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OfflineLearyfanS
It's the psychedelic movement!
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Registered: 04/20/01
Posts: 34,083
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Today in psychedelic history (12/26)
    #13686171 - 12/26/10 10:51 AM (13 years, 1 month ago)

  • 1925:  David Solomon is born




Quote:

(David Solomon's Social Security Death Index)


Born in 1925 in California, Solomon came of age at the same time as Allen Ginsberg, Jack Kerouac, and Neal Cassady. Unlike the Beats, Solomon served in World War II and suffered tremendous loss. His two brothers were killed in bombing runs over Germany, and like Private Ryan, Solomon was pulled from the front lines as the only surviving son in his family. Solomon was discharged in 1946 and took advantage of the GI Bill to attend college. He received a BA from Washington Square College of New York University, but his real education was earned in combat in Europe, in the jazz clubs of New York, in the bohemian atmosphere of Greenwich Village, and in the drug culture of Washington Square. Attempting to come to terms with the Bomb, traumatized by their war experience, and fascinated with African-American and drug culture, young men like Solomon became the hipsters and White Negroes represented by the early Beats and belatedly described by Norman Mailer in his 1957 essay in Dissent.

Solomon married and had two children, but he remained in the Village, refusing to move out to the Levittowns that sprang up like mushrooms around New York City. By the mid-1950s, Solomon was an assistant editor at Esquire. His tenure there lasted until 1960, and he left just before the magazine’s renaissance under the editorial leadership of Harold Hayes who beat out such young lions as Clay Felker and Ralph Ginzburg for the position. Hayes, Felker, and Ginzburg would change mainstream magazine publishing and challenge the rules of the game in the 1960s. Solomon lacked their editorial genius but, in his own way, he would make his mark on the profession by incorporating his hipster sensibility into the mainstream press. Solomon was the White Negro as editor.

While at Esquire, Solomon contacted Aldous Huxley about revising Huxley’s “The History of Tension” article in light of another piece, “Drugs that Shape Men’s Minds,” which Huxley had published in The Saturday Evening Post. The Esquire essay was to have been titled “The Coming Defeat of Tension” and would have reflected Huxley’s belief that “present and yet to be developed pharmacological agents will bring about a religious and ethical revolution.” Huxley’s writings on drugs, notably The Doors of Perception, were read as sacred texts for psychedelic adventurers of the 1960s. It was while researching Huxley that Solomon became an early psychedelic enthusiast. The revised article never appeared in Esquire, but Solomon took Huxley as his guru and soldiered on in a hands-on exploration of psychedelics and their history. In time, Solomon’s knowledge of drugs and drug culture became legendary.

Solomon would soon find his niche and succeed as a salesman of drug culture on multiple levels. On the other hand, Clark was a young poet, who became poetry editor in the mid-1960s, and completely revitalized the Review, making it a major outlet for new poetry. He did this by including his friends — Ted Berrigan and other New York poets — as well as incorporating these poets’ heroes: Ginsberg, Burroughs, and Kerouac. Issue 35 includes Robin Blaser, Ed Dorn, Ron Padgett, Tom Pickard, and Aram Saroyan — cutting-edge choices to be sure. The issue also features an interview with Dizzy Gillespie. It is as if Solomon edited a little mag. For me, the period of Clark’s editorship was the high-water mark of the Paris Review.

While Solomon was largely unsuccessful in magazine publishing, his serious and evangelical take on drugs proved perfect for mainstream book publishers. From 1964 to 1975, Solomon edited a series of anthologies that provided intellectual, philosophical, medical, and historical takes on various drugs from LSD to marijuana to cocaine. The titles include LSD: The Consciousness-Expanding Drug (1964), The Marijuana Papers (1966), Drugs and Sexuality (1973) and The Coca Leaf and Cocaine Papers (1975). He created a forum of educated and academic discussion for much mythologized subjects. For a public fascinated but largely uneducated about drugs, these anthologies proved irresistible and became best sellers. The books were available, in some cases, in both hardcover and paperback. They highlight Solomon’s skill in marketing psychedelics and drug culture to mainstream audiences.

Burroughs no doubt appreciated the cash. In a February 5, 1962 letter on Avon stationery, Solomon writes Burroughs proposing an anthology in order to get Burroughs some money. Quite possibly the resulting anthology was the one on LSD. Burroughs got paid $100 for reprint rights to “Points of Distinction Between Sedative and Consciousness Expanding Drugs” for the LSD anthology eventually published by Putnam. Avon was part of the book division of The Hearst Corporation, acquired by Hearst in 1959. Avon made its name publishing comic books and pulp paperbacks. The imprint was far from literary and dealt strictly with topics with mass appeal. Solomon was something of a hipster spy. Solomon writes, “Working for Hearst a morbid kick…unless I learn to turn on with formaldehyde, I’m cooked.” The letter is redacted, and I like to think the “informal postal exchange” referred to a drug exchange with Allen Ginsberg undertaken in the belly of the publishing beast.

Huxley was the guiding light of the LSD anthology and the book is dedicated to him: “guru extraordinaire, whose words first beckoned me through the doors of perception.” Timothy Leary wrote the introduction. It is a serious treatment of LSD with the table of contents loaded with MDs and PhDs. Burroughs stands out with his lack of an advanced degree, but he belongs. He was a Master Addict of Dangerous Drugs, after all. The anthology was aimed to introduce philosophical and medical evidence in support of the benefits of LSD at a time when the drug was coming under fire by the police, government, and mainstream media. The last paragraph to Solomon’s editor’s note could have served as a Bill of Rights for a psychedelic nation: “Moreover, I believe that the astonishing human brain is man’s most inalienable possession, his intellectual birthright. No person or institution has the moral right to muffle or inhibit its development. No social authority can successfully arrogate unto itself the right to dictate and fix the levels of consciousness to which men aspire, whether those states are induced pharmacologically or otherwise. Die gedanken sind frei.”

a Bill of Rights for a psychedelic nation: “Moreover, I believe that the astonishing human brain is man’s most inalienable possession, his intellectual birthright. No person or institution has the moral right to muffle or inhibit its development. No social authority can successfully arrogate unto itself the right to dictate and fix the levels of consciousness to which men aspire, whether those states are induced pharmacologically or otherwise. Die gedanken sind frei.”

In 1966, Solomon and his family moved to Mallorca, a Spanish island in the Mediterranean that was dominated by the presence of Robert Graves. Graves’s literary career roughly paralleled that of Aldous Huxley. Both were British modernists who later in life transformed into psychedelic pioneers. Graves became particularly fascinated with mushroom cults, and such interests filtered into his increasingly mystical worldview, developed in Food For Centaurs (1960) and elsewhere. Solomon insinuated himself into the literary and drug culture of Mallorca but just as quickly found himself on the wrong end of the law. Forced to leave the island, Solomon moved to England and settled in the intellectual confines of Cambridge, which was in throes of the psychedelic revolution. Given his vast knowledge of drugs and England’s cultural climate at the time, Solomon, like Huxley and Graves, found himself considered a guru, a position he came to relish.

At this point, Solomon’s interest in drugs reached a new, and ultimately disastrous, level. Like many proponents of psychedelics, Solomon was well situated to become involved in drug manufacturing and trafficking. Timothy Leary followed a similar path. For example, Leary’s International Foundation for Internal Freedom became aligned with The Brotherhood of Eternal Love. Billy Hitchcock, a young heir to a vast fortune and a believer in Leary’s philosophies, financed Leary’s LSD headquarters in Millbrook, a place of introspection and self-discovery. But the potential for profit was too great for Hitchcock and others to ignore and what started as a spiritual exploration mutated into a money-making enterprise and a criminal organization. Eventually, Hitchcock became the financier for much of the LSD underground.

Solomon, along with two refugees from Millbrook, came up with the idea of liquefying the active ingredient of marijuana, THC, in order to allow mass distribution and easier transportation. At the time (1968), THC was legal in Great Britain. Perhaps Solomon’s ambition was to spread the drug in order to advance the psychedelic revolution, but his associates were less idealistic. Eventually, Solomon’s utopian vision would prove susceptible to corruption as well.

Solomon searched around Cambridge for a chemist with the scientific knowledge he required for the THC project and met Dick Kemp through Crick. Kemp was drawn to Solomon’s circle because of Crick’s presence. Crick convinced Kemp of LSD’s value to society.

Like Augustus Owsley and Tim Scully before him, Kemp bought into the idea of a psychedelic revolution and became a drug chemist on an international scale. The ability to liquefy THC eluded Solomon and Kemp, but Solomon with his drug connections was able to acquire large quantities of Ergotamine Tartrate, which is the base material for the manufacture of LSD. Thus Solomon was no longer just a drug enthusiast; he was a major player in an international drug enterprise.

Yet Solomon remained something of a schlemiel. As in his career as a magazine editor, his ideas and his ambition overreached his abilities. Solomon may have been well-versed in drug knowledge and culture, he may have talked the talk, but he could not walk the walk. He was clearly out of his league in the area of drug manufacture. The LSD whose production he oversaw was usually of poor quality and often cut into diluted doses. In one case, Solomon attempted to create his own LSD capsules and succeeded in dosing himself with 1000 mics of acid, which left him with the trip of his life and bedridden for nearly a week. Solomon was far from a criminal mastermind.

