Showing posts with label Hippies in Miami. Show all posts
Showing posts with label Hippies in Miami. Show all posts

Saturday, May 3, 2014

Jim and a Prelude to Destruction/Hippies in Miami Pt. 2

This is a the first of a Two-Part Post: Hippies in Miami
Pt. 1: Jimi and a Prelude to Beauty 
Pt. 2: Jim and a Prelude to Destruction

Hello and welcome back to Old Highway Notes. The last time we were in Miami on Interstate 95, we talked about a few music festivals in Miami that proved to be a precursor for a summer of  huge rock festivals in 1969, with inedible line ups of beautiful music being listened to by beautiful people leading up to Woodstock in August of that year. The Miami hippy scene also was the site of a prelude to destruction.

While Miami hosted two successful music festivals, it wasn't a hippy town per se. It was still the deep south and while they could tolerate a few busloads of hippy kids coming into town for a music festival when there was some money to be made, by 1969 the more conservative elements of the city were getting tired of tolerating the whole hippy movement. They weren't happy that the freak scene was so  popular with some of local kids. A concert was booked for the rock band The Doors to play at the University of Miami. A lot would go wrong.

Double Crossing Concert Promoter

Promoter Ken Collier, doing-business-as Thee Image Productions, manged to lure the band away from the planned appearance at the University hall to instead have them perform at the Dinner Keys Auditorium, a larger venue that was a apparently a ramshackle converted seaplane hanger with a seating capacity of 7000. The Band was offered the band a flat fee of $25,000, based on the maximum gross ticket sales of $42,000 for a sell out crowd. Once the contract was done, the promoted ripped the seats out of the auditorium increasing the legal capacity of the venue as now a standing room capacity could be applied. Even then tickets were oversold. Though it was early in the year it was reported to be a hot, humid, and tensely packed concert by the time the show began. The manager of The Doors, Bill Siddons, was furious. He threatened to halt the performance, but the promoter threatened to seize their new equipment as collateral for a new show. With obvious tension in the air the show would go on.

https://www.flickr.com/photos/boston_public_library/8006291422/sizes/l



Jim Had Other Ideas

Meanwhile, the band was having its own issues. In 1969, The Doors fame was ebbing a bit from the successes of their first two albums. However, there was still a demand for their unusual, jazz-influenced style of psychedelic rock noire. That demand would cause a hurricane of circumstances to come together in Miami. Jim Morrison, the bands lead singer, known by such nicknames as the Lizard King, the Erotic Politician, and Mr. Mojo Risin', had begun to tire of the attention of fame, and had sought relief through heavy drinking and through exploring other artistic mediums than pop music. Jim had always had interests far more deeply into avante garde theater and poetry than most rock musicians. Before joining the band he had attended film school at UCLA. He also wrote poetry and was earnestly trying to make a transition from pop star to seriously regarded writer and poet. A daunting task to be sure. In February of 1969 he recorded an album of poetry tracks that would be released later as An American Prayer. He also had his first book of poetry, "The Lords and the New Creatures" published in 1969. During this time, Jim was also exploring avante garde theater. he was particularly impressed with "Julian Becks' Living Theatre". Wikipedia explains the Living Theatre:



From its conception, The Living Theatre was dedicated to transforming
 the organization of power within society from a competitive,
hierarchical structure to cooperative and communal expression. The
troupe attempts to do so by counteracting complacency in the audience
through direct spectacle. They oppose the commercial orientation of
Broadway productions and have contributed to the off-Broadway theater
movement in New York City, staging poetic dramas.

The primary text for The Living Theatre is The Theater and Its Double, an anthology of essays written by Antonin Artaud, the French playwright. It was published in France in 1937 and by the Grove Press in the U.S. in 1958. This work deeply influenced Julian Beck, a bisexual painter of abstract expressionist works. The troupe reflects Artaud's influence by staging multimedia plays designed to exhibit his metaphysical Theatre of Cruelty. In these performances, the actors attempt to dissolve the "fourth wall" between them and the spectators.

For more background this video retrospective of the theatre does not necessarily show the performances Jim saw, but it should give you a bit of the flavor of what was influencing him.




Florida was a homecoming of sorts for Jim Morrison. The son of a naval admiral, he never talked much about his childhood and even claimed that his parents were dead (they weren't). It seems likely he may have had some unpleasant childhood memories. Being a navy kid he moved around a lot, but large chunks of time were spent with his father stationed on Florida or living with his grandparents who were Clearwater, Florida residents. Jim may have had some dark memories on his mind as he returned to the state. To make matters worse, a fight with girlfriend Pamela Courson before leaving Los Angeles and numerous travel delays en route meant that by the time he got to Miami, Jim was drunk and surly. And he was thinking about challenging the audiences expectations, not knowing the tense situation he was walking into.

On With The Show

Jim Morrison arrived late due to delays in his flight schedule. When he arrived it was obvious that Jim was quite drunk, even by the standards of a drunkard. The band took to the stage, As the band played the intro to"Love Me Two Times" Jim hesitated approaching the stage, when he did he was brash and confrontational to the audience. In this clip you can hear the drunken rage.




It was during the ranting that, at one point, Jim had reportedly may have pulled out his  penis and masturbated onstage. This was widely disputed with explanations that people were seeing a shirt tail or his fingers. Regardless, it added to the infamy of the evening. When the show was over, the band left town, assuming it to be just a bad show caused by Jim's drunkenness. But the show was not over.

Enter The Law

Three days after the concert, a warrant was issued by Dade County, FL for the arrest of Jim Morrison. Rolling Stone reporter John Burke's April 1, 1969 states:

Miami — Jim Morrison, the Doors' cataclysmic, electroplastic lead singer, finally let it all
 hang out at a March 2nd concert in Miami, Florida, and in the outraged
aftermath became the object of six arrest warrants, including one for a
felony charge of "Lewd and lascivious behavior in public by exposing his
 private parts and by simulating masturbation and oral copulation."

The five other warrants are for misdemeanor charges on two counts of
indecent exposure, two counts of open public profanity and one of public
 drunkenness. The total maximum sentence the 25-year-old Morrison could
get would be three years and 150 days at Raiford State Penitentiary, one
 of the tougher state pens in the South.

It wasn't the first run in Jim had had with the law. Prior incidents in Long Island and Connecticut had resulted in his arrest for inciting a riot, but he had so far managed to avoid conviction. Again from the Rolling Stone:

The reaction went like this:

The Mayor of Jacksonville, Florida, personally cancelled a Doors concert in his city scheduled for the following weekend.

The Miami Herald went for the throats of the off-duty cops who'd
failed to arrest Morrison on the spot: "They saw and heard laws being
broken.... We cannot see why some of the policemen did not make the
arrest."

The president of the Crime Commission of Greater Miami called for a
Grand Jury investigation both into the alleged obscenities and into how
Morrison had been allowed to perform there in the first place.

In response, Collier copped out by issuing a public statement to the
effect that he had no idea Morrison would come on anything like he had
and (in the classic phrase) "anyway, if we hadn't brought him here,
somebody else would have."

It was Wednesday, four days after the concert, before the State
Attorney's Office weighed in with its warrants (which set bonds
totalling $4,500), under the pressure of the public uproar.

"I was extremely shocked at the facts in this case as to what this
man did, and the State Attorney's Office will prosecute him and ask for
the maximum sentence on each count to run consecutively," promised Joe
Durant, an assistant to State Attorney Richard E. Gerstein.

"It is our intent to serve these warrants on him and bring him before our courts," chimed Acting Police Chief Paul M. Denham.

In the past, Morrison has gotten off without serving any time. His
major contretemps with the law have taken place in New Haven,
Connecticut (breach of the peace and giving an indecent or immoral
exhibition were the charges there), in Phoenix, Arizona (started a riot
at the State Fair—and will never, the manager said, be invited back
again), and in Long Island, New York (another riot).

These were the acts of an "erotic politician," to use Morrison's own
term. "I just think I'm lucky to have found a perfect medium to express
myself in," he recently told the New York Times. "When I sing my songs
in public, that's a dramatic act, but not just acting as in theater, but
 a social act, real action."

The Doors were paid $25,000 for this latest social act of Morrison's,
 and it will be wise for them to save it carefully. It may be some time
before they are allowed to carry out another social act of this
kind—within the framework of Floridian/American society, at any rate.

But there's a brighter ending to this story for Ken Collier, the
promoter, who said: "There's one good thing in this for me. Before this
happened, nobody ever heard of me or the club in New York. But now I
think they have."


Once again, Collier had made a move to benefit himself at the expense of the band. The situation was serious, though, and public opinion was not in favor of The Doors as this video shows:



Many of the bands concerts over the next year were cancelled by the host cities pending his trial. In September 1970, Morrison was convicted of indecent exposure and profanity. He was sentenced for six months in prison and had to pay a $500 fine. Morrison remained free on a $50,000 bond.



Guilty!

While the case waited for appeal, Jim joined his girlfriend, Pamela Courson who was already living in a rented flat in Paris. They would walk the city exploring its art and architecture while Jim continued to drink and reportedly dabble in heroin use. On July 3, 1971 James Morrison was found dead in his bathtub. The attending physician ruled the death a heart attack and pursuant to French law no autopsy was performed. Jim was quickly buried in the famous Père Lachaise Cemetery in Paris that was the final resting place of many famous writers, perhaps most notably Oscar Wilde. Few people saw Jim's body before his death and a wealth of theories speculate that he death was faked to escape the trappings of fame. Others suspect that the reported "heart attack" was really an overdose. That suspicion was widely held, especially following the deaths of Jimi Hendrix and Janis Joplin that same year due to drugs. Regardless of the cause of death, whether overdose or heart attack the stress of his impending legal issues likely hastened his demise.


A Postscript


The rest of the Doors continued persueing careers in music and entertainment with perhaps Ray Manzerick  achieving the greatest post-Doors success including production of the band X's first album Los Angeles an essential album in rock history that just happened to feature the old Doors song "Soul Kitchen". In 2007 Florida Governor Charlie Crist suggested the possibility of a posthumous pardon for Morrison, which was announced as successful on December 9, 2010.

Thanks for joining us for this week Old Highway Notes. Make sure and join us in three weeks when we return to Interstate 95 and continue to expolore the Miami area. In two weeks we will back on the Highway 101 in San Diego County where we will learn about another of National City's famous sons. Next week we return to Route 66 and our digging into the history of Chicago blues music. Join us won't you and until we meet again, avoid exposing yourself onstage.

Mileage Stats


Route 66: 0 Miles/1 State/466 Tracks/93 Videos/22 Posts
Highway 101: 13  Miles/1 State/433 Tracks/129 Videos/16 Posts
Interstate 95: 0 Miles/1 State/10 Tracks/23 Videos/5 Posts


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Saturday, April 12, 2014

Jimi and a Prelude to Beauty/Hippies in Miami Pt. 1:

This is a the first of a Two-Part Post: Hippies in Miami
Pt. 1: Jimi and a Prelude to Beauty 
Pt. 2: Jim and a Prelude to Destruction


Hello and welcome back to Old Highway Notes. When last we were in Miami we spent some time driving up I-95. This week we go back in time to visit Miami in the 1960's where events in the world of hippies and rock music would converge as preludes to both beauty and destruction.

In the mid 1960's Miami was a swinging vacation destination attracting youth from around the country to come down to Florida to play in the sun and the sand. It was a pretty clean cut swinging scene.



By the later parts of the 60's a lot had changed. A new movement had swept the youth of America. Psychedelic drugs and harder rock music were popular and the kids created the hippy lifestyle. The movement centered around freedom in response to the repressed lifestyles of the 1950's and early 1960's. The freedom was celebrated in rock music, underground newspapers and comics, freaky fashion styles, "free love", communal living arrangements and alternative lifestyles. It showed up in trips taken both on the highways and in the mind. Psychedelic drugs became a staple in the scene with intrepid explorers pushing the limits of their consciousness. In the "real world", a nomadic culture of road trippers emerged that would travel from commune to commune and from rock concert to rock concert in beat up old jalopies, on motorcycles, and in in old vans and school buses converted to rolling crash pads. It was all a part of the hippy scene.  Here is some footage of hippies in action from the 1960's.




A Prelude To Beauty
Miami Pop Festival May 18-19, 1968

In 1966 as the hippy scene was gaining momentum, a young Michael Lang had relocated from New York City and had opened a 'head shop" in the Miami area. A head shop was a store that specialized in selling all of the accessories of the hippy lifestyle  from bootleg rock records to paisley scarves to pipes and rolling papers and other illicit drug supplies. As part of the emerging hippy movement, Lang was reported to have gone to California in June of 1967 to attend the legendary Monterey Pop Festival in Monterey, California. Like many in attendance, Michael was impressed by the scale of the event, the beautiful feelings that washed over the crowd, and the music. Jimi Hendrix put on a memorable performance in Monterey that likely also provided inspiration for the young Lang.

Students of music history might recognize the name of Michael Lang, he was to become the youthful promoter who created the legendary 1969 Woodstock Festival in New York. But in 1968 he was a small business owner in Miami who was putting on his first music festival closer to home at the Gulfstream Park, a horse racing track which is actually located just North of Miami in Hallandale, Florida. He had been inspired by the success of the Monterey festival and had decided to attempt recreating the festival for the East Coast. He announced a lineup that included Jimi Hendrix, Frank Zappa, and the Mothers of Invention, Blue Cheer, Chuck Berry, John Lee Hooker, The Crazy World Of Arthur Brown.


Source: Poster Mania


Scheduled for May 18-19, 1968, the festival was a relatively simple affair with stages set up on flatbed trucks with acts alternating on the stages. The bands would play short festival sets twice a day. Of note were the performances by the Jimi Hendrix Experience. A live album of that days set has since been released: Miami Pop Festival  Also, PBS's American Masters aired a biography of Jimi Hendrix called Jimi Hendrix : Hear My Train A Comin' DVD/All Region that featured previously unreleased performances from the festival.



When the Jimi Hendrix Experience arrived in Miami for the festival there was a mix up with cars at the airport. To speed things along, Michael Lang had a helicopter contracted to fly them to the festival grounds. It provided a dramatic entry that energized the crowd. It was a move that would would late be made again to get acts to the stage at the Woodstock Festival when traffic clogged the highways of upstate New York leading to that festival. This excerpt from the film talks about the Miami Pop Festival.



After a grueling tour of 60 shows in 66 days this would be one of the last performances of the Experience. In addition to the footage that PBS found, this super8 home movie clips from a festival goer is a raw but very authentic artifact.



The sets scheduled for May 19 were cancelled for several of the artists, including the Jimi Hendrix Experience, due to heavy rains. This may have been a blessing in disguise as the rains (besides foreshadowing the Woodstock Festival) inspired Hendrix to write the song "Rainy Day, Dream Away". I have in my collection an unreleased demo version of the song that will be our lone addition to the Interstate 95 play list this week.
  • Rainy Day Dream Away    Demo    Jimi Hendrix    1:52
In less than a year, the Jimi Hendrix experience would be broken up and in August of 1969 Jimi would be performing at Woodstock with a different group of musicians. Michael Lang will have returned to New York and began making plans for the horribly mismanaged, yet legendary, Woodstock Music and Art Fair. Miami Pop indeed was a prelude to beauty that happened the next year in a small town in upstate New York.


