I didn’t
attend Monterey Pop in June of 1967,
but I lived so close by that had it been held in, say, 1963, I could have heard
it just down the road about a mile away out of my bedroom window. My wife--who I also didn’t “attend” because I
didn’t then yet know her—did get in and attend as part of the crowd with dubious
credentials as a ‘reporter.’
Monterey Pop, which preceded Woodstock by two years, presaged a domino effect on the music and
lives of an entire, and what would become iconic, generation (my generation). It
was a beginning—and who would have known it then—ultimately an
anthem to a large portion of a whole generation of music fans but also to other
cataclysmic transitional cultural and social movements— the Civil Rights, militant
Women’s Rights, and hippie movements.
At the time,
I looked forward to knowing that the venue of Monterey Pop was coming to my community only because I knew and
liked the laconic, by comparison, music of The
Mamas and the Papas and Simon and
Garfunkle, and saw on the posters that they would be singing. Frankly, I
had never until then heard of the performers who later made this seminal event
so iconic: Otis Redding, Janis Joplin, Jimi Hendricks, The Byrds, Jefferson
Airplane and many others. But whether
initiated or not, I suspect that few, if any, of us could anticipate what would
happen in the next decade.
‘Unfinished Lives’
The
performance of Otis Redding, the final act of the Saturday night portion of the
Festival (indeed, maybe the whole festival) was, and I think could be fairly
said to be, the ‘tipping point,’ or jumping off point for an entire cultural
era which transformed music and cultural mores. It at least introduced a style
of music and pop culture dubbed—‘sex, drugs, and rock ‘n roll’—of which I was
only vaguely, and thankfully, not very familiar.
Otis Redding’s style and his voice in some of
his songs painted a sound of increasing, leading to an even brutal, intensity
and finally a confrontation or conflagration
leading to burnout. His treatment of his
concluding song Try a Little Tenderness
seemed to be a harbinger of what happened to him as well as to a generation of
followers—beginning with Monterey Pop
and continuing with Woodstock and beyond.
Redding’s
five song set: I’ve Been Loving You Too
Long; Satisfaction; Try a Little Tenderness that Saturday
night included, after a warmup, his song Respect,
which he had written a couple of years before. At the conclusion of Respect he said to the people below the stage, “You are the love
generation, right?” The thousands packing the fairgrounds arena vociferously
agreed. It gave all who heard a
more-or-less hazily focused identity which they lived out for the next decade. (Respect
was also recorded exactly three months earlier in 1967 by Aretha Franklin and rose
to the top of the charts by June when Monterey
Pop occurred).
Following the festival at the Monterey County
Fair Grounds Redding felt he needed voice surgery which he had planned to have
later that summer.
He barely
lived to have it done.
Ironically,
Otis Redding’s most popular song, Sittin
on the Dock of the [San Francisco] Bay,
(written by him following Monterey Pop
while Redding was still in California and recorded only two days before his
death by airplane crash at age 26) was released posthumously a couple of months
later.
Dock of the Bay portended the temporal end for many
of my generation (remember Viet Nam ) as well as for a number of other stars in
that event. Within two years Jimi Hendricks and Janis Joplin were also dead.
Because of
the Vietnam war, the cultural revolution of the so-called ‘Dawning of the Age
of Aquarius,’ and the liberality and suggestibility through music of the ‘new
morality,’ many of my contemporaries—not just musicians—continued to have ‘unfinished
lives’ or didn’t even make it past the mid- 60’s to mid-70’s decade at
all. Sadly they went out with either ‘bang
or a whimper’ or neither and are still to be seen around as the hapless and homeless people
on the streets of America (see poet T. S. Eliot, The Hollow Men, 1925).
Alas for the
most colorful—and maybe tragic—decade of my lifetime.