little sigh.
    It was time to go back to the straight world.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 July Newspaper & Magazine Articles (Text Only)

    Tuesday 3 July 1967
    USA (MO)
    CHILLICOTHE CONSTITUTION TRIBUNE (page 4) ‘"The Trip" Is LSD User's Experience
    HOLLYWOOD (NEA)
    "
    The Trip,'" says producer-director Roger Corman, "is a radical movie, a different
    movie."

    He isn't just whistling "Dixie." "The Trip" is so radical and so different that it's liable to kick up more
    fuss than Twiggy at a re
    ducing salon. Corman’s movie takes a firm position that LSD is good for you.
    The movie is almost entirely the story of a man (Peter Fonda) on his first LSD trip. You will live his
    hallucinations as he does.

    Basically—and here comes the controversy—it is a pleasant trip. And Corman says this jibes with the facts
    be uncovered in his re
    search. He says that 99 out of 100 LSD trips are pleasant, with only one unpleasant
    or harmful. He does make a strong point that no trip should be made without a sec
    -ond person close at
    hand, to su
    pervise.
    (I checked with Dr. Keith Ditman of UCLA's Neuropsychiatric institute, to see how Corman's figures jibed
    with their studies. Ditman said that if you asked LSD-takers themselves, 99 out of 100 will say they had a
    pleasant ex
    -perience. But if you ask people who observe LSD-takers, the figure will be lower.

    Tuesday 3 July 1967
    USA (NY)
    NEW YORK TIMES (page 13) [B&W text ad.]
    Dancing Concert
    2 Nites Only! July 3 & 4
    JIMI HENDRIX
    Experience [in very small text. Ed.]
    PLUS
    The Seeds Thu July 20th
    Steve Paul’s The SCENE
    301 W.46th St. JU 2-5760

    Tuesday 4 July 1967
    UK
    LONDON EVENING STANDARD (page?) ‘Jimi Hendrix sued for agreement breach’
    PPX Enterprises Incorporated, of Broadway, New York, issued a High Court writ in London against Jimi
    (who is noted for his wild hair style), Polydor Records, and
    Track Records. to stop them recording Jimi
    until the
    PPX contract expires in October 1968. Writs would also be issued against Warner Brothers.”

    Tuesday 4 July 1967
    USA (CA)
    LOS ANGELES TIMES (page?) ‘Two Pop Groups in Los Angeles Debuts’ by Pete Johnson
    (Times Staff Writer)

    Two pop groups debuted in Los Angeles over the weekend; one an old group whose performance was
    90% material and 10% delivery, the other a recent group whose performance was 10% material and
    90% delivery.

    The Four Seasons, who have earned seven gold records in five years, appeared Saturday in the Santa
    Monica Civic Auditorium to a three-quarters-full house which extended them loud applause for a program
    of past and current hits.

    Focus of Show Lead singer Frank Valli, alternating between falsetto and middle range, was the focus of the
    show while his sidekicks carried on with humor, harmony and music.

    But the material was much more than the performance. Their staging is uninspired and their humorous
    material a mixture of corn and cliche.

    The quartet consists of lead and bass guitarists and an organist, all of whom sing. For appearances, they
    add a rhythm guitarist and a drummer.

    They reprised their hits of "Since I Don't Have You," "Stay," "Dawn," "Working My Way Back to You," "Tell
    It to the Rain," '"Sherry”, "Walk Like a Man," "Big Girls Don't Cry," "Bye Bye Baby," "Let's Hang On" and
    their latest, "Mary Ann."

    Their voices were projected through two on-stage loudspeakers, one of which did not work, reducing their
    vocal efforts to echoey traces in the midst of the instruments for a large part of the audience.

    What filtered through was comparable to their recordings, and the crowd enjoyed it all. Valli is a sure,
    polished singer and supplied striking renditions of "My Funny Valentine" and "Secret

    "Love."
    The second bow of the weekend was that of the Jimmy Hendrix Experience, who popped into the
    Whisky-A-Go Go for one performance Sunday night, sharing the bill with Sam and Dave, who close tonight.

    They electrified the house with a show which was more performance than material. Hendrix and his two
    cohorts are displaced New Yorkers
    [sic] who found success in England and are beginning to make an
    impact back here.

    Eerie Effects
    He plays left-handed guitar, chording underhand and overhand, picking strings with his hands and teeth
    and using feedback between his amplifier and instrument for eerie effects.

    Both he and his bass player perform at full volume, beating their instruments into nearly unintelligible
    noise. Their sound is urgently exciting but lacking in detail because the noise pre
    -empts the music.
    Hendrix kicked off the set of 10 numbers with "Foxy Lady," a raucous rock song which was warmly
    received. The performance also included "
    Like a Rolling Stone," "Can You See Me?" "Hey Joe" and
    "
    Purple Haze."
    The group was at its best on blues, doing a good job on "Rock Me Baby" and an exquisite version of
    "
    Catfish Blues," [ie Jimi's take on Butterfield's 'Two Trains Running'] in which Hendrix and his
    drummer soloed at length.

    But the trio's primary impact is visual: Hendrix the wild man, leering and posturing suggestively;
    Hendrix
    the guitar-master, stroking and abusing his instrument with contemptuous showmanship;
    Hendrix
    the hippie, costumed to the point of near parody; Hendrixthe unpredictable (Will he set fire
    to his guitar as he did at the
    Monterey Pop Festival? He didn't, but you weren't sure what would
    happen until he left).

    Sam and Dave, backed by a 10-piece band, did an abbreviated set of six gospel-harmony rock songs,
    including their hits of 'Soothe Me Baby" and "Hold-On, I'm Coming," before
    Hendrix materialised.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 July Newspaper & Magazine Articles (Text Only)

    Wednesday 5 (8) July 1967 [from this date publishing changed to Wednesdays]
    UK
    RECORD RETAILER (page 13) Britain’s Top 40 Albums
    -----------wk
    03 (03) (07) Are You Experienced - Jimi Hendrix Experience Track 61200
    33 (- -) (01) Sunshine Superman - Donovan
    (Page 19)
    Britain’s Top 50

    50 (38) (9) Wind Cries Mary - Jimi Hendrix Experience Track 604-004 Yameta, Yameta
    [The Retailer stopped publishing radio charts from this day forward]

    Wednesday 5 (6) July 1967
    USA (NYC, NY)
    VILLAGE VOICE (page 33) [ad for Gaslight] John Hammond & His Screamin’ Nighthawks
    (Page 40)
    What’s On

    ‘Around Town’
    (July 5): Concert, Len Chandler, the Young Rascals. Rheingold
    Central Park Music Festival, Wollman Rink, 8 p.m. ($1)
    [Note: JHE were unknowns, late booking. Ed.]

    Thursday 6 (8) July 1967
    UK
    DISC & MUSIC ECHO (page 3) Top Ten LPs
    wk
    07-03-04. Are You Experienced - Jimi Hendrix, Track
    -----------------------------------------------------------------
    HIT TALK BY ‘Hollie Allan’
    . . .'Fraid I keep getting Eric Claptonmixed up withJimi Hendrix—and that's bad! I don’t know who
    came first with this type of music, but "
    Strange Brew” is a good record.
    (Page 4)Cream - just beautiful’ by Penny Valentine
    THE CREAM were very very beautiful at London's Saville Theatre on Sunday night.
    And if that sounds pretentious the only excuse is that there is no other way to describe a group of such
    confident power and such incredible togetherness.

    If three musicians were meant to play together more than Jack Bruce, his head on one side to leave
    room for his tender voice and great "Rollin' And Tumblin’
    Ginger Baker wildly hair-raising on "Toad”;
    and
    Eric Clapton indescribable in red and surely the very best guitar player anywhere in England, and
    yes. I'm counting
    Hendrix (who else could play on "Steppin’ Out” with such authority and calm?)
    — then I'd like to see them.

    There have been a lot of very exciting acts topping the bill at the Saville. But I have never seen a group
    of such musicianly competent people, nay even brilliant, so politely grateful and so very happy. The
    happiness they felt playing together up there came over into the audience to provide a bill topper that
    deserved
    rounds of applause and cheering. Not wild ravings and leapings but a "thank you" to the
    Cream for
    letting everyone be part of the thing they have going.

    A bit more togetherness would have helped Jeff Beck on Sunday. Playing a lot better than he ever did
    with the
    Yardbirds, in his green floppy hat and fur coat and with a nice drummer. But the rest of the
    group ought to organise themselves and realise that an audience is worthy of more professionalism.

    (Page 6)
    NEW YORK NEWS by Nancy Lewis

    (Page 7)HENDRIX SIGNED FOR MONKEES TOUR’
    JIMI HENDRIX, who flew out to appear at America's Monterey Pop Festival last month, was such
    a success there he has been signed by the Monkees for their nation-wide Stateside tour starting
    tomorrow (Friday).

    Before returning to Britain at the end of the 60-day tour [only played 7 gigs. Ed.], Jimi will record his
    next single in America. It should be released on August 17.

    After 10 days of promotional appearances on TV and radio in Britain [quick to reassure UK fans that he
    wasn’t absconding back to US - just yet, although that was him for all intents and purposes actually
    back residing in the USA again after his
    9 months (only) exile, and only from then on just paying
    occasional visits to Europe]
    . Jimi Hendrix Experience then re-visit Stockholm where they had a
    big success in May.

    (Page 14) SCENE
    . . .Jimi Hendrix to tour states with Monkees . . . surely an all-time “points meeting!”
    Meanwhile, rumoured line-up for Hendrix’s “happening” tour this autumn: Eric Burdon and the
    Animals [not, although a Jefferey/Chandler act], Alan Price Set [not, although a Jefferey/Chandler
    act]
    , Soft Machine [not, although a Jefferey/Chandler act, Pink Floyd was the ‘freaky with a light
    show’ choice]
    , Tomorrow [not. Jimi’s jam with them had appeared in press with photos. Ed.] and
    Irish group,
    People [a Jefferey/Chandler act, Mike Jeffery changed their name to ‘the Eire Apparent’]
    . . .