Postscript
Miami Pop II December 28-30, 1968

The first Miami Pop Festival was such a success that a follow up was nearly inevitable. Promoters Tom Rounds and Mel Lawrence, who had previously promoted the KFRC Fantasy Fair and Magic Mountain Music Festival on Mount Tamalpais in Marin County, California, were able to put together an outstanding line up of the top acts of the day. For the 7 dollar price of admission, festival goers were treated to performances from Procol Harum, The Turtles, The Grass Roots, Three Dog Night, José Feliciano, The Blues Image, The Box Tops, Paul Butterfield Blues Band, Hugh Masekela, Pacific Gas and Electric, Fleetwood Mac, Richie Havens, The Sweet Inspirations, Joni Mitchell, Jr. Walker & The Allstars, The McCoys, Sweetwater, The James Cotton Blues Band, Canned Heat, The Charles Lloyd Quartet, Ian & Sylvia, Country Joe & the Fish, Buffy St. Marie, Steppenwolf, The Amboy Dukes, Terry Reid, These Vizitors, Iron Butterfly, Chuck Berry, Flatt and Scruggs, Grateful Dead, Marvin Gaye, and Joe Tex. With that sort of value 100, 000 young people, some hippies some not converged for a musical party. It was a continuation of the growing momentum of the festival scene in the US that would culminate with a half a million people at Woodstock the following August. 
 
Source: Wikipedia



The Harvard Crimson Review published a mixed opinion review in January, 1969 that was not favorable of the more West Coast laid back noodley psychedelic music. Rather, the author more preferred harder edged shorter songs such as the English and East Coast bands were producing, Regardless of his musical  biases he does provide an excellent description of the festivals atmosphere:


Held for three days in late December in a gigantic race-track cum park just outside Miami the Festival unrolled smoothly. It represented in its music a cross-section of the entire rock scene today: folk (Joni Mitchell, Buffy Ste. Marie, etc.), blues (James Cotton, Butterfield), jazz (Charles Lloyd), rock, progressive rock, Motown (Marvin Gaye, Jr. Walker) and even top-40 rock (the Boxtops, the Turtles). All this in a setting of serene scenic beauty.

There were two stages far enough apart so as not to interfere with each other's music, one in a meadow dotted with trees and the other in front of the racing track's grandstand. Vast open spaces in between with enormous Pop-Artifacts strewn along the way deliberately aimed at re-creating the Pepperland atmosphere of the movie "Yellow Submarine" and in the unfettered Florida sunshine amid throngs of healthy young people (46,000 on the last day) it came as close as is possible in real life to achieving its purpose.

Performers were carefully scheduled on each stage so as not to overlap, by catering to people's different tastes (thus Steppenwolf on one stage while Joni Mitchell was playing at the other, Ian and Sylvia in the meadow while Iron Butterfly played the grandstand) though even with diligent shuttling from stage to stage I inevitably missed some performances. This kind of sensible planning on the part of the Festival organizers marked most aspects of the three day show. Facilities were thoughtfully and adequately provided: free parking, food stalls, seating, elaborate and powerful sound systems. Not to mention the whimsical diversions on the site such as a "Meditation Grove," a display of walking fish (only in Florida . . .), and a giant three-layered slide. Above all, though, there was the music.

I had no recordings in my collection from this festival, so no tracks make the play list from this day. But, dear reader, I did find the Grateful  Dead's set available streaming on Archive, as well as on YouTube. Of course that is not really surprising, there is so much Grateful Dead music available.on the Internet. I have embedded both versions for you to enjoy. 


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The Miami Festivals were a prelude to a beautiful time in rock history when weekend after weekend provided festivals of enormous size with incredible line ups. It would be a short era peaking at Woodstock before tragedy would strike at Altamont Speedway in California making the large rock festival an increasingly rare event in the 1970's and 1980's. It remained so until the Lollapaloozas and Bonneroos of the 1990's revived the concept for a new generation. But Miami also was to be the prelude to destruction. That is the story we will discuss when we next meet in three weeks on Interstate 95 for some more Old Highway Notes. Before then, we will return next week to Route 66 for more blues in Chicago and in two weeks we will be back in south San Diego County looking at the sights on old Highway 101. Join us, won't you. And until then: stay Experienced!

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