Solomon’s drug partners realized his incompetence and attempted to distance themselves from him. In addition, Solomon bragged of his involvement in the ring to anyone who would listen. The path to eventual disaster was well paved and Solomon raced downhill to his fate. Despite Solomon’s lack of street smarts, he was well connected with drug suppliers. Unfortunately for his drug associates, Solomon was a necessary evil.

To make a long story short, the dominoes began to fall as members of the ring were arrested on unrelated drug and smuggling charges and the extent of its activities became clear. Gerry Thomas, a partner of Solomon’s in the THC scheme, was arrested in Canada and due to a feud with Solomon supplied the information that led to the investigation of The Micro Dot Gang, which included the British LSD group co-founded by Solomon and The Brotherhood of Eternal Love. Once again, Solomon proved the weak link in the drug ring.

To make a long story short, the dominoes began to fall as members of the ring were arrested on unrelated drug and smuggling charges and the extent of its activities became clear. Gerry Thomas, a partner of Solomon’s in the THC scheme, was arrested in Canada and due to a feud with Solomon supplied the information that led to the investigation of The Micro Dot Gang, which included the British LSD group co-founded by Solomon and The Brotherhood of Eternal Love. Once again, Solomon proved the weak link in the drug ring.

Inspector Dick Lee, a figure straight out of a William Burroughs novel, spearheaded Operation Julie to take down the LSD empire. Lee’s organization was the culmination of over a decade of harassment and demonization of the LSD counterculture. Operation Julie demonstrated the possibilities of international police cooperation, adequate funding, fully developed informant and undercover networks, and hi-tech surveillance. Narcs and wire/phone tapping were standard courses of business for this beefed up, and increasingly, well-funded police bureaucracy. The blueprint for the War on Drugs in the 1980s was set into action. The policies of fear, misinformation, and intolerance pursued by the government and police created a poisonous atmosphere ripe for generating a self-fulfilling prophecy. It is a great example of the importance of set and setting. In part, such policies changed what began as an exploration of freedom, peace, and love into a culture of paranoia and violence. The Weathermen, Charles Manson, and Altamont also demonstrate this shift. On another level, the LSD trade mutated from a loose community of psychedelic idealists to an international network of psychedelic capitalists. This is indicative of a similar evolution in the counterculture generally, both in the 1960s where the counterculture quickly became co-opted by the consumer culture, and in the neoconservative revolution of the 1980s, where yesteryear’s hippies became the Me Decade’s Gordon Geckos. To a certain extent, David Solomon can be viewed as a case study in such trends.

Allen Ginsberg on David Solomon, International Times, 1980Eventually Solomon was arrested and sentenced to ten years in jail. In 1980 in the International Times, Allen Ginsberg wrote an article on Solomon. This was the Frivolous Summer Issue that also featured articles on American Indian genocide, Baader Meinhof, and the Cannabis Conference. IT appeared in fits and starts over the coming years, but the Frivolous Summer tabloid was effectively the swan song for this long-running underground paper that began during the Summer of Love in 1966. The incarceration of Solomon and his LSD cohorts likewise signaled the end of an era. Reagan and Thatcher were soon in office and the idealism and accomplishments of the 1960s, already disillusioned and crumbling, were demonized and dismantled even further. Solomon served a partial sentence until 1983 when he returned to New York City and the jazz clubs where he had received his first tastes of the drug culture that would eventually consume and destroy him.

Solomon died in April 2007 at the age of 81. His obituary in The Villager passed over his role in Operation Julie and instead focused on his editorial work with Esquire, Metronome. and Playboy. Yet Solomon’s role in the British LSD Group proves more interesting and important than his editorial work. Like the rise and fall of Timothy Leary, the story of David Solomon shows how the seductive power of the psychedelic revolution and the intrusive fear tactics of governmental and police bureaucracies can corrupt an idealistic vision of a better, freer world into a nightmare of criminal activity fueled by paranoia, delusions of grandeur, and blind ambition. Solomon, like Leary, traded his dreams of a new society for power and wealth. At their cores, both men were feckless squares who just wanted to be accepted by a community and culture they were fascinated with but were really outside of. The desire to Turn On, Tune In, and Drop Out was mainly a need to Fit In. In this effort, they got wrapped up in forces beyond their imagination and control.

The psychedelic revolution was, and is, an inspired act of hubris. Even gurus such as Aldous Huxley, Timothy Leary, William Burroughs, and David Solomon had trouble harnessing their power. Ultimately such drugs are stronger than humans, and a society based on psychedelic exploration and widespread permissiveness seems to me doomed to failure. We are a Faustian species, but we cannot handle psychedelics’ truths. Possibly the weak link is more than an atmosphere of misconceptions and mishandled policy but is instead actually written into our DNA. We are not gods; we cannot feed on ambrosia. In his exploration of such drugs, David Solomon, like many of the true believers of the psychedelic era, bit off much more than he could chew.


(http://realitystudio.org/)









  • 1967:  The Beatles debut the Magical Mystery Tour movie




Quote:

Magical Mystery Tour is an hour-long British television film starring The Beatles (John Lennon, Paul McCartney, George Harrison and Ringo Starr) that initially aired on BBC1 on 26 December 1967. Upon its initial showing, the film was poorly received by critics and audiences.

Initial Idea

In The Beatles Anthology, John Lennon states that "if stage shows were to be out, we wanted something to replace them. Television was the obvious answer."  Most of the band members have quoted that the initial idea was Paul McCartney’s, although he stated, “I’m not sure whose idea Magical Mystery Tour was. It could have been mine, but I’m not sure whether I want to take the blame for it! We were all in on it — but a lot of the material at that time could have been my idea.” Prior to the movie, McCartney had been creating home movies, and this was a source of inspiration for Magical Mystery Tour.

Production

Despite the fact that Magical Mystery Tour was ultimately the shortest of all Beatles films, nearly ten hours of footage was shot over a two week period. The core of the film was shot beginning on 11 September and finishing on 25 September. The following eleven weeks were mostly spent on editing the film from ten hours to 52 minutes. Scenes that were filmed but not included in the final cut include:

    * A sequence where ice cream, fruit, and lollipops were sold to The Beatles and other coach passengers,
    * John, Paul, George, and Ringo each looking through a telescope, and
    * Happy Nat The Rubber Man (Nat Jackley) chasing women around the Atlantic Hotel's outdoor swimming pool, a sequence that John himself directed.

Much of the film was shot in and around RAF West Malling, an airfield in Kent that had recently been decommissioned.  Many of the interior scenes, such as the final ballroom sequence for "Your Mother Should Know," were shot in the disused aircraft hangars. The exteriors, such as the "I Am the Walrus" sequence, and the marathon race, were filmed on the runways and taxi aprons. RAF Air Training Corps cadets can be seen marching in some scenes, and during "I Am the Walrus" an RAF Avro Shackleton is seen orbiting the group.

The mystery tour itself was shot throughout the West Country of England, including Devon and Cornwall, although most of the footage was not used in the finished film. The final striptease sequence was shot at Paul Raymond's Raymond Revuebar in London, and the sequence for "The Fool on the Hill" was shot around Nice, France. The visual sequence for the instrumental "Flying" uses aerial footage which was shot on tinted film that had originally been intended for Stanley Kubrick's 2001: A Space Odyssey.

The Magical Mystery Tour movie was made, but the hoped-for "magical" adventures never happened. During the filming, an ever greater number of cars followed the hand-lettered bus, hoping to see what its passengers were up to, until a running traffic jam developed. The spectacle ended after Lennon angrily tore the lettering off the sides of the bus.

Script

The script of Magical Mystery Tour was very informal. The Beatles gathered together a group of people for the cast and camera crew, and told them to "Be on the coach on Monday morning".  The film was made up along the way. Ringo Starr recalled "Paul had a great piece of paper-just a blank piece of white paper with a circle on it. The plan was: 'We start here-and we’ve got to do something here...' We filled it in as we went along."  Lennon recalled in a later interview, "We knew most of the scenes we wanted to include, but we bent our ideas to fit the people concerned, once we got to know our cast. If somebody wanted to do something we hadn’t planned, they went ahead. If it worked, we kept it in."  At one point, Lennon had a dream in which he was a waiter piling spaghetti on a woman’s plate, so the sequence was filmed and included in the movie.  Some of the older actors, such as Nat Jackley, were not familiar with the absence of a script, and were disappointed with the lack of one.

Plot

The film was unscripted and shooting proceeded on the basis of a mostly handwritten collection of ideas, sketches, and situations, which Paul McCartney called the "Scrupt." The situation is that of a group of people on a British charabanc bus (in a Bedford VAL Panorama) tour, focusing mostly on Mr. Richard Starkey (Ringo Starr) and his recently widowed Auntie Jessie (Jessie Robins). Other group members on the bus include the tour director Jolly Jimmy Johnson (Derek Royle), the tour hostess Miss Wendy Winters (Mandy Weet), conductor Buster Bloodvessel (Ivor Cutler), and the other Beatles.

