![]() ![]() “Hendrix began pondering ancient rituals that required sacrifices in order to successfully appease the Gods. Jimi and his band blasted their take on Howlin’ Wolf’s “Killing Floor,” followed by “Foxy Lady” (introduced with a confident “Dig this” by Hendrix), and then a cover of Bob Dylan’s “Like a Rolling Stone,” which was “dedicated to everyone here with hearts and ears.” The set finished with a salacious rendition of The Trogs “Wild Thing,” but the spectacle was not over. From the moment The Who’s pyrotechnics commenced, Hendrix started to consider how he and his band could engage in that sort of display and crown engagement. By the time Keith Moon kicked over his drum kit as the band exited the stage, The Who had established themselves as a part of the American mainstream.Īfter a three-song set by the Grateful Dead (lasting no less than 40 minutes), Brian Jones of the Rolling Stones-who had flown over for this exact purpose-introduced the Jimi Hendrix Experience, calling Jimi out as “the most exciting guitarist I’ve ever heard.” Hendrix immediately electrified the stage and an estimated crowd of 90,000 people, creating a volume of impact the festival had yet to experience. On Sunday evening-the third day of the festival-there was a backstage altercation surrounding the order of the lineup. In his biography of Hendrix, Charles Shaar Murray notes that this was largely due to an “intense desire on The Who’s part to avoid a repetition of a London Saville Theatre show were Hendrix had wiped them out before they even got on stage.” The Who did play first that June night in Monterey, “and tore up the house and made the transition from cult band for Anglophiles to a major rock-circuit draw” (48). At the end of "My Generation," Pete Townshend smashed his guitar against the amps and speakers, stunning the audience. As smoke bombs exploded, alarmed concert staff rushed to the stage, in an attempt to rescue microphones other costly equipment. ![]() The lineup included Simon & Garfunkel, Janis Joplin, the Animals, Johnny Rivers, The Byrds, Jefferson Airplane, Buffalo Springfield, the Grateful Dead, and a host of other artists who would come to define the era. ![]() It was intended as a non-profit platform for the “New Pop,” and ushered in the flower power and flower children movements. The 16 th through 18 th of June 1967 were chosen as the dates of the Monterey International Pop Festival, officially launching the Summer of Love. Jimi’s talisman worn at Monterey Pop Festival, his homeland debut, and one of his most iconic performances. Gold plate, brass, and enamel, central disk hinged, featuring rampant lion and shield motif at center, flanked by two birds, with small crystal attached to chain (added by Hendrix at a later point) some rubbing with loss of gold plating. Talisman (70 mm in diameter chain approximately 600 mm in length). Talisman worn at the International Monterey Pop Festival ![]()
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