    Thursday 6 (8) July 1967
    UK
    MELODY MAKER (page 2) Top Ten LPs
    wk
    03-03-03. Are You Experienced - Jimi Hendrix, Track
    (Page 3) [small B&W photo, ‘HENDRIX, Monterey hit]
    West Coast Success For Hendrix Experience
    Jimi Joins Monkees for Giant US Tour’
    THE Jimi Hendrix Experience are meeting with phenomenal success in America. They have now
    been fixed to join a nation
    -wide tour with the Monkees tomorrow (Friday).
    The tour travels around the States and will not finish until August 20.
    The Hendrix group are expected back in Britain on August 23.
    ManagerChas Chandler reports that since the group's astounding successes at the Monterey Pop
    Festival
    and the Fillmore Ballroom, San Francisco they have steadily built up enormous interest and
    demand on the West Coast.

    -------------------------------------------------------------------
    [1/2 page picture ad] the ‘marshall sound’ is getting around. . .
    . . .used by many of today’s big names including Jimi Hendrix Experience, the Tremeloes, the Who,
    Spencer Davis,
    the Cream, Bee Gees, Small Faces, Jimmy James And The Vagabonds.
    [took a while -
    3 hit singles & an LP! - before Marshall got around to including Jimi!]
    (Page 13) New POP Records
    Rupert’s People - Reflections of Charlie Brown
    . . .The whole concept of the number is based on Procul Harum’s “Whiter Shade of Pale,” the guitarist
    has included a few smooth
    Jimi Hendrix guitar phrases. . .
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 July Newspaper & Magazine Articles (Text Only)

    Thursday 6 (8) July 1967
    UK
    RECORD MIRROR (page 11)
    Britain’s Top 50

    National Chart Compiled by Record Retailer [Wednesday]
    50 The Wind Cries Mary 38 (9) Jimi Hendrix Experience (Track)
    Purple Haze off chart

    ------------------------
    TOP [30]L.P.’s
    3 Are You Experienced 3 (7) Jimi Hendrix Experience (Track)
    ---------------------------------

    Britain’s Top [10] R&B Albums
    2 Are You Experienced 2 Jimi Hendrix Experience (Track 612001)

    Friday 7 (15) July 1967
    USA
    BILLBOARD (cover & p.10) ‘Flock of Rockcoats to Hit U.S. in New Summer Wave’ by Mike Gross
    NEW YORK—The British, determined to hold their franchise on the U.S. pop market
    are sending a
    flock of their rock 'n' roll troops here for
    a personal appearance thrust this summer.
    MGM Records' Herman's Hermits start a giant 50-city tour on Thursday (13); Atco Records' [...] and
    the
    Mamas and the Papas are negotìating with the Procol Harum, who are running hot on the
    Deram label with "
    A Whiter Shade of Pale." to include the British group in their own Holly-wood
    Bowl concert scheduled for
    Aug. 18.
    [Electric Flag ended up replacing them, then they cancelled leaving just JHE. Ed.]
    The Who, the Decca Records group, will be accompanying Herman's Hermits on tour. This will mark
    the Who
    's first big tour in this country, following their click performance at the Monterey Pop Festival
    a few weeks ago.
    Jimi Hendrix, an American who scored in England and then returned for a triumph
    at Monterey.
    will make his New York debut in mid-July at The Scene.
    Whereas neither the Beatles nor the Rolling Stones are slated for U. S. appearances in the near
    future, the
    British contingent will be further strengthened by such groups as the Cream, Eric Burdon
    and the Animals
    , and the Dave Clark Five. Other English disk stars, who have made or are making
    their
    mark in the U. S. market and are due on the local scene within the next few months are the
    Tremeloes
    , Petula Clark, Engelbert Humperdinck, the Move, Peter and Gordon, Spencer Davis, Lulu
    and Crispian St. Peters.

    While British record stars are eager to translate success at home into immediate American acceptance,
    possibly because of the status involved, but more likely because of the money lure here as compared
    with their
    British income. It is curious that many top U.S. attractions, such as the Mamas and the Papas
    have yet to be introduced in
    England.
    It's not all smooth sailing for the British groups, though. Many U. S. showmen are worried about the
    repercussions of the
    international headlines on the jail sentencing of two members of the Rolling
    Stones
    , Mick Jagger and Keith Richards, on narcotics charges, and one of the Beatles, Paul
    McCartney
    's confession he's taken several LSD trips. They're wondering if these instances will place
    a taboo on the entire
    British rock scene. U. S. recording men are also worried that a similar crackdown
    here
    will involve hippie groups.
    While the Beatles sing “I’d Love to Turn You On” in their new song. “A Day in the Life.” from the "Sgt.
    Pepper's Lonely Hearts Club Band" album, many recording company executives are wondering about
    how far drug-oriented pop
    sounds can travel. as well as how long many of the turned-on pop hitmakers
    can keep their
    cool.
    (Page 14)
    BREAKOUT singles

    ‘Regional Breakouts’
    PURPLE HAZE Jimi Hendrix Experience, Reprise 0597 (Sea-Lark Ent., BMI)
    (San Fancisco)
    (Page 48)
    Hits Of The World
    (Courtesy Record Retailer [UK Wednesday])
    Britain : 50 (38) ‘The Wind Cries Mary’ Jimi Hendrix Experience (Track)
    Holland: 10 (--) ‘The Wind Cries Mary’ Jimi Hendrix Experience (Polydor)

    Friday 7 (15) July 1967
    USA
    CASH BOX (page 16) Record Ramblings
    Jimmi Hendrix of the Jimmi Hendrix Experience [sic] (in town to play Central Park) stopped
    by the Merson plant on Long Island to pick out some new Unicord amp equipment.

    (Page 26) The Tremeloes, Epic’s hot British group, currently represented by “Silence Is Golden”,
    spent 3 days in
    York last week and one night this week in between dates on their national tour.
    While in town, they caught the Doors and
    Jimi Hendrix at the Scene, dropped into Harlow's and
    caught the Mothers at the Garrick. They did a live show with Murry the K and tried out the WOR-FM
    headsets.

    (Page 28)Jimi Hendrix Experience In Tour With Monkees’
    NEW YORK—The Jimi Hendrix Experience, a new English group, has been chosen to share the bill
    with the Monkees on their seven-week tour of the United States.

    Jimi Hendrix, a Washingtonian, went to England on the invitation of then-Animal Chas Chandler,
    who heard him playing in the Village and thought him a real find. Teamed with drummer
    Mitch
    Mitchelland bass guitarist Noel Redding, the Jimi Hendrix Experience was formed. The group
    played to large crowds in Germany, France and Scandinavia, as well as England.

    "Purple Haze," and "The Wind Cries Mary," by the Jimi Hendrix Experience, have currently been
    released back to back by Reprise.

    (Page 45)
    Polydor To Handle Elektra In UK

    ‘Holzman Statement’
    On behalf of Elektra, Jack Holzman told Cash Box that the deal presented an excellent opportunity for
    Elektra to take advantage of Polydor's ability to promote and market the Elektra product especially in
    the singles field. He instanced the tremendous success that Polydor was enjoying at the moment in the
    singles charts with
    Jimi Hendrix and the Track label. Holzman also considers that Elektra's expanding
    pop activities will be boosted by the new association.

    (Page 60) Great Britain
    ‘Great Britain’s Best Sellers’
    Top Ten LP’s
    5. Are You Experienced—Jimi Hendrix (Track)
    (Page 61)
    Denmark’s LP Best Sellers
    Top Ten LP’s
    5. — Are You Experienced—(Jimi Hendrix/Polydor)
    (Page 62)
    Holland’s Best Sellers
    5 2 The Wind Cries Mary—(Jimi Hendrix/Polydor) (Schroeder-Basart/Amsterdam)
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 July Newspaper & Magazine Articles (Text Only)

    Friday 7 July 1967
    USA
    GO (page 5) [B&W photo in Hussar’s jacket.] ‘London Flips Over Jimi
    This is the greatest talent to come along since the Rolling Stones,” Brian Epstein said about Jimi
    Hendrix
    and his Experience.
    England has gone mad over American born Jimi who was discovered in New York byChas
    Chandler.
    Jimi’s concerts are sell-outs and his first three singles have reached the British top ten,
    In America for the Monterey Pop Festival and promotional work, Jimi has been considering offers to
    appear in New York.

    Jimi’s in-person guitar work is what has given him his much deserved popularity. Jimi and Eric
    Clapton
    of the Cream are considered the best guitarists in England.
    The newest single that The Jimi Hendrix Experience has put out is “The Wind Cries Mary”. Now
    on the British Charts it is due for immediate American release.

    “The newest single that “The Wind Cries Mary” was recorded only once.
    After explaining the form of the song to Experiencemembers Noel Redding and Mitch Mitchell
    the group played the number half way through so
    Chas Chandler could work out the recording
    balance. Then, in just six short minutes “
    The Wind Cries Mary” was recorded and ready for pressing.
    The single will be released here on Warner-Reprise Records.

    Friday 7 (8) July 1967
    UK
    NEW MUSICAL EXPRESS (page 4) ‘MONKEES IN LONDON’ by Keith Altham
    Sunday, July 2
    ONCE more unto the Royal Garden Hotel, where Brian Jones was now visiting with friends, having
    returned from Rome. The previous night he had sat around with the Monkees, playing a selection of
    guitars and dulcimers. In the Maze Room downstairs we breakfasted with Micky, who invited Brian to
    the concert that night. The problem was finding somewhere where
    Brian could watch in privacy.
    "We've got
    Hendrix on our American tour," said Micky enthusiastically. " That should really be
    interesting! The bass player
    Noel, he really knocks me out the way he looks. He was wearing some
    kind of white makeup in
    Monterey. He's out of this world. I would have liked to have got someone like
    Shankar on the show, but . . ."

    (Page 7) Britain’s Top 15 LPs
    wk
    04-03-07. Are You Experienced - Jimi Hendrix Experience
    (Page 9) ‘OXYGEN AID FOR NESMITH’
    Monkee collapses at concert. -- illness hoodoo
    [...]
    Jimi Hendrix, who has been staying at Peter Tork's Los Angeles home, was involved in an accident
    this week while driving Peter’s GTO car.
    Jimi's right ankle was badly hurt, and will have to be strapped
    up for his concert
    tour appearances with the Monkees. Peter's car was severely damaged, and the NME
    broke the news to him on Wednesday
    .
    [NB: Pontiac, makers of the GTO, a car that is the basis for the group's Monkeemobile vehicle, provided
    each member of the group with a complimentary car
    previous year. Ed.]
    (Page 13)America Calling
    ‘Hollywood’ Judith Sims
    ‘Monterey: loved or hated!’
    Hollywood looked like a miniature London this week, what with all the “leftovers” from the Monterey
    Pop Festival
    dashing around town, visiting this shop and that, sampling that food and this, trying to
    decide whether they love everything or hate it. Typical comment : “The weather’s great but there are so
    many beggars on the streets!”

    A few late comments on the Pop Festival . . .
    From Eric Burdon, sticking to jeans and a few Indian beads, while the Animalsstock up on some
    specially tailored brocade coats and shirts: “I think that
    the Festival was a good beginning for what is
    going to happen in pop music and the world in the next, say, three years.”

    From Jimi Hendrix, taking his guitar with him everywhere, because there’s always someone who wants
    to jam: “Yeah, man, dig this.”

    From Experiences Mitch Mitchell and Noel Redding: We weren’t very impressed by American groups
    - they don’t know anything about stage presentation.”
    (Mitch): “But Otis was great!” (Noel): “And
    Simon and Garfunkel!”

    From Joan Baez, flying to the Festival late from New York, where she was working on another album:
    “Well, I just got of the plane, but it looks just beautiful here. Everyone seems to be very happy.”

    From Brian Jones, who never did get mobbed, except by zealous photographers: “A lot of people just
    came up to me and told me they liked my clothes, or that I looked groovy, and asked about the group.
    There was a very nice, sort of lazy atmosphere in Monterey.”

    (The clothes worn by the various Englishmen for the Festival were a smash hit on their own!)
    In between recording sessions, the Jimi Hendrix Experience is planning to do a guest set at he Whisky
    A Go Go, where soul artists Sam and Dave are appearing, before joining the Monkee’s American tour.

    -----------------------------------------------------------------------------------------------------------
    Jack Nitzche, will be arriving in London in July to join old friend Andrew Oldham in some musical
    adventures.

    Nizche who was a well-known producer-arranger here pre-Beatles, worked with Phil Spector for many
    years and has played piano on virtually every
    Rolling Stones album. He produced Bob Lind’s “Elusive
    butterfly” and first album.

    He’s flying over with Canadian singer-composer-guitarist Neil Young, one of America’s most brilliant
    composers, who could very easily produce the kind of impact on England that
    Jimi Hendrix and the
    Walkers have.

    (Page 14) [B&W photos, Humperdinck, Tom Jones & Jimi most prominent, ‘The Top Five. . . From left:
    Humperdinck, Monkees, Tom Jones, Tremeloes,
    Hendrix.’] ‘Engelbert Pips Monkees’.
    1967 Half year NME Point Table survey conducted by Derek Johnson.
    [stuff about Dink & Monkees, Tom Jones...]
    Two more artists making their chart debut this year were the Tremeloes and Jimi Hendrix - although
    admittedly, the former had previously figured as backing group with Brian Poole. I’m sure all fans will
    be delighted to see that these two hit parade favourites have secured fourth and fifth place respectively
    - a worthy tribute to the Tremeloes’ beautiful harmony work and musical brilliance, and to
    Jimi’s earthy
    blues interpretations.

    [...]
    Chart - Point Scores In Full
    1. Engelbert Humperdinck…554
    2. Monkees…………………………546
    3. Tom Jones……………………..453
    4. Tremeloes……………………..426
    5. Jimi Hendrix……………408
    […Etc]
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 July Newspaper & Magazine Articles (Text Only)

    Friday 7 July 1967
    UK
    RAVE (cover) [full page colour photo of JH in black suit, with girl]

    Friday 7 (15) July 1967
    USA
    RECORD WORLD (page 24) Primary Record Exposure Chart
    WIND CRIES MARY Jimi Hendrix (Reprise)
    West
    KAFY-Bakersfield 37
    (Page 31)Money Music by Karl Rudman
    . . . Paul Powers WRKO Boston, New: Jay and the Techniques, Buffalo Springfield, Jim Hendrix [sic],
    Linda Jones, Bunny Sigler. Mods. Action: Third Rail. Smashing Top 7 Sales on “It’s The Little Things,”
    Sonny and Cher. As a result, Atco is re-servicing with another side. . .


    Saturday 8 (15) July 1967
    USA (Los Angeles, CA)
    BEAT (KRLA) ‘Pop Festival Souvenir issue’ (cover) [B&W photo of Jimi kneeling with hands raisedover
    his burning guitar [soon to be sold as a poster mail order by the magazine], and of Mama Cass singing,
    heading:
    ‘MUSIC LOVE FLOWERS’ in psyche text]
    (Page 1) ‘Music Love and Flowers’
    ENTER THE YOUNG
    [various B&W photos]
    TEN FULL PAGES OF EXCLUSIVE INTERVIEWS [by Jim Steck. Apparently the interviews had been
    broadcast ‘live’ during the festival?]
    AND PHOTOS FROM MONTEREY
    (Page 2) [3 large B&W fish-eye shots of the festival grounds]‘How The Happening Happened’ The
    Monterey International Pop Festival was a fantastic success by all accounts. It was a real victory for the
    art of pop music over commercial exploitation. Artists like the Mamas and Papas, the Byrds, Hugh
    Masekela, the Association and Simon and Garfunkel came to exchange ideas in almost continuous
    concerts.

    The idea for the first, tremendously ambitious pop convocation was born a scant two months ago one
    night in John Phillips living room. The evening of April 4
    . Alan Pariser. dropped in on John, the lanky
    bearded Papa of the Mamas and Papas, and his wife, Mama Michelle, to try to convince them to headline
    a profit-making festival in Monterey.

    Over Coffee
    Paul Simon of Simon and Garfunkel was visiting with the Philips at the time. Over coffee the two singers
    talked the promoter into a non-profit festival designed to upgrade pop music. Pariser was convinced it
    might work and so went along with the non-profit scheme.

    The Phillips-Simon team soon picked up support from other major figures in the pop world. The Mamas
    and Papas' producer, Lou Adler, Donovan,
    Mick Jagger, Paul McCartney, Jim McGuinn, Andrew
    Oldham
    and Smokey Robinson either lent support or joined the festival's board of governors.
    Obvious Absence
    Some obvious top-pop personalities like the Beatles, Bob Dylan, and the Rolling Stones were missing
    from the program. They were all invited but couldn't make it for some reason. Folk artists were ignored
    because it was felt that they are represented at their own festivals. All artists performed free and the
    proceeds from ticket sales were funneled into a specially created organization known simply as, "The
    Foundation." The funds will be used to create scholarships for music students, give financial assistance to
    pop performers and start courses in such pop topics as copyright laws, song composition, agents' practices
    and other often poorly understood areas, as well as establishing future festivals.

    Hard Work
    Agents, artists and businessmen
    surprised themselves at how hard they were willing to work tor tree. The festival brought out people's
    hidden creativity- David Wheeler, formerly a part-time public relations man, recruited and unemployed
    commercial artist, Tom Wilkes to design a program book. The team spent 12, roughly, 18-hour days
    whipping out an impressive 96 page book. The team had worked together so successfully, they were
    commissioned to do the cover for the next
    Rolling Stones* album and ads for the Stones, the
    Beatles
    and the Beach Boys.
    Phil Turetsky, the festivals 47-year-old unsalaried Business Manager was an important link in making
    the festival into a reality. He used the previous Monterey Jazz Festival as a model to balance expenses
    against the festival's intake.

    Hang-Ups
    Papa John and the rest of the festival's planners worked hard at anticipating possible hang-ups for the June
    16-18 event. John put in countless hours at the festival's Hollywood office constantly on the phone with the
    director or the Monterey fairgrounds or one of the many companies involved in setting up outdoor campsites
    to handle the overflow crowds. Tugging at his scraggly beard and fingering his ever-present black fur cap,
    John, the President of the festival's board of governors, arranged for leasing grounds outside Monterey,
    hiring shuttle buses, making sure food was available and handling complaints and demands from the
    artists. Not too surprising perhaps, was John's report that most of the artist problems came from the
    lesser known groups. The stars seemed relatively undemanding.

    (Page 3) [large B&W close up of Brian Jones.]
    BEAT: Can you comment about what's happening this weekend in Monterey?*
    Brian: Very groovy scene. We've been very busy recording. I just came away for a few days and it's so
    nice to get on someone else's scene. It's a very beautiful scene happening here.

    BEAT: A lot of people have been sort of critical of this kind of happening in this country. The uptight
    people.

    Brian: They're frightened of trouble but I don't expect any trouble, do you? It has been wonderful. I
    have been walking freely amongst everybody. Yesterday I was walking through and joining rings of
    kids and fans. You know I've never had a chance to do that much before. People are very nice here, I
    like it.

    BEAT: Would you like to see this kind of thing happen all through the world.
    Brian: We have had one in London and there are going to he more. But of course it should happen. I
    think it's wonderful. The new generation's expressing itself. This is one way of expressing itself

    BEAT: Do you like what's happening with the new generation?
    Brian: Yes, very much. There's lots of hassles but things always have to get worse before they can get
    better. There are mistakes on both sides.

    BEAT: What about the Stones-what's happening with them?
    Brian: We record practically all the time as the Beatles do. We just got about a week off so I came over
    here with Andrew (
    Andrew Oldham. Stones' manager). The others have sort of split to various places,
    I think, I'm not quite sure.

    But nobody seemed to get it together to come over here. I wish they had 'cause they have missed a very
    nice scene.

    BEAT: What do you think about the Beatles new album?
    Brian: Its great. Its too much. It's really good. I did a Beatles' session the other night, actually. On
    soprano saxophone, of all things. I've taken up playing reeds again. I used to play reed instruments.
    I bought a soprano saxophone the other day and ever since I have been doing sessions on it. There are
    soprano saxophones on
    the Stones' records, future Beatle records. You know, it's a funny thing — you
    get hold of something and put it on everyone's records. It's great. There's a very nice recording scene
    going on right now in London.

    BEAT: There have been rumors that the Stones and Beatles are going to record together. Could you
    comment on that?

    Brian: It would be at a certain stage. It would be a very nice thing. We are getting very close as far as
    work is concerned. Whether actually we could—well we could work something out together, from one
    point of view it might not be a very good thing because our direction is slightly different from theirs.
    Lack of distinction because of the joining up of the two might be lost. That's the only thing that could
    spoil it, I think. There will certainly be schemes. We spend an awful lot of time with each other now.
    We've got a lot of mutual ideas.

    BEAT: It certainly would be wild from the standpoint of a combination of sounds. It would seem to me
    that you would come up with something really unique.

    Brian: It’s happening already. As I said, I did this Beatle session— mixed on a Beatle session, various
    things.
    Paul's done a couple of ours. You know, it's already happening.
    BEAT: It's taking that direction, anyway.
    Brian: Yeah, and that's not a bad direction,
    BEAT: We're glad to have you in Monterey.
    Brian: It's nice to let people know, we're still functioning. Still around— still on the scene — still doing
    all we can.

    BEAT: How long are you going to be over here, Brian?
    Brian: I'm just going to he here for a very few days. Just a little break from recording and everything.
    BEAT: Are there any immediate plans for coming back over after the court stuff is cleared up?
    Brian: No, not at the moment but everything's going to be all right. The big job at hand is to get the LP
    done and we're spending an awful lot of time on it this time, it's going to be more of a production. We've
    really put some thought into it because people are still liking our albums. So we're trying to really give
    them something that will take them on a stage further. And, so that they will take us on a stage further.

    We feel at the moment that our important work is to be done in the studio rather than in baseball halls
    and stadiums around the country. You see, once you've been around the country once or twice people
    have seen you and it's a question of what's to be gained by going around again. But, there's a lot to he
    gained by letting them share our progression, because we are progressing musically very fast.

    BEAT: You're in a position to please yourselves more now, aren't you?
    Brian: Well to a certain extent that's always been true. But, we can't really please ourselves. We have
    too large a public who depend on us to be able to please ourselves.

    BEAT: That's the best costume I've seen at the Festival. It's beautiful—a work of art.
    Brian: Well, it's Old English and European stuff.
    BEAT: Did you fly here?
    Brian: Yes, I flew in the other night. I came by New York and Los Angeles. I spent about one
    hour in New York and five minutes in Los Angeles. Then I was flown straight out here on a jet. The
    Mamas and Papas, I think, own it or rent it or something.

    BEAT: Any schedule after the Festival?
    Brian: I've got a few things to take care of at home so I might be leaving as soon as the festival is over.
    On the other hand, I might just take in Los Angeles and New York on the way back and look up a few old
    friends. It's nice to come over here. I'm glad I came.

    BEAT: There's a Love-in scheduled for Los Angeles soon. Have you heard about that?
    Brian: It's such a different scene over here from back home. You have more of a problem or at least it's
    more acute over here than we do.

    BEAT: Which problem is that?
    Brian: The whole problem of social change which is going on around the Western world right now, It's
    going on in the Eastern world too, but in a different way. We won't talk about that.

    BEAT: Do you think the Pop Festival would look like this or have an atmosphere like this if it had been held
    in London rather than in California?

    Brian: Yeah. We've had a similar affair in London and there are going to be more. I would like to see these
    affairs become a regular part of young community life be
    -cause I think these people here — from what I've
    seen so far—are acting as a community. They have the community spirit, the community feeling. I haven't
    seen any signs of any trouble or any enmity. It's very nice. People are showing each other around and it's
    very beautiful. I'm glad I came. I'll have lots of nice things to say when I get back home.

    [B&W photo of Oldham and Jones. “I CAME OVER HERE WITH ANDREW”]

    *
    Kenneth Kubernik: ‘On that memorable weekend in June 1967, the cusp of my 13th birthday. I should
    have been rigorously preparing for my bar mitzvah. Instead my ears were riveted to a puny transistor radio,
    feasting on KRLA’s live broadcast from the Monterey Fairgrounds. “When we return,” the DJ breathlessly
    intoned, “Brian Jones of the Rolling Stones will be talking to our Jim Steck.”


    (Page 4)
    [B&W photo of Tommy Smothers]
    TOMMY SMOTHERS: "Before we get started, we want to officially welcome you to the first annual third, the
    third part of the First Annual International Monterey Pop Festival. My brother couldn't be here tonight
    because of various reasons and working with someone else like you work with your brother ... my
    brother's a straight man and it's kind of difficult . . . I'm gonna find it difficult talking and being with you
    people because no one plays it straight here either.

    "Of all the places in the country they could have put this Festival was here in Monterey . . . where Big Sur
    and the gorgeous ... where the broad Pacific Ocean, crystal blue ... sparkling . . . bring waves crashing
    against the rocks . . . strewn shores where majestic pines reach their hands up and fleeting to the sky
    . . . where wind torments and the beauty of the rocks and water and trees and green . . . here in
    Monterey — in this lousy weather! At least you know it's here in America... where in America we always
    say 'progress is our most infinite product.’

    "But there's nothing to worry about because it is beautiful country and there's a phrase
    that sometimes when the weather's not particularly the way we want it it's always good to use and I'd
    like to share it with you. It's kind of a cliche and it goes like this: The hills are always greener on the
    other side of the grass so it really doesn't make much difference, does it?'

    "By the way, all the people who've been around for the past couple of days-you've noticed how smooth
    everything's been going and a great deal of credit is due to about 150 young men around here —the
    Flower Fuzz —so let's give a hand to Flower Power "

    [B&W photo of Mickey Dolenz wearing an indigenouswar bonnet (actually from a
    Hollywood set we are told)
    ]
    BEAT: Just wanted to get your comments on what's happening here in Monterey this weekend.
    MICKY: Well, it's pretty obvious.
    BEAT: Have you seen anything here that would be a justified criticism of any kind?
    MICKY: Yeah, there are a lot of police meat around that aren't doing anything. They don't have to he
    here and they look pretty funny in their uniforms. BKAT: Do you mean that they look out of place?

    MICKY: Obviously, they look out of place. They're walking around with nothing to do.
    BEAT: Would you like to sec this scene repeated?
    MICKY: I'd like to see a place for this to happen every day. Like if there was a big place —a reservation
    —kind of tribal area where anybody could come anytime they wanted to and do anything they wanted.
    I'm looking to set up something like that now where people could set up a candle booth. Just a kind of a
    fair but have it like all the time and there would be slow periods and fast periods — but have it there all
    the time.

    BEAT: Speaking of tribes, I notice you've got a beautiful costume on. Where did you get it?
    MICKY: I made most of it myself I tried to get as close as possible to my Indian heritage — the
    Chickasaw.

    BEAT: Do you have some Indian heritage? I'd like to hear about it.
    MICKY: A lot. Well, my great-grandfather was a Chickasaw Indian and Uh, I’ve been trying to track down
    as much as I can. you know.

    BEAT: Have you got any interesting background about some of your ancestors. Some of the things they
    might have been involved in as far as the white man

    MICKY: Yeah, they got put on a reservation.
    [B&W photo of Otis Redding]
    BEAT: How are you enjoying the happenings here?
    OTIS: Very great, you know. People everywhere, you know, and everybody's having a good time. The
    music's great, too."

    BEAT: What about the people who have been criticizing the fact that this is going to be happening here in
    Monterey. Have you seen anything here today that would give people a reason to be down on it?

    OTIS: "No. I haven't seen anything that has taken place yet that's very bad. Everybody just out here
    having a good time. People come dressed just like they want to. Everybody's natural and having a good
    time, you know. And I think it's a great thing."

    BEAT: Do you think this is something that we should have more of in this country as far as freedom of
    expression in that area?

    OTIS: "Right. Freedom of expression. Yes."
    BEAT: What about the police. What has your personal experience been with the man?
    OTIS: Well, the man has been very great you know. Nobody has been giving anybody any trouble.
    There have been no kinds of fights or nothing. Every
    -body is together and even the policemen are kind
    of shocked themselves to see what’s going on and I think it’s very great. I think the end of it’s going to
    be very great too.

    [B&W photo of Ravi Shankar]
    I'm overwhelmed and I'm especially very happy be-cause this is something that resembles very much
    the music festivals we have in our country (India). You know, the whole audience sitting outside under
    the sky and open air thing and very sort of informal. At the same time very well organized. Of course
    our festivals go all night, you know. They start about 6 o'clock and end about 7 or 8 in the morning. But,
    beautiful . . . and these young people are so beautiful . . . and I love them so very much and I'm so
    grateful to be loved by them also. I was very happy and very inspired and in some moments I really felt
    beautiful feelings. Feeling God, as we say. They were beautiful listeners, also — Ravi Shankar.

    [B&W photo of Candice Bergen talking to Lou Adler]
    Candice Bergen: "I think the Hippies are getting power and the Establishment’s getting worried"
    [B&W photo of David Crosby]
    Man, there's so much going on ... I couldn't be-gin to tell you . . . there's an enormous quantity of
    people here. Most of them are really grooving. There are very few police. A great deal of enjoyable spirits
    and good vibrations and flowers and good people. The only thing there's too much of is photographers and
    there really aren't too many of them. Everything is happening
    , man, music, people, festival and everything.
    It's beautiful. It's just the nicest scene I've ever seen— David Crosby
    .-
    (Page 5) ‘LOOKIN’ OUT’ [3 B&W photos of Jimi, standing squirting lighter fluid, then kneeling over his
    burning guitar, and one playing with his teeth]

    BEAT: How do you feel about being back home, Jimi (Hendrix)?
    JIMI:It's very, very, very, very beautiful. Very . . . very .. . very .. . How long can I say this –
    very, very, very. Keith Altham from England—he says that Donovan wears golden undies. I
    don't know about that.

    BEAT: This is for a pop music newspaper [reminding JH that this is going ‘public’/ that there may be
    younger readers?]
    .
    JIMI: O.K. Well, he doesn't man, he doesn't, honest, he doesn't.
    BEAT: You're on tomorrow night, right?
    JIMI: No. (turns to friend) when are we on?
    FRIEND: Sunday night. [‘friend’ would seem to be Jeffery? Ed.]
    JIMI:Yeah, not till Sunday. Big build up. you know, blah, blah, blah.
    BEAT: This is the first time you're appearing here since you went over to England, right.
    JIMI: Yeah, the very first time.
    BEAT: Hey, is this guitar especially for here?
    JIMI: Yeah, for the show tomorrow— I mean, for whenever we play
    BEAT: That's a groovy outfit.
    JIMI: Yeah, look at these little shoulder pads[ie he is wearing his “hussars” jacket]—for American
    football. You should see the English football (soccer). It's so ridiculous. They run around with
    their little hands up in the air like little pigeons — run around and kick things, you know.
    Things pertaining to football.

    BEAT: Well, we'll catch you tomorrow night.
    JIMI: Yeah, man, dig.
    BEAT: (To friend of Jimi Hendrix). Can you tell us a few things aboutJimi's stay here. Is he to be here
    long?

    FRIEND: Yes, he's got a week in the Fillmore Auditorium in San Francisco. I think Jimiis
    going to stay over here for about a week after the Fillmore.
    BEAT: A friend of ours told us that he saw Jimi in England recently. We hear that he's very big over
    there.

    FRIEND: Yes, he's a giant over there. He's had three singles in the Top 10 and he looks as if he's on his
    way to another one. And his L.P. in Europe at the moment is outselling everything except the Beatles'
    album - which is quite a lot.

    (Page 8) ‘Monterey – It Was A Good Beginning’ [Eric Burdon interview]
    [...]
    "At the Richmond Jazz Festival in England, I sat around and watched other people jam and
    joined in with a few people. Jimi Hendrix and The Who among others.
    '"We intended to have a "sit-in" with Pig Pen from the Dead. We went up to his house but we could not
    find any guitars, unfortunately. Still, we tried. But I learned a lot by just talking to the other acts there
    and by listening, talking and saying. That was enough.
    [...]

    (Page 15) The Editor
    [...]
    . . .
    Jimi Hendrix had everyone believing that he was about to burn the entire place down with a
    can of lighter fluid and a book of matches. [...]

    (Page 19) On The Beat by Louise Criscione
    [...]
    Hendrix Surprise’
    Despite the fact that the world first heard of Jimi Hendrixbecause of the tremendous success he
    met in England,
    Jimiis an American who has been on the music scene for quite sometime.
    Chas Chandler, ex-Animal, discovered Jimi in Greenwich Village and brought him to England. Jimi,
    as you know, took England so much by storm that the latest "in" thing in London is for the guys to have
    permanents so their hair will resemble
    Jimi's —whose hair, by the way, is natural [NOT! Ed.]. [...]
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 July Newspaper & Magazine Articles (Text Only)

    Saturday 8 (15) July 1967
    USA (Chicago, IL)
    BEAT (WCFL) [probably all issues have same content as above]

    Saturday 8 July 1967
    UK
    FABULOUS 208 (Radio Luxembourg) (page?) [full page colour photo of Jimi in Hussars against/
    in an ivy hedge]
    [title?] [text?]
    [Possibly this issue, but could even be from 1968]
    [B&W photo of smiling JH in ‘Hussars’ jacket]
    LIKES AND DISLIKES
    Can you tell me the likes and dislikes of Jimi Hendrix? Carol, Dunstable.
    (Mo back again.)
    Jimi Hendrix likes music, hair, mountains and fields. But dislikes marmalade and cold sheets.

    Saturday 8 July 1967
    USA (FL)
    MIAMI HERALD (page?) [line drawing of a balding ‘pops’, brainiac-like head proportions!]
    ‘No Stampede Yet For Monkees’ by Jack E. Anderson (Herald radio & TV Editor)
    Fingers are being crossed and rabbit's feet massaged by the sponsors and producers of that concert to
    be staged by television's Monkees Sunday night in Miami Beach Convention Hall.

    The event is beset by several problems. For one thing, the ticket sale has been
    un-sensational, in spite of the group's much-vaunted sell-outs in other cities. As of Friday only half the
    convention hall's 13,000-seat capacity had been sold.

    Dan Chandler of WQAM, which is cosponsoring the concert with Dick Clark Productions, is optimistic,
    however, “That's a pretty good advance sale" he said. This is a town where everybody buys tickets at
    the last minute."

    Matters haven't been helped by the strange ways in which Clark Productions and a public relations outfit
    called Raybert Productions are handling the tour. They're chary of publicity, don't want the singing
    mop-heads to meet their fans head-on, and are generally uncommunicative.

    For example. The Monkees are accompanied by a second musical combo[Sundowners? Ed.] but the
    producers haven't bothered to inform WQAM or anybody else what it is. This could present a problem for
    the station's eight deejays who are serving as rotating masters of ceremony on stage.

    The Monkees are scheduled for a concert tonight in Jacksonville. Afterward, the party flies here by private
    plane, arriving at about 1:30 or 2 a.m. somewhere at International Airport, safely out of reach of their teen
    following.

    They will be whisked away to Miami Beach's Eden Roc Hotel where 21 rooms have been made available.
    The hotel has been asked to provide the utmost security to keep the boys from being mussed up by fans.

    This prim and furtive operation contrasts oddly with the riotous hoopla that usually attends this type of tour.
    And it baffles the gung-ho crowd at WQAM.

    That station's bitter rivalry with the also rock ‘n’ roll WFUN may create another concert hazard. WQAM is
    cosponsor of the concert and it says so on the tickets, but WFUN has also been making capital with the
    event like WQAM, it bought a block of a hundred tickets and gave

    the tickets away during an on-the-air contest.
    WQAM says WFUN’s tickets won't be accepted at the turnstiles if the tickets are defaced in any way,
    meaning if any attempt is made to erase, blot out or superimpose anything on WQAM's call letters on the
    ticket face.

    Bob Harris of WFUN says none of the tickets his station has given away has been defaced. The station
    merely rubber-stamped WFUN's call letters on the reverse, blank side, WQAM's Chandler agrees this is
    okay.

    There is some worry the rival teen following of the two stations may get over-zealous and that WFUNers
    may try to demonstrate during the concert with placards.

    At least that's what WQAM suspects may happen. And Chandler says firmly that any kid who tries it will
    get the heave-ho. Nineteen policemen will be on hand as enforcers.

    If the more sedate audience attending the pop concert featuring pianist Peter Nero next door at the
    auditorium hears any adjacent tumult, they will know it's just the kids playing Arabs and Israelis it
    should be a splendid evening.


    Saturday 8 July 1967
    UK
    MIRABELLE (page 20) [teen girl’s mag. Page of 3 photos from Aldershot (1 covers most of page) + 1
    from ?]
    Mirabelle Scrap Book
    ‘What An Experience
    1967 saw a new artiste on the pop scene. His name was Jimi Hendrix and he was discovered by
    manager and ex-
    Animal Chas Chandler.
    You have to see and hear Jimi in action to believe it!
    But here are some pretty remarkable pix showing Jiminot only playing the guitar behind his back but
    also with his teeth. I think you’ll agree it’s all quite an
    experience!

    Saturday 8 July 1967
    USA (CA)
    SAN FRANCISCO EXAMINER (page 10) KYA’s Top 30
    03. Light My Fire The Doors
    04. White Rabbit Jefferson Airplane
    05. Society’s Child Janis Ian
    07. Whiter Shade of Pale Procol Harum
    10. Purple Haze Jimi Hendrix Experience
    29. Bluebird Buffalo Springfield

    Sunday 9 July 1967
    USA (Jacksonville, FL)
    FLORIDA TIMES-UNION (page?) [B&W photo of Monkees on stage]
    ‘Monkee shines

    Heavy rains cant keep the Monkee fans away. It was wet outside, but warm inside the packed
    Jacksonville Coliseum Saturday night when the Monkees quartet gave a swinging concert as the boys
    switched instruments, switched costumes and
    switched on the audience. Flashing strobe lights and
    multicoloured spots added to the dimension of audience involvement and high spots of the evening
    were the Monkees
    solo performances.
    The Monkees, who were sponsored here by WAPE radio, came to Jacksonville fresh from a trip to Paris
    and England.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 July Newspaper & Magazine Articles (Text Only)

    Sunday 9 July 1967
    USA (NY)
    NEW YORK TIMES (page 31) MUSIC PROGRAMS
    Friday
    Forest Hills Music Festival, Tennis Stadium, Forest Hills, 8:30 P.M. The Monkees [& Jimi Hendrix
    Experience - unmentioned] with Dick Clark and WMCA Good Boys [sic]. Also on Saturday and next
    Sunday at 8:30.

    Monday 10 July 1967
    W. Germany (BDR)
    BRAVO (page 71) [B&W photo lying on stage at New World, ‘Showman Jimi dominates the guitar in
    every situation
    ’]
    ‘Jimi is not a beauty, but ‘The show is worth seeing’’
    Berlin
    Jimi Hendrix is not at all beautiful, but his show is really worth seeing, at least Jimi left behind that
    impression during his guest appearance in Berlin.
    Jimi's show was not beautiful, but worth seeing; not natural, but business-like. Jimi's guitar skills are
    beyond doubt, but his singing is not that far away. Jimi, who looks very intelligent, was well received
    by the Berlin audience. Devoutly, the fans listened to the master.
    Klaus Achterberg, 24 Seegefelder Street, Berlin - Fee for Picture and Report: 20 Mark.

    Monday 10 July 1967
    USA (FL)
    MIAMI HERALD (page?) ‘Nero’s Neat But Monkees Show Shines’ by David Nelson (Herald Writer)
    Black and white, day and night Peter Nero and the Monkees have about as much
    in common. So do their audiences. And Sunday night Miami Beach saw both in simultaneously
    contrasting action.
    More than 3,000 well-dressed, sedate and culture--minded people filled Miami Beach Auditorium to
    hear the Peter Nero summer pops concert.
    Regular ushers directed regular people to their seats. The audience was composed, basically of
    middle-aged-and-up people, although several young couples seemed to be making a dress-up date of
    the affair. A whole section of well-behaved teenagers, participants in the University of Miami's summer
    band camp, sat in the balcony.
    At the Miami Beach Convention Hall a crowd of 10,000 waited with patient nonchalance for the four
    instant-success TV teen idols.
    The hallwas nearly full and 150 security officers had their hands full, too, keeping the kids in their
    seats. Some of 65 Miami Beach policemen on hand sat behind a makeshift fence of chair dolleys,
    set up to protect the new "fab" four.

    [Day?]~ 10 July (Oct) 1967
    USA
    TEEN SCREEN (page ?) [B&W photo, ‘The fairgrounds were a maze of shops and stalls’.]
    ‘It Happened In Monterey, Diary of a Pop Festival’ by Michelle Straubing
    Friday night, June 16 —
    Well, here I am! And, so it seems, is everyone else! After a seven-hour drive that passed such
    interesting sites as Donovan Rd., I finally arrived at Monterey and the festival fairgrounds. Although
    there was quite a bit of traffic, I very sneakily found a back way and managed to avoid the traffic as
    well as finding a rarity — a free parking space.
    As I approached the front gates of the fairgrounds, I was greeted by a huge sign that informed
    would-be entrants that the entire festival was being filmed for a TV special in the fall, and everyone
    entering did at the risk of being permanently preserved on film.
    Figuring the camera had more to fear from me than I did from it, I gathered courage and entered
    the section to obtain all my press goodies — a press badge, tickets to all the concerts, and
    mimeographed “notes for the friendly media.”
    I was then informed that a press conference was being held to answer any questions the press
    might want to ask. Feeling slightly confused and insecure as to what was happening, I decided to
    take a peek at the press conference. No sooner did I walk in than everyone else walked out! Actually,
    the conference had really just ended.
    I had about two hours to wait before the first concert started, so I decided to take a look around the
    fairgrounds. There were all sorts of booths set up selling everything from fruit to hamburgers to paper
    dresses. Two areas had been set up for closed circuit TV for those who didn’t have tickets to the
    concerts. It was too bad people didn’t know about that until they arrived because maybe even more
    people would’ve shown up. Scattered all over the grounds also were tents, sleeping bags, blankets,
    and an occasional policeman.
    When the time came for the first concert, I finally found my way to the stadium entrance reserved
    for press, artists, and guests. There were two press sections: a few feet roped off around the front of
    the stage for photographers and members of the press who didn’t have seats. For those of us who did
    have seats, there were about six rows of folding chairs, right behind the photographers, which again
    was roped off from the rest of the stadium.
    There were several surprises throughout the first concert. First of all, there was a change in artists
    scheduled originally to perform tonight. Secondly, there were so many interesting people wandering
    around this small front area, that I didn’t know where to look first, at the stage or out in the audience.
    It wasn’t easy, but somehow I managed to do both. For instance, those sitting around me included
    Chas Chandler (former Animal), Brian Jones, Dewey Martin (Buffalo Springfield), Monkees Peter
    and Micky, ex-Raiders Drake and Fang, and Mama Cass. Brian was wearing a beautiful gold robe and
    looked great! Micky was wearing an Indian head-dress that flowed to the ground.
    The Association opened the concert and then joined the rest of us in the audience. Other groups
    performing were Eric Burdon and the Animals, The Paupers, Beverly, Lou Rawls, Johnny Rivers,
    and Simon and Garfunkel. Introductions were done by such notables as John Phillips, David Crosby,
    Peter Tork, and Lou Adler.
    The weather was absolutely freezingly nasty and drizzly. So the show seemed to lag occasionally,
    especially when I realized that just about everyone performing played almost a complete set (45 min).
    As a result I am now sitting writing this report at 2:30 in the morning and think it’s just about time to
    turn in.
    Saturday, June 17 —
    By the time I arrived at the fairgrounds today, I had already missed half the afternoon concert. So I
    decided to continue strolling over the grounds and that’s when I began to hear the mumblings . . .
    The Beatles
    , or at least three of them, John , Paul , and Ge orge are here!! Or that’s what
    everyone
    is saying. So naturally I’ll have to keep my eyes alert.
    As I walked along the grounds, I noticed new things had been added since yesterday. People were
    selling tatoos and many spectators were becoming very colorful. One man inparticular had shaved
    his head and replaced his hair with all sorts of vivid designs.
    More rumors — not only are the Beatles here, but Paul will be introducing The Byrds tonight and
    tomorrow George will introduce Ravi Shankar.
    I continued my wanderings and saw other people walking around with huge cartons of flowers —
    throwing them all over everyone and everything. It was really very nice.
    When I decided it was time for supper I started looking over the various food concessions. After I
    bought my food, I started looking for a place to sit and eat. All of a sudden I heard this beautiful
    English accent asking me if I was lost. I turned around and discovered the voice belonged to Brian
    Jones! I told him I wasn’t lost and we talked a few minutes more before he said, “See ya later,” and
    walked off. I went off too; surprised at his friendliness and the fact that he was able to walk through
    the grounds in one piece.
    [B&W photos. ‘Below: Brian Jones out did Batman in the cape department’. ‘Above: Monkee Mickey
    came garbed in his native costume (Honest Injun!).’]
    Once again it was time for the concert, so off I went - I took my seat and was soon surrounded again
    by the Association, Brian Jones, and Dewey Martin.
    On stage were Moby Grape, The Byrds, Jefferson Airplane, Hugh Masekela, Laura Nyro, Booker T and
    the MG’s, and Otis Redding.
    Tonight’s concert, mostly emceed by Tommy Smothers and Peter Tork, was quite interesting in several
    respects and mostly in regard to The Byrds, not, by the way, introduced by Paul.
    Jim McGuinn introduced himself as Roger, and then a jet flew overhead causing David Crosby’s face to
    light up.
    After the concert was over inside the stadium, I discovered another concert of sorts going on outside.
    A group of people had grabbed garbage cans, logs, and sticks, and were banging out a groovy beat
    which had attracted quite an audience.
    But it was getting late — or should I say early — and I was freezing, so I had to leave. As I am now
    utterly exhausted and in the process of thawing out, I’ll close for now.
    [B&W photos, ‘Brian Jones on stage.’ ‘David and the Springfield.’Mama Cass takes a larf-and-
    refreshment break.’ ‘Peter reporting Beatle news.’]

    Sunday, June 18 — (Happy Birthday, Paul)
    This afternoons concert consisted of Ravi Shanker who was not introduced by George. When I arrived
    on the grounds today, I was greeted by a new sign informing all the press to report to the press
    building. It seems that there were too many people holding press badges and the press area couldn’t
    hold them all. There was a long line, but a short wait, while things were sorted out before I could go
    on my way.
    I finally got in to see some of Ravi Shankar, but as it was very crowded I didn’t stay for long. So I
    stood out-side the “backstage” entrance and listened to the rest of his concert.
    While standing there I saw Chad and Jill Stuart going in and Mamas Michelle and Cass wandering in
    and out. I also met one of the Strawberry Alarm Clock and some people who were with Gypsy Boots,
    and the famous Randy S., Micky Dolenz’ girlfriend, for whom the song was written.
    The rumors today were stronger than yesterday. Not only arethe Beatles here, but they will perform
    tonight!!
    “But Ringo isn’t here,” I said, and was quickly informed the Whos drummer will be taking Ringo’s
    place!
    I continued my wanderings and saw the Association posing for pictures by the paper dresses. One of
    them said something about wanting to get a pair of paper briefs.
    A final press conference was called and off I went. There was a speech given by Monterey’s Police Chief,
    Frank Marinello. He said there were an estimated 50,000 people at the Festival. As Monterey had only
    40 uniformed personnel, they had to borrow extra reinforcements from neighboring towns. He very
    happily reported that no complaints had been lodged against the police, and in fact, he was beginning
    to like the hippies. He had such confidence in his men and in the behavior of everyone attending the
    festival, that he had already sent home quite a few of his men. He also said that he had made many
    new friends and was even invited to come visit the Haight-Ashbury district of San Francisco (hippie
    headquarters) where he would be given a guided tour. He then added that he was seriously
    considering taking the hippies up on their offer. At the end of his speech, Derek Taylor, festival
    publicist, placed a peace necklace around Chief Marinello’s neck.
    Then the questions started coming. Where was all the money going to? As you may or may not have
    heard, all the stars had agreed to perform for no fee and all the proceeds were to go to charity. We
    were told that many charities had asked for the money but that the Board of Governors, comprised of
    Lou Adler, Donovan, Mick Jagger, Paul McCartney , Jim McGuinn, Terry Melcher, Andrew Oldham ,
    Alan Pariser, John Phillips, Johnny Rivers, Smokey Robinson, Abe Somer, and Brian Wilson, will be
    meeting very shortly with all of the artists who per-formed and they will all take a vote as to where the
    money should go.
    Someone asked if the festival will become an annual affair and we were happily informed that it would
    be. THEN someone asked about the BeatlesDerek closed the conference by saying he didn ’t know
    if
    they were here or not, but rumor had it that they were disguised as hippies!
    Oh well, on to the concert. And what a concert it was! Introductions were done by John Phillips, Peter
    Tork, Tom Smothers, Brian Jones and Eric Burdon. The line-up was very impressive: The Grateful
    Dead, The Blues Project, The Buffalo Springfield, The Who, The Jimi Hendrix Experience, Scott
    McKenzie, and The Mamas and Papas. Flowers were still being thrown about along with an extra added
    attraction — free carrots.
    The first surprise of the evening was David Crosby performing with the Buffalo Springfield.
    Then Tommy Smothers came out and said that there were reports that The Beatles were here. He said
    that they were told to go pick up The Beatles and so they all piled into a car, headed for the beach,
    and waited for their submarine to surface. However they soon realized they should have gone to the
    airport instead and so they did. He said at last report they were still flying very high — over the airport
    in their submarine, but should be coming down soon. Then he added that he really would like to clarify
    those Beatle rumors, “I don’t know if they are here or not” and with that he walked offstage.
    Then, in the middle of one group’s set [Grateful Dead. Ed.], Peter Tork came out and said he’d like to
    make a special announcement. It seems that the Beatle rumor had gotten quite out of hand, And so had
    Beatle fans who were trying to get in the already overcrowded stadium. He said he’d like to make it very
    clear that The Beatles would not be performing, so there was no need for all the commotion going on
    outside.
    By the time The Who came on to really break up the audience and their equipment, the parts of the
    stage that weren’t being used by performers were being used to accommodate the overflowing
    audience. For those of you who haven’t heard. The Who put on quite a stage act. They end each set
    by smashing up their guitars and other excess equipment on stage! They start by switching all the
    dials on their amps while a great deal of smoke erupts from behind them. Then they pull the guitar
    cords out of the amps and start smashing their guitars all over the stage, causing fragments to go
    flying all over the audience. I just missed being hit on the head by one of these UFO’s, so I also
    missed getting a souvenir. The people directly behind me were hit in the arm and therefore kept the
    piece.
    Then the stagehands came out to clean up the mess. I really don’t know why they bothered because
    the next act, The Jimi Hendrix Experience, performs the same type of smashing end, though
    slightly different. After playing his guitar with his teeth and then behind his back (obviously not with
    his teeth), Jimi very neatly places the guitar flat on the stage. He then goes off and comes back with
    an oil can. I naively thought that perhaps he was going to make some unusual guitar sounds from the
    drops of oil landing on the strings I joined everyone else in standing on the chairs to get a better view.
    By this time, Jimis guitar had burst into flames! Then he too began smashing it all over the stage. It
    put out the fire anyway! He kept all his pieces and then threw them out to the audience. This time the
    person sitting two seats away from me got the whole neck of his guitar. I had long since chickened out
    and ducked.
    The show was closed by The Mamas and Papas, proving the Beatle rumors to be just that . . . rumors.
    Mama Cass brought up some interesting comments when she introduced their song, “I Call Your Name.”
    She said when they originally did this song, it was in the hopes that her ex-amour John Lennon would
    hear it. “I say ‘ex’ because I can’t stand men with hair all over their faces’” She continued to say that
    she hoped everyone would get their wish through this song as she got her wish through it. Waves of
    laughter went up through the audience causing Cass to say. “Now now, no rumors.” She closed the
    introduction by adding. By the way, somebody asked me today when I was going to have the baby!”
    And so ended the festival. As I will be staying here one more night to wait for my flight home. I will
    write more tomorrow.
    Monday, June 19 —
    Well, the festival is now over Everything was absolutely great! And I can’t wait for the next one. I’m
    sitting here at the air terminal writing this last piece and wondering whether or notthe Beatles were
    really here. I decided that if they were, I think I saw two of them, and if not . . . well they were just
    two people who looked an awful lot like John and Paul.
    Well, I’m glad to see that I’m not the last person to leave. There are still many hippies running around
    the airport. Whoops — there’s Brian again, and it looks like he’s going to be on my flight. He is! This
    could be the perfect end of a wonderful weekend . . . !
    (Page?) Dick Clark
    [...]
    Meanwhile. New York was hosting such groovy people as
    The Doors and The Jimi Hendrix Experience,
    who played together at the Scene.
    The Jimi Hendrix Experience has become one of
    the biggest acts in England during the past year. I think they are going to be equally as big over here.
    (Page?)Hollywood by Susan Starr
    'AN EXPERIENCE'
    We now see why an English group called The Jimi Hendrix Experience has been
    packing them in all over Britain. They played a one night stand at a Hollywood nitery, taking time they
    didn't have because the whole town demanded a chance to see them (They performed at Monterey
    and tore the festival apart!) They are really something else.
    Guess we don't have to tell you, though. Many of you have probably seen them for yourselves. They
    spent much of this summer touring the States with the Monkees.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 July Newspaper & Magazine Articles (Text Only)

    [Day?]~ 10 July (Oct) 1967
    USA
    FLIP (pages ?, 54 & 55) CAROL DECK REPORTS ON A MAD, MAD WEEKEND OF MONKEES, BEATLES
    AND THE GROOVIEST GROUPS IN THE WORLD!

    THE MONTEREY POP FESTIVAL!
    The rules of the game, printed and handed out to press at the beginning of the first International Pop
    Festival, held in Monterey, Calif., stated “This is a festival, not a war,” and advised us all to “Turn off
    your mind, relax and float downstream.”

    And so we did, and with many thousands of others we sat for over 20 hours during a period of two-
    and-a-half days on cold, hard, uncomfortable metal folding chairs. And what a groovy time we had!

    Over 30 of the top groups in the recording industry performed, and many more came to see or to
    introduce friends.

    MONKEES PETER TORK and MICKY DOLENZ, though busy recording and preparing for their tour,
    took time off to come up from Hollywood . . .MICKY never did make it on stage, except to sit on the
    side and watch the BUFFALO SPRINGFIELD. . . but PETER was kept busy all weekend introducing LOU
    RAWLS and THE BUFFALO SPRINGFIELD and then trying to quiet fans who had climbed up on the walls
    and roofs of the arena looking for
    BEATLES.
    Rumors whipped around the festival all weekend that at least one, if not three, of the BEATLES were
    there . . . only one not reported seen was
    RINGO STARR ... but none of them ever appeared on stage
    . . . Heaviest rumor was that
    GEORGE HARRISON would introduce RAVI SHANKAR, who completely
    creamed everyone with his very peaceful, beautiful, refreshing music . . . but
    GEORGE never showed.
    MICKY DOLENZ was far from inconspicuous in his complete (American) Indian outfit, including
    feathered headdress which flowed down to his heels . . . MICKY told FLIP that he made the entire
    outfit himself and that the headdress, despite its size, was really very light and comfortable . . . but he
    did have to take it off when he went out into the audience to watch
    the Who because people couldn’t
    see over it.

    At one point MICKY couldn’t find a seat and decided to sit on the ground in an aisle but told he would
    have to clear the aisle, so he returned backstage where he spent most of the festival.

    Another who made no attempt to remain unnoticed was Rolling Stone BRIAN JONES, who strolled
    about during the entire festival in floor length (India) Indian beige robes . . .
    Brian looked very pale
    and his hair seems to be a lighter shade of blond ... he could definitely use a little of the good California
    sunshine . . . unfortunately he didn’t get any in Monterey where it was cold and over
    -cast the entire
    weekend and even rained once while OTIS REDDING was on stage.

    Photographers at the festival didn’t give BRIAN JONES too much trouble until PETER TORK decided to
    say hello . . . PETER walked across the front of the arena and leaned over to shake hands with
    BRIAN,
    he was sitting in the second row with a blond girl
    [Nico. Ed.] who was with him all weekend, and several
    dozen flash bulbs exploded in their faces.

    At one point later a photographer was giving BRIAN a particularly bad time and an official asked him to
    move on and offered to throw him out of the arena . . . but
    ANDREW OLDHAM said “No, it’s alright.”
    Latest kick with singers seems to be to take up photography . . . among those sporting cameras during
    the festival were DEWEY MARTIN, STEVE SILLS, MIKE WILLIAMS and DINK (of The KNACK).

    SEEN AT THE FESTIVAL . . . DAVID CROSBY of the BYRDS and PAUL KANTER of the JEFFERSON AIRPLANE
    wandering through the booths. . . The MOBY GRAPE feeding chocolate chip cookies, which had far more
    than chocolate chips in them, to their manager . . . Former Action Kid HIKE WILLIAMS standing backstage
    as though looking for someone . . .JOHNNY RIVERS gone hippie in white pants, blue turtle neck sweater
    and soft white vesty thing lined and edged in grey fur.

    SIMON AND GARFUNKLE singing, “I wish I were a cornflake,” and BRIAN JONES asleep in the audience
    . . .PAUL BUTTERFIELD of P.B. Blues Band, and DAVID CROSBY on stage applauding the MIKE
    BLOOMFIELD THING, a relatively unknown blues band who rocked the festival . . . JIM MCQUINN
    introducing himself to the festival audience with, “Hi, I’m Roger,” and CHRIS HILLMAN wearing what was
    probably supposed to be an (India) Indian outfit but bore a strong resemblance to the old Dr Kildare
    shirts.

    RUSS GUIGERE of the Association trying to make it to Big Sur but being stopped by too much traffic and
    fellow Associate BRIAN COLE saving your starving FLIP reporter by swiping sandwiches and cokes from
    artists’ club.

    In the audience to see and hear RAVI SHANKAR—BRIAN JONES, DEWEY MARTIN, STEVE STILLS,
    several
    ANIMALS, most of the ASSOCIATION, JIM MCQUINN, CHRIS HILLMAN, DAVID CROSBY, PAUL
    SIMON, JOHNNY RIVERS, CASS, JOHN AND MICHELL, most of the JEFFERSON AIRPLANE and just about
    every other recording artist at the festival.

    The festival opened with the ASSOCIATION and “Enter The Young” and closed with the MAMAS AND
    PAPAS and “Dancing in the Streets,”’ both of which are a fair indication of what went on during a most
    beautiful weekend in Monterey.

    Next issue—complete details of the Pop Festival including the two guitars that were smashed on
    stage
    [ie Who & Hendrix], the flowers and carrots that were given out and what made the whole
    festival worth while for Paul Simon.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 July Newspaper & Magazine Articles (Text Only)

    Tuesday 11 July 1967
    USA (NYC, NY)
    NEW YORK TIMES (page 27) [B&W logo text ad] CAFE AU GO GO July18 thru July 23rd RICHIE
    HAVENS Joining him on July 21, 22 & 23rd ONLY
    Eric Burdon & the Animals [replaced by JHE. Ed.]

    Wednesday 12 July 1967
    USA (NC)
    CHARLOTTE NEWS (pages 9-10A) For The Women
    [2 B&W photos of screaming, smiling and waving girl fans, ‘Being first row close was almost more than
    they could stand’. ‘The fans—they screamed, cried, waved their arms and jumped up and down.’

    Another
    photo, ‘Psycadelic [sic] lighting in the background. Patrolman R. F. Allison looks calmly
    detached from the whole scene. The reason: The cotton in his ears’.
    ]
    ‘The Monkee Scene—What It Was Was Wild’ by Kay Rimler (News Staff Writer)
    :
    See Related Story on Page IA
    There were 13 thousand of them. Thirteen THOUSAND Teeny boppers, pre-teeny boppers, their little
    sisters and brothers and a smattering of mothers and fathers with kids too young to be turned loose.

    It was the Monkee scene last night at the Coliseum with the TV star singing group headlining a show
    that began like a confused kindergarten recess and ended in what felt like 120-degree psychedelic
    mayhem.

    THE WARM evening and 13,000 panting, jumping, screaming bodies - every third one possessing a
    flash camera —combined to make the scene almost unreal.

    The two red cross stations set up in the Coliseum treated about 14 cases of hysteria and exhaustion
    But it was a night to make you know what teens like.
    What they like is to look like teenagers, every gum-chomping, mini-skirted, pierced-eared, brace
    toothed, screaming one of them.

    But what they like most are the Monkees and the noise. Noise so loud they can't hear themselves
    holler. Noise that assaults ears and common sense.

    Before the Monkees came on for the concert (11 July), three other acts performed to warm up the
    audience (these kids needed warming up?), dressed in costumes from blue brocade pants and shirts
    with rhinestone buttons to
    orange ruffled shirts [JHE? Ed.].
    They were groovy and plenty loud [JHE? Ed.] but when the Monkees — Peter, Mike, David and
    Micky - came on stage it all broke loose and didn't stop till an hour later when the show was over.

    IT WAS WILD with kids jumping up and down, waving hands and handkerchiefs, beating on their
    chairs and each other, running up and down the aisles trying to take pictures and yelling names —
    Peter PeterPeterPeter. Oh, Peter-r-r-r-r — or just yelling.

    If the Monkees don't play and sing well you'd never have known it.
    Many reached the point of hysteria, sobbing and trying to wipe the tears away and still keep on the
    glasses so they could see.

    They stood on seats and threw things at the stage—paper wads and flowers.
    And you think the noise can’t get worse until one of the Monkees does something to evoke more
    volume, something like taking off a jacket, or throwing a kiss or asking, ‘Are you happy?'

    Resist the magnified, electrified noise from the stage and the howling around you and you could go
    away with a terrific headache.

    The policemen stationed around the stage stuffed their ears with cotton.
    THESE FOUR singers know how to put on a good show though. Unlike other top groups who sing four
    songs and leave, the Monkees played and sang for an hour.

    Their on-stage antics are sure teeny-bopper pleasers. They crack jokes, pantomime back and forth,
    turn somersaults, jump up and down, dance, get on their knees.

    They also offer not-so-subtle messages at one point While Davy sings “I Wanna Be Free," photos of
    peace marches and soldiers, poor Negroes and white men carrying a Confederate flag are flashed on
    a screen above the stage.

    But the Monkees seem to enjoy their own concert and the havoc they cause. They tease their audience,
    Davy walks to the edge of the stage and holds out his hand; girls surge toward him en masse. Peter
    mouths "I love you" to a sobbing girl.

    They're four attractive boys — all-American [sic], healthy, humorous. A parent who didn't have a thing
    about long hair wouldn’t object to his daughter going out with any of them.

    They changed clothes twice during the concert. At first they came out looking like young, executives
    in black double
    -breasted silk suits. The second time they each wore zany Mod clothes (a white brocade
    Edwardian jacket) and lastly they wore the Monkee shirts they often wear on their TV show.

    THE ENDING of the show was straight out of a poppy field. Lights flashed on and off giving the singer
    the effect of being a character out of an old film where the frames didn’t exactly match. Weird colors
    flowed in and out of one another on the screen above the stage and the sound was electric.

    When the lights went up and you made your way back to your car and finally out of the parking lot and
    your ears stopped ringing and silence sounded good, you knew one thing.

    Thirteen thousand exhausted kids would sleep well tonight.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 July Newspaper & Magazine Articles (Text Only)

    Wednesday 12 July 1967
    Australia
    GO-SET (cover) It’s The Greatest Pop Festival Ever!!!!!! The Monterey International Pop Festival/
    America
    [6 B&W photos] ‘Brian Jones’, [Lou Adler & woman?], Jimi Hendrix, ‘The Who’,
    ‘Monkees’, ‘Mamas-Papas’.

    (Pages 12-13) [Largest of 6 B&W photos (a beauty with wild ‘Alice’ hair-do; the top centre one, is
    Jimi in the crowd, ‘The one and only
    Jimi Hendrix . Some call him the best act in the World.’; ‘ Brian
    Jones ( Stones ) came to the festival from England - Just to listen! Here he chats with Go-Set’s girl on
    the spot in America, Lily Brett’; ‘Papa John Philips of the Mamas and Papas lets go on stage, John was
    one of the organisers of this the greatest pop show in history’ - 2 small insert photos, ‘The wild style of
    America’s Buffalo Springfield’
    sic, actually Townshend smashing his guitar!; ‘ Eric Burdon catnaps
    on board the plane to Monterey’]

    America’s Most Sensational Hippie-Pop-Show Is Where It’s At!
    MONTEREY It’s The Greatest Pop-Show Ever: And Go-Set Is There
    Go-Set’s Hip Reporter Lily Brett And Colin Beard, Our No.1 Photographer, Are At Monterey California,
    Right Now - To Cover The Monterey International Pop Festival - Read On -

    Memories of Monterey blaze like hundred colored lights in my mind as I sit down to write to you from
    Los Angeles.

    The first annual Monterey International Pop Festival has been the most outrageously ambitious event
    in the history of pop music.

    Staged in the Monterey County Fair Grounds from June 16-19, it was a beautiful, warm, wild groovy
    scene - a weekend of blossoms which must have shown the world a great deal about the “younger
    generation”

    There were 50,000 long haired hippies and flower children decorated with jangling bells, Indian outfits,
    body painting and love signs,
    all in one place without any trouble! The spirit of love was the dominant
    emotion of the weekend!

    People came from everywhere. They slept in cars and trucks, under billboards and trees and wigwams,
    trailers and campers. Those fortunate enough to have hotel rooms shared their rooms, beds and
    floorspace with everyone else.

    There wasn’t the usual artist- audience relationship - everybody was mingling together and digging it!
    Among the stars moving around were three non performing
    Beatles ( Paul , John and George), two
    Monkees (Peter and Mickey),
    Rolling Stone Brian Jones, and many others who mixed peacefully with
    a throng of 50,000, who in turn mixed peacefully with law enforcement officers and the local populace.

    [B& W photo, ‘Lily with Mama Cass (right) in the crowd’]
    Baskets of fruit, bowls of cherries and raw carrots were communally handed around Brian Jones sharing
    an apple or Mama Cass Elliot distributing watermelon were not unusual.

    Thousands of orchid blossoms flown from Hawaii were thrown amongst the audience and showered on the
    stage.

    There was a continuous light show- swirling liquid colors projected on a huge plastic screen behind the
    performers.
    Extremely effective, it gave one the feeling of being inside a huge kaleidoscope, and added to
    the feeling of love and total environment.

    All this is just an inadequate description of one of the most remarkable scenes in contemporary history -
    a gigantic musical love-in, with peace and beauty enveloping the atmosphere.

    Our fabulous B.O.A.C. flight to Los Angeles was also most memorable. In one corner of the plane were
    Ravi Shankar,
    Eric Burdon and the Animals, Colin and I, and various other visitors from the festival.
    Altogether there was quite a groovy scene going in the plane,. All I can suggest is that you take
    advantage of B.O.A. C.’s “Youth Fares” and fly over here for next year’s festival - I am!

    The music, of course, was fabulous. Some of the groups are not yet internationally famous , but they will
    be - take my word for it!
    They’re part of the whole huge detonating hippy-love-scene, and these people
    breathe music like we breathe air,
    like the Jefferson Airplane, the Moby Grape, the Grateful Dead - any
    day now they’ll be singing across the Atlantic and pounding Australians into the 10
    th dimension!

    Papa John Philips opened the first concert at 9:15 p.m., Friday night. The hit of the night was Eric
    Burdon and the Animals
    , and it was obvious that Eric loved the audience as much as they loved him.
    ”I dedicate this song”, he said at one point, with great urgency and sincerity, “to the people of San
    Francisco - they may not know it, but they’re beautiful!”

    Simon and Garfunkel’s fluid, elaborate melodies of sad-sweet pain and joy were a beautiful end to a
    beautiful night.

    Early on Saturday afternoon, Colin and I took in the second show - sitting next to Mama Cass. She raved
    when Big Brother and the Holding Company came on, they’re a San Francisco group, with a brilliant girl
    vocalist named Janis Joplin “Wow what a talent”, enthused Cass. “I wish I could scream like that.” She
    leaned across confidentially, “I have no projection. If I had to scream to save my life, I’d be dead.”

    A highly controversial group followed (Country Joe and the Fish) who sang songs with titles like “Please
    Don’t Drop The H-Bomb On Me, You Can Drop It On Yourself” and “L.S.D.” Cass commented, “Yeah, baby,
    who else has guts like that?”

    There was a succession of amazingly brilliant groups playing the wildest R and B sounds: The Paul
    Butterfield Blues Band, The Quicksilver Messenger and the Steve Miller Blues Band - we were really
    hearing the best at this festival.

    Mama Cass glanced at her program to see who was on next, and went into a frenzy of excitement. “This
    is it,” she yelled at us, “this next group is it!”
    The Electric Flag - the group she was so excited about -
    came on and knocked us out of our tiny skulls. They were an incredibly talented group, playing
    unbelievable music, to a background of Cass appreciatively screaming “Yeah, yeah.”

    Later on, at the 8:15 p.m. session, the Byrds and Otis Redding completely stole the show. The arena was
    packed to capacity, We heard some of the hippy psychedelic groups, such as the Moby Grape and the
    Jefferson Airplane. Lights and colors flashed and crackled, electronic music whined and stabbed and made
    your hair stand on end, the packed crowd moaned to hear them making it.

    Sunday afternoon was astonishing, a marvellous tribute to the musical daring of our generation, a sign of
    how our vast world is shrinking and barriers are crumbling. Ravi Shankar, an Indian classical musician,
    monopolised this concert with a program of Indian Ragas, which entranced an attentive and appreciative
    audience. Ravi Shankar plays the sitar - a complicated instrument with an incredible number of strings.

    Not long ago, a pop concert by Ravi would have left everyone cold. But since the Beatles introduced
    Indian melodies into their music, considerable interest has been aroused. Last year
    Beatle George
    Harrison
    studied under Ravi Shankar for two months. Ravi’s musical and rhythmic flights drew fevered
    applause and his performance gained him a standing ovation! Monterey showed itself to be truly
    International festival.

    The final performance on Sunday night was so packed that people were sitting on the roof, fences and
    stage. First group was the brilliant Blues Project, who dedicated their first song . . . “As always, to peace,
    and an end to to this dirty and dishonorable war.”

    The Buffalo Springfield gave a tremendous performance with Dave Crosby of the Byrds standing in with
    them.

    And then THE WHO! I want to use endless words of praise, but it is enough to say that the hippies, who
    were rather cynical before they heard this “unknown English group,” gave them a standing ovation. As
    usual,
    the Who climaxed their act by smashing their instruments, it caused astounded excitement among
    the audience, and ulcers for the stage-hands.

    When San Francisco’s The Grateful Dead followed, they reminded the audience, “You’re sitting on folding
    chairs, and folding chairs are for folding up and dancing on!” It didn’t take long before everybody was
    madly grooving in a dancing-fever.

    And finally - JIMI HENDRIX EXPERIENCE was on!
    I am, always have been and always will be a Hendrix fan. His showmanship and guitar playing is out of
    this world - to my mind he gave the best performance of the festival, ending up by setting fire to his
    guitar and throwing the remnants to the audience.

    Who else to close the show but the Mamas and Papas. “We’re the ones doing this,” explained Cass,
    “because John is the tallest and I’m the heaviest!”

    That was Monterey, or rather a slight, thin impression of the furious, beautiful, glorious weekend of teen
    love-in experiences. This time next year, GO SETters, I’ll be booking up with B.O.A.C. for the next
    “California Dreamin” at Monterey.

    P.S. I had a pleasant chat with Brian Jones, who told me that the Stones are progressing all the time.
    When they feel they’ve got something new to offer Australia they’ll come out for a tour.
    Brian said they
    loved Australia and remembered it particularly for the friendly audiences. He also asked me to say hello
    to Stan Rofe, of whom he thinks very highly, and he asked me to do this through GO-SET. Best wishes,
    Stan, from Brian and Lily.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."