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Thread: 1969-06-22 'Newport '69', San Fernando Valley State College, Devonshire Downs

  1. #1
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    1969-06-22 'Newport '69', San Fernando Valley State College, Devonshire Downs

    Sunday, June 22nd, 1969

    1. Earth vs Space (includes parts of Gypsy Eyes,Keep on Groovin',Red House, Machine Gun)
    2. The Things I Used To Do
    3. Jam (includes Train Kept A Rollin'-Power Of Soul-Earth Blues-Hear My Train A Comin'-Voodoo Child (Slight Return)-Fast Jam (includes Sunshine Of Your Love-Come On (part 1)-Star Spangled Banner)
    4. We Gotta Live Together-Feel So Good

    Silent 8mm Film

    8mm Resynced

    16mm Film

    Attachment 6181

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  3. #2
    crazy_cat Guest

    Re: 1969-06-22 'Newport '69', San Fernando Valley State College, Devonshire Downs

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    Re: 1969-06-22 'Newport '69', San Fernando Valley State College, Devonshire Downs

    Newport '69, a retrospect by Jim A. Beardsley.

    Interesting overall view of the festival and its aftermath.

    "...Inside the grounds, Friday night's show rolled on despite lineup changes, delays due to technical difficulties, and inadequate security measures. In addition to the abysmal acoustics all large-scale open-air concerts offered, Newport '69 featured the continuous noise and spotlights of several law enforcement helicopters which made hearing the performances even more difficult, if not impossible.

    ...Hendrix's headlining act fell victim to the show's long delays, and by the time he and his Experience band mates took the stage it seemed that most everyone - the crowd, the musicians, and the helicopter pilots - had had enough for one day and night. Hendrix, who was just about at the apex of his performance career, reacted poorly with the crowd and cut short his set for which he allegedly was paid $100,000..."

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    crazy_cat Guest

    Re: 1969-06-22 'Newport '69', San Fernando Valley State College, Devonshire Downs

    Hi, wrong track list 06-22 here? -

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    Re: 1969-06-22 'Newport '69', San Fernando Valley State College, Devonshire Downs

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    Re: 1969-06-22 'Newport '69', San Fernando Valley State College, Devonshire Downs

    Waaaay rare blue variant of Newport 69 2 sided handbill

    as seen in June 20,1969 post most of the handbills were gold or light yellow in color
    Last edited by billo528; 04-02-16 at 02:19 PM.

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  10. #7
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    Re: 1969-06-22 'Newport '69', San Fernando Valley State College, Devonshire Downs

    Mark Whaley photos (4th photo set down the page)

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    Re: 1969-06-22 'Newport '69', San Fernando Valley State College, Devonshire Downs

    I don't know if this is already known:

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    Re: 1969-06-22 'Newport '69', San Fernando Valley State College, Devonshire Downs

    Quote Originally Posted by okla70homa View Post
    I don't know if this is already known:
    Yes, its been on CTT for a while now, here:

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    Re: 1969-06-22 'Newport '69', San Fernando Valley State College, Devonshire Downs

    Sunday 22 June 1969
    Northridge, Devonshire Downs, Devonshire St. & Zelzah Ave., San Fernando Valley, California, USA
    Jam - ‘Newport 69’ festival – with Jimi – vocal & guitar, Buddy Miles – vocal & drums, “Sunshine”[i.d. unknown], Eric Burdon (Eric Burdon & War*) & Tracy Nelson (briefly) - vocals (Mother Earth),T. S. Webb – flute (The Flock), Bob Arthur – bass (Mother Earth), [Harold Brown? (Eric Burdon & War*)] – drums, Snooky Flowers & Terry Clements - sax (Janis Joplin Revue) and Lee Oscar – harmonica (Eric Burdon & War*), Tracy Nelson, Sadie Cantrell, Irma Routen & Lady Corder – backing vocals (Mother Earth).
    *Eric Burdon & War (formerly ‘Nightshift”) became an entity in January 1969, they played their first gig under this name on 8 June 1969 at ‘Mother Lizard's Ball’ in San Bernardino, California.
    Film: 10 minutes colour 16mm, also: 20 minutes of 16mm colour, with the soundboard recording added in sync to most of it.
    Promoter: Mark Productions
    Audience: ~ 50,000

    Earth Versus Space:
    Midnight Lightning (9)>
    <Gypsy Eyes (11)>
    <Machine Gun (7)>
    Sometimes I Wonder? (Buddy Miles?)/
    <There’s A War Goin’ On