During the course of the tour, "strange things begin to happen" at the whim of "four or five magicians," four of whom are played by The Beatles themselves and the fifth by long-time road manager Mal Evans.

During the journey, Ringo and his Auntie Jessie argue considerably. During the tour, Aunt Jessie begins to have daydreams of falling in love with Buster Bloodvessel, who displays eccentric and disturbing behaviour. The tour involves several strange activities, such as an impromptu race in which each tour group member employs a different mode of transportation (some run, a few jump into cars, a group of people have a long bike they pedal, while Ringo ends up beating them all with the bus). The entire tour group also crawls into a tiny tent in a field, inside which is a projection theatre. There is a strange scene where the group walks through what appears to be a British Army recruitment office. The film culminates with the men of the tour group watching a strip show.

The film is punctuated by musical interludes, which include The Beatles performing "I Am the Walrus" wearing animal masks, George Harrison singing "Blue Jay Way" while waiting on Blue Jay Way Road, and the Bonzo Dog Doo-Dah Band performing Vivian Stanshall and Neil Innes's "Death Cab For Cutie," sung by Vivian Stanshall himself.

Criticism

The British public's reaction to the film was scathing. The film initially aired in the United Kingdom as a made-for-television film on BBC1. It was broadcast in black and white, although the film was shot in colour. The Beatles and the others they worked with on the film felt this was one of the main reasons it received bad reviews. George Martin, the band's producer said, “When it came out originally on British television, it was a colour film shown in black and white, because they didn’t have colour on BBC1 in those days. It looked awful and was a disaster".  The film was shown in colour on BBC2 a few days later.

Hunter Davies, the band's biographer, said: "It was the first time in memory that an artist felt obliged to make a public apology for his work."  Paul McCartney later spoke to the press, saying: "We don't say it was a good film. It was our first attempt. If we goofed, then we goofed. It was a challenge and it didn't come off. We'll know better next time". McCartney also said, “I mean, you couldn’t call the Queen’s speech a gas, either, could you?” However, with the passage of time, McCartney changed his view of the production, saying: "Looking back on it, I thought it was all right. I think we were quite pleased with it ".

In The Electric Kool-Aid Acid Test, Tom Wolfe notes the similarity between this film and the exploits of Ken Kesey and The Merry Pranksters.

The film was spoofed in the film The Rutles, which featured Eric Idle and Bonzo Dog Band member Neil Innes, as "Tragical History Tour" with songs like "Piggy In The Middle". The rock band Death Cab For Cutie's name was inspired by the Bonzo Dog Band song in Magical Mystery Tour.

Distribution

The poor critical reaction to the telecast soured American television networks from acquiring the film, while its one-hour running length made it commercially unviable for theatrical release. It was not seen in commercial theatres in the US until 1974, when New Line Cinema acquired the rights for limited theatrical and non-theatrical distribution; it was not broadcast on American television until the 1980s in syndication. However, it was shown in 1968 at the Fillmore East in New York City as part of a fundraiser for the Liberation News Service. The critical reception in 1967 had been so poor that no one had properly archived a negative, and these later re-release versions had to be copied from poor-quality prints. By the end of the 1980s, MPI, through rights holder Apple Corps, had released the movie on video, and a DVD release followed many years later.

Songs

The songs in order of their use in the movie:

  1. "Magical Mystery Tour"
  2. "The Fool on the Hill"
  3. "She Loves You" (played during the marathon with a carnival-style organ)
  4. "Flying"
  5. "All My Loving" (orchestrated, as background music)
  6. "I Am the Walrus"
  7. "Jessie’s Dream" (previously unreleased instrumental piece)
  8. "Blue Jay Way"
  9. "Death Cab For Cutie" (written by Vivian Stanshall and Neil Innes and performed by their band, the Bonzo Dog Doo-Dah Band)
  10. "Your Mother Should Know"
  11. "Magical Mystery Tour" (once more)
  12. "Hello, Goodbye" (finale played over end credits)

Release history on VHS and DVD

Videography


USA
Year Company Format(s) Comments
1978 Media-Home Entertainment VHS/Betamax
1988 Video Collection/Apple VHS and Laserdisc With a digitally re-mixed and re-mastered soundtrack by Producer George Martin
1992 MPI/Apple Laserdisc
1997 MPI/Apple DVD First DVD release of Magical Mystery Tour
2003 Avenue One DVD

UK
Year Company Format(s) Comments
1980s Empire Films VHS
1988 MPI/Apple VHS and Laserdisc With a digitally re-mixed and re-mastered soundtrack by Producer George Martin
1997 MPI/Apple DVD First DVD release of Magical Mystery Tour

Directed by Bernard Knowles
The Beatles
Produced by John Lennon
Paul McCartney
George Harrison
Ringo Starr
Gavrik Losey
Dennis O'Dell
Written by John Lennon
Paul McCartney
George Harrison
Ringo Starr
Starring John Lennon
Paul McCartney
George Harrison
Ringo Starr
Jessie Robins
Vivian Stanshall
Mal Evans
Ivor Cutler
Derek Royle
Victor Spinetti
Music by The Beatles
Cinematography Daniel Lacambre
Distributed by New Line Cinema, Apple Films
Release date(s) 26 December 1967 (UK release)
Running time 55 min.
Language English

Restoration

The critical reception in 1967 had been so poor that no one had properly archived a negative, and these later re-release versions had to be copied from poor-quality prints[citation needed]. By the end of the 1980s, MPI, through rights holder Apple Corps, had released the movie on video, and a DVD release followed many years later.

A restored version of the film was broadcast in the UK on BBC Two and BBC HD on 6 October 2012, following an Arena documentary on its making.  Both were shown in the United States as part of Great Performances on PBS ten weeks later on 14 December.

On 22 August 2012, Apple Corps (via Apple Films) announced a re-release of the film on DVD and Blu-ray along with a limited theatrical release, remastered with 5.1 surround sound. The DVD/Blu-ray was released on 8 October worldwide, with the exception of North America (9 October).  The new release included a director's commentary from Paul McCartney along with special features including interviews (from former Beatles and others involved with the project) and never before seen footage. Also released is a deluxe edition "collectors box" featuring the film on both DVD and Blu-ray, in addition to a 60-page book, and a reproduction of the original mono UK double 7" vinyl EP.

The 2012 remastered Magical Mystery Tour DVD entered the Billboard Top Music Video chart at No. 1 for the week ending October 27, 2012.


(https://en.wikipedia.org)









  • 1968:  The film Monterey Pop debuts in theaters




Quote:

Monterey Pop is a 1968 concert film by D. A. Pennebaker that documents the Monterey Pop Festival of 1967. Among Pennebaker's several camera operators were fellow documentarians Richard Leacock and Albert Maysles. The painter Brice Marden has an "assistant camera" credit, and Bob Neuwirth, who figured prominently in Pennebaker's Bob Dylan documentary Dont Look Back, acted as stage manager. Titles for the film were by the illustrator Tomi Ungerer. Featured performers include Big Brother and the Holding Company with Janis Joplin, Jefferson Airplane, Hugh Masekela, Otis Redding, Ravi Shankar, The Mamas & the Papas, The Who and the Jimi Hendrix Experience, whose name-sake set his guitar on fire, broke it on the stage, then threw the neck of his guitar in the crowd at the end of "Wild Thing".

Performers and songs

Songs featured in the film, in order of appearance:

    Scott McKenzie—"San Francisco (Be Sure to Wear Flowers in Your Hair)"*
    The Mamas & The Papas—"Creeque Alley"* and "California Dreamin'"
    Canned Heat—"Rollin' and Tumblin'"
    Simon & Garfunkel—"The 59th Street Bridge Song (Feelin' Groovy)"
    Hugh Masekela—"Bajabula Bonke (The Healing Song)"
    Jefferson Airplane—"High Flyin' Bird" and "Today"
    Big Brother & The Holding Company—"Ball 'n' Chain"
    Eric Burdon & The Animals—"Paint It, Black"
    The Who—"My Generation"
    Country Joe & The Fish—"Section 43"
    Otis Redding—"Shake" and "I've Been Loving You Too Long"
    The Jimi Hendrix Experience—"Wild Thing"
    The Mamas & The Papas—"Got a Feelin'"
    Ravi Shankar—"Raga Bhimpalasi" (actually "Dhun (Dadra and Fast Teental")

* = Studio version, played over film footage of pre-concert activity.

The order of performances in the film was rearranged from the order of appearance at the festival. Additionally many artists who appeared at the festival were not included in the original cut of the film. (For details on the festival lineup see Monterey Pop Festival.)

DVD

In 2002 Monterey Pop was released on DVD as part of a Criterion Collection box set, The Complete Monterey Pop Festival, that also includes Pennebaker's short films Jimi Plays Monterey (1986) and Shake! Otis at Monterey (1986), as well as two hours of outtake performances, including some by bands not seen in the original film. The box set was re-released in 2009 on Blu-ray.

Influence

Jean-Luc Godard, the French New Wave director, was so taken by Jefferson Airplane's performance in Monterey Pop that later in 1968 he set out to make a never-finished film called One A.M. (for "One American Movie") in collaboration with Pennebaker and Leacock. Godard shot a sequence of the Airplane, (included on the 2004 "Fly Jefferson Airplane" DVD), playing at high noon on a business day on the roof of a New York hotel across the street from the Leacock-Pennebaker offices, with the tower of Rockefeller Center in the background. Attracted by the extremely high volume of the music, the police arrived and put an end to the shooting. This incident inspired other bands, notably the Beatles in their Let It Be film, to mount their own rooftop performances.

The screening of the film in theaters nationwide helped raise the festival to mythic status, rapidly swelled the ranks of would-be festival-goers looking for the next festival, and inspired new entrepreneurs to stage more and more of them around the country.

In 1969, Michael Lang and Artie Kornfeld pitched an idea for a recording studio in Woodstock, New York to businessmen John P. Roberts and Joel Rosenman. In the documentary Woodstock: Now and Then, Rosenman states that what really caught his eye in the proposal was the suggestion that the studio would encourage occasional rock concerts in the town. Rosenman had watched Monterey Pop the day before meeting with Lang and Kornfeld and recalled thinking it one of the best films he had ever seen, and was excited about the notion of being part of something similar. Rosenman and Roberts agreed to bankroll Lang and Kornfeld in an effort that morphed into the 1969 Woodstock Festival.

Directed by D. A. Pennebaker
Produced by John Phillips
Lou Adler
Starring The Mamas & the Papas
Canned Heat
Simon & Garfunkel
Hugh Masekela
Jefferson Airplane
Big Brother and the Holding Company
The Animals
The Who
Country Joe and the Fish
Otis Redding
The Jimi Hendrix Experience
Ravi Shankar
Editing by Nina Schulman
Distributed by Leacock Pennebaker
Release date(s) December 26, 1968
Running time 79 minutes
Country United States
Language English


(https://en.wikipedia.org)









  • 1968:  Timothy Leary is arrested for marijuana again




Quote:

On December 26, 1968, Leary was arrested again, in Laguna Beach, California, this time for the possession of two roaches of marijuana, which Leary claimed were planted by the arresting officer. He was later convicted of this offense.


(https://en.wikipedia.org)
















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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Edited by Learyfan (12/24/20 01:14 PM)


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Re: Today in psychedelic history (12/26) [Re: Learyfan] * 1
    #13686213 - 12/26/10 11:06 AM (13 years, 1 month ago)

Whatever the critical reaction to this film, this was certainly a very creative time for the Beatles, at least musically speaking.  And the shots from this film that were included on the album jacket and accompanying materials only added to the aesthetic qualities of the album.

That's some opinion I happen to hold.........dip


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OfflineLearyfanS
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Re: Today in psychedelic history (12/26) [Re: dip]
    #13686763 - 12/26/10 02:08 PM (13 years, 1 month ago)

I personally love the movie.  What did they expect?  Here's the full MMT movie.


















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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Edited by Learyfan (12/26/13 05:41 AM)


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Re: Today in psychedelic history (12/26) [Re: Learyfan]
    #15573366 - 12/26/11 08:08 AM (12 years, 1 month ago)

Annual bump.















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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



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OfflineLearyfanS
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Re: Today in psychedelic history (12/26) [Re: Learyfan]
    #17449455 - 12/26/12 05:38 AM (11 years, 1 month ago)

45th anniversary of the Magical Mystery Tour movie today.  Here is a video of rare home video footage of The Beatles on the set of the movie. 



















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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Edited by Learyfan (12/26/14 04:19 PM)


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Re: Today in psychedelic history (12/26) [Re: Learyfan] * 1
    #19327734 - 12/26/13 05:46 AM (10 years, 1 month ago)

45th anniversary of Leary's Laguna Beach marijuana arrest.  Here's an article about it.




Quote:


How the Brotherhood of Eternal Love Is Connected to the Weather Underground Via the Black Panthers
By Nick Schou Thursday, Sep 17 2009

OC’s Brotherly Connection With the Weathermen

Perhaps the most surreal operation the Weather Underground ever carried out also involved a collaboration with the Black Panthers and a Laguna Beach-based band of acid-dropping hippie hash smugglers known as the Brotherhood of Eternal Love. It all started on Dec. 26, 1968 when a Laguna Beach police officer named Neil Purcell arrested Timothy Leary, the defrocked Harvard professor of “turn on, tune in, drop out” fame, for marijuana possession on Woodland Drive in Laguna Canyon, a neighborhood then known as Dodge City for its frequent police raids. The arrest derailed Leary’s California gubernatorial campaign against then-Governor Ronald Reagan, and in February 1970, a Santa Ana judge sentenced him to one to 10 years at the minimum-security work camp at the Men’s Colony in San Luis Obispo.

No sooner had Leary been jailed than the Brotherhood, headquartered at its famous headshop known as Mystic Arts World on Pacific Coast Highway in Laguna Beach, began raising cash for his legal appeal. Dozens of “Free Timothy Leary” posters appeared throughout Laguna Beach seeking cash to “liberate” Leary from prison, claiming he had been “kidnapped by government agents.” On the night of Sept. 12, 1970, Leary climbed up a telephone pole inside the camp and shimmied his way over a fence to freedom. Waiting for him in a car just a few hundred yards down the road were several members of the Weather Underground, who had been paid $25,000 by the Brotherhood via mutual contacts in the Black Panthers. The scheme was first made public in an Oct. 3, 1973, hearing by the U.S. Senate Subcommittee on Internal Security titled “Hashish Smuggling and Passport Fraud: The Brotherhood of Eternal Love.”

The Weathermen drove Leary north to Canada; provided him with a phony passport; and put him and his wife, Rosemary Woodruff Leary, on a plane to Europe. The couple made their way to Algiers, where the Black Panthers enjoyed diplomatic immunity and provided Leary with a safe house. Leary’s penchant for smoking hash smuggled to him by his buddies in the Brotherhood quickly put him on the outs with the revolution-preaching Panthers, and he eventually fled to Switzerland and then Kabul, where federal drug agents arrested him at the airport in 1973. After agreeing to inform on his former Brotherhood pals, Leary spent the next several years in prison.

“The Weathermen didn’t care about Timothy Leary; they cared about their cause,” says one former Brotherhood smuggler who helped finance Leary’s escape. “We were revolutionaries, too, but they were violent revolutionaries. They wanted to overthrow the government through violent means. We were into overthrowing it through love.”


(http://www.ocweekly.com)

















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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Edited by Learyfan (12/11/16 12:32 PM)


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Re: Today in psychedelic history (12/26) [Re: Learyfan]
    #21028742 - 12/26/14 04:21 PM (9 years, 1 month ago)

Annual bump.
















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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



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Re: Today in psychedelic history (12/26) [Re: Learyfan]
    #22701159 - 12/26/15 10:34 AM (8 years, 1 month ago)

Happy 90th Birthday David Solomon!

:cheers:










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Re: Today in psychedelic history (12/26) [Re: Learyfan]
    #23958270 - 12/26/16 12:47 PM (7 years, 1 month ago)

Annual bump.














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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



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Re: Today in psychedelic history (12/26) [Re: Learyfan]
    #24869217 - 12/26/17 11:02 AM (6 years, 1 month ago)

50th anniversary of the Magical Mystery Tour movie today!  1967 was such an incredible year for psychedelia and this is pretty much the last great 50th anniversary moment for that year.  Here's a documentary about the movie.  Hopefully YouTube doesn't take this off.















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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



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Re: Today in psychedelic history (12/26) [Re: Learyfan]
    #25703190 - 12/26/18 05:35 AM (5 years, 1 month ago)

50th anniversary of Timothy Leary's Laguna Beach marijuana possession arrest today.  He claims the officer planted the joints. 











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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



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Re: Today in psychedelic history (12/26) [Re: Learyfan]
    #26401196 - 12/26/19 05:37 AM (4 years, 1 month ago)

Annual bump.









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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



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Re: Today in psychedelic history (12/26) [Re: Learyfan]
    #27108523 - 12/26/20 09:33 AM (3 years, 1 month ago)

Happy would-be 95th Birthday to David Solomon!

:cheers:










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Re: Today in psychedelic history (12/26) [Re: Learyfan]
    #27594927 - 12/26/21 10:54 AM (2 years, 1 month ago)

Annual bump.









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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



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Re: Today in psychedelic history (12/26) [Re: Learyfan] * 1
    #27594945 - 12/26/21 11:12 AM (2 years, 1 month ago)

Happy Birthday Mr. Solomon!


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Re: Today in psychedelic history (12/26) [Re: Hoogshagenii]
    #28112692 - 12/26/22 08:05 AM (1 year, 1 month ago)

And it's the 55th anniversary of the Magical Mystery Tour movie today also!








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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



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Re: Today in psychedelic history (12/26) [Re: Hoogshagenii]
    #28598257 - 12/26/23 04:09 AM (1 month, 2 days ago)

55th anniversary of Timothy Leary's Laguna Beach arrest today.








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