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Monterey International Pop Festival
The Monterey International Pop Festival was a three-day music festival held June 16–18, 1967, at the Monterey County Fairgrounds in Monterey, California. The festival is remembered for the first major American appearances by the Jimi Hendrix Experience, the Who, and Ravi Shankar, the first large-scale public performance of Janis Joplin, and the introduction of Otis Redding to a mass American audience.
The festival embodied the theme of California as a focal point for the counterculture and generally is regarded as one of the beginnings of the "Summer of Love" in 1967 and the public debut of the hippie, flower power, and flower children movements and era. Because Monterey was widely promoted and heavily attended, featured historic performances, and was the subject of a popular theatrical documentary film, it became an inspiration and a template for future music festivals, including the Woodstock Festival two years later. Rolling Stone publisher Jann Wenner said "Monterey was the nexus: It sprang from what the Beatles began, and from it sprang what followed."
In early 1967, Michael Bowen produced the Human Be-In at Golden Gate Park in San Francisco, where many attendees dropped acid the first time and listened to Timothy Leary tell the crowd that people living in cities should reorganize as tribes and villages. This was one of the important precursors to the Summer of Love five months later. The Human Be-In directly inspired the Monterey International Pop Festival.
The first American hippie-style rock festival was held June 10–11 at Mount Tamalpais in Marin County, California, produced by radio station KFRC as the Fantasy Fair and Magic Mountain Music Festival. Star performers included the Doors, the Sons of Champlin, the Steve Miller Blues Band, Jefferson Airplane, Hugh Masekela, Country Joe and the Fish, Canned Heat, and the Byrds; the latter six acts also played Monterey Pop one week later.
We are holding a large pop festival here in June and we hope you can all come. ... Already booked: the Byrds, the Buffalo Springfield, the Jefferson Airplane and numerous of the Tomorrow groups now flourishing on the psychedelic San Francisco scene (what DOES psychedelic mean?) ... [I]t should be great too because nothing like this has ever been done and if pop music was ready, it is now and there never was a time like the present anyway.
The festival was planned in seven weeks by John Phillips of the Mamas & the Papas, record producer Lou Adler, event producer Alan Pariser and publicist Derek Taylor. Monterey had been known as the site for the long-running Monterey Jazz Festival; the promoters saw a notional Monterey Pop festival as a way to validate rock music as an art form in the way in which jazz and folk were regarded. Taylor announced the festival on March 25, 1967, in his regular column for Disc and Music Echo magazine. The festival's board of governors included some such as Smokey Robinson and Berry Gordy who displayed initial enthusiasm but did little to organize the event. Paul McCartney, of the Beatles, who had recently joined the board of governors, strongly advocated for the inclusion of the Jimi Hendrix Experience, reportedly telling organizers that the event would be "incomplete" without him—and reportedly agreeing to serve on the board only if Hendrix were booked. The Monterey Jazz stage manager, Paul Vieregee, was brought in to supervise the stage for the pop festival, and the same sound company was hired: McCune Sound.
The artists performed for free, with all revenue donated to charity, except for Ravi Shankar, who was paid $3,000 for his afternoon-long performance on the sitar. Country Joe and the Fish were paid $5,000, not by the festival, but from revenue generated from the D. A. Pennebaker documentary, Monterey Pop. The artists did, however, have their flights and accommodation paid for. Apart from Shankar, each act was given up to 40 minutes for their performance. Several ended their sets earlier, including the Who, who played for only 26 minutes.
Monterey's bill boasted a lineup that put established stars like the Mamas and the Papas, Simon & Garfunkel, Jefferson Airplane and the Byrds alongside groundbreaking new acts from the UK and the U.S.
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Monterey International Pop Festival
The Monterey International Pop Festival was a three-day music festival held June 16–18, 1967, at the Monterey County Fairgrounds in Monterey, California. The festival is remembered for the first major American appearances by the Jimi Hendrix Experience, the Who, and Ravi Shankar, the first large-scale public performance of Janis Joplin, and the introduction of Otis Redding to a mass American audience.
The festival embodied the theme of California as a focal point for the counterculture and generally is regarded as one of the beginnings of the "Summer of Love" in 1967 and the public debut of the hippie, flower power, and flower children movements and era. Because Monterey was widely promoted and heavily attended, featured historic performances, and was the subject of a popular theatrical documentary film, it became an inspiration and a template for future music festivals, including the Woodstock Festival two years later. Rolling Stone publisher Jann Wenner said "Monterey was the nexus: It sprang from what the Beatles began, and from it sprang what followed."
In early 1967, Michael Bowen produced the Human Be-In at Golden Gate Park in San Francisco, where many attendees dropped acid the first time and listened to Timothy Leary tell the crowd that people living in cities should reorganize as tribes and villages. This was one of the important precursors to the Summer of Love five months later. The Human Be-In directly inspired the Monterey International Pop Festival.
The first American hippie-style rock festival was held June 10–11 at Mount Tamalpais in Marin County, California, produced by radio station KFRC as the Fantasy Fair and Magic Mountain Music Festival. Star performers included the Doors, the Sons of Champlin, the Steve Miller Blues Band, Jefferson Airplane, Hugh Masekela, Country Joe and the Fish, Canned Heat, and the Byrds; the latter six acts also played Monterey Pop one week later.
We are holding a large pop festival here in June and we hope you can all come. ... Already booked: the Byrds, the Buffalo Springfield, the Jefferson Airplane and numerous of the Tomorrow groups now flourishing on the psychedelic San Francisco scene (what DOES psychedelic mean?) ... [I]t should be great too because nothing like this has ever been done and if pop music was ready, it is now and there never was a time like the present anyway.
The festival was planned in seven weeks by John Phillips of the Mamas & the Papas, record producer Lou Adler, event producer Alan Pariser and publicist Derek Taylor. Monterey had been known as the site for the long-running Monterey Jazz Festival; the promoters saw a notional Monterey Pop festival as a way to validate rock music as an art form in the way in which jazz and folk were regarded. Taylor announced the festival on March 25, 1967, in his regular column for Disc and Music Echo magazine. The festival's board of governors included some such as Smokey Robinson and Berry Gordy who displayed initial enthusiasm but did little to organize the event. Paul McCartney, of the Beatles, who had recently joined the board of governors, strongly advocated for the inclusion of the Jimi Hendrix Experience, reportedly telling organizers that the event would be "incomplete" without him—and reportedly agreeing to serve on the board only if Hendrix were booked. The Monterey Jazz stage manager, Paul Vieregee, was brought in to supervise the stage for the pop festival, and the same sound company was hired: McCune Sound.
The artists performed for free, with all revenue donated to charity, except for Ravi Shankar, who was paid $3,000 for his afternoon-long performance on the sitar. Country Joe and the Fish were paid $5,000, not by the festival, but from revenue generated from the D. A. Pennebaker documentary, Monterey Pop. The artists did, however, have their flights and accommodation paid for. Apart from Shankar, each act was given up to 40 minutes for their performance. Several ended their sets earlier, including the Who, who played for only 26 minutes.
Monterey's bill boasted a lineup that put established stars like the Mamas and the Papas, Simon & Garfunkel, Jefferson Airplane and the Byrds alongside groundbreaking new acts from the UK and the U.S.