    The Things That I Used To Do (Eddie ‘Guitar Slim’ Jones)
    Message To Love (20)>
    The Train Kept A Rollin’ (Myron ‘Tiny’ Bradshaw, Howie Kay & Sydney Nathan)
    <Power Of Soul (40)<
    <Earth Blues (11)>
    <Getting My Heart Back Together Again (30)
    Voodoo Child (slight return) (61)

    Express Horns jam [Fast Jam]>
    <Sunshine Of Your Love (33) (Jack Bruce, Pete Brown & Eric Clapton)/
    <Come On (Part I) (15) > (Earl ‘King’ (Johnson)
    <The Star Spangled Banner (25) (music by John Stafford Smith)

    We Gotta Live Together (1) (Sly Stone & Buddy Miles)>
    <Feel So Good (1) (Bill Broonzy)

    The Sky Is Cryin’ jam (Buddy Miles? & Elmore James)

    The Los Angeles Image (27 June - 10 July) ‘Hendrix Rules The Universe’ - review by Gene Rogalski and R.E. Maxson: “Hendrix concluded Friday’s concerts with a very unenthusiastic performance. Right from the start he seemed to be on a bummer (the audience wasn’t; they stood up and cheered when he came on stage) and digressed from there. He cursed the audience, calling them animals and teeny boppers (woe!) and got super uptight when people requested songs. He lost his cool…but was, in a sense, justified. When somebody pays to see a performance. they should be courteous enough to at least listen to it.
    On the other hand, no performer should ever let his shorts down. He’s there to ‘spread joy.’ so to speak. and he should do it - even if he is bummed out. People started leaving during Hendrix’s put-down, but those who think of him as some sort of godhead stayed to witness their savior crucify the audience. It’s a good thing he came back Sunday to shine.”
    (Page?) [title?] “If last week’s festival proved anything, it proved one thing for sure: Hendrix is the unexcelled master of the electric guitar. Sunday’s program, when Hendrix was at his zenith, was the best of the three days’ shows and got the best audience response.
    Included was an unprecedented two-hour jam session which may have artistically been the greatest achievement in live rock history.
    Among the participants were Eric Burdon and his review, the Janis Joplin Review (without Janis), Tracy Nelson and some members of Mother Earth, and Hendrix. Janis couldn’t be missed less. Hendrix more than made up for his weak performance of Friday night. In fact, he got carried away. About twenty-five minutes before the jam ended, Buddy Miles announced, ‘We don’t want to overdo it.’ But Jimi apparently wasn’t listening - he played and played and played until (at least it’s rumoured) his plug was pulled,
    This is the kind of thing you always hear about but never get to see. The participants obviously hadn’t practiced, but that can be overlooked when you’re watching some of the greatest jam together. What adjective can be applied to such a performance?
    Hendrix came across with perhaps the greatest playing in all of rock’s existence, and maybe even the greatest accomplishment ever achieved with the electric guitar. He seems to know the instrument and its nearly limitless possibilities better than any electric guitarist who has ever lived.
    He played for nearly the whole two hours, stopping only now and then to let other performers lay down some business - and he never repeated a riff. His creativity was aweing [God damn Yank, speak English boy!] as he switched styles from blues to jazz to rock to rhythm to whatever, all with ridiculous ease.
    Hendrix was Wes Montgomery and B.B. King and Eric Clapton and you name it all wrapped up in one package of artistic fury as he demonstrated his ability to play anyone’s genre and do it better than the best practitioner of each style he attempted.
    His use of the wah-wah pedal, tape loops [sic, no tape loops actually] and other relatively new features of electric guitar playing - in a way which was creative beyond belief demonstrates his thorough wisdom of the instrument and all its present-day possibilities.
    There has probably never been electric guitar talent as promising as Hendrix, and if he never does anything right again his Sunday performance will stand as a great fulfilment of that talent - the man is nothing less than a genius.
    The performance Hendrix wrought from his instrument dwarfed just about everything else that has gone clown, and he easily blew the considerable talent which was on the stage with him right off whenever he wanted to. The performance inspired in this writer the most compelling experience of total euphoric ecstasy ever derived from music.
    Hendrix’ eye-challenging finger speed and formidable technical dexterity, his continual flow of out-of-time ideas, his peerless phrasing, his flawless sense of taste and timing, and the famous aura he communicates all molded in perhaps a once-in-a-lifetime fusion with the ultimate inspiration all musicians dream of receiving during a jam session.
    It was as if Hendrix had broken through to the most profound musical dimension available to mortals and was being guided by the perfect, instantaneous teachings of improvisational composing’s most exalted spirit. Man, Hendrix was playing out of his mind.”

    ROLLING STONE 26 July 1969 (Page 1) 'Crashers, Cops, Producers Spoil Newport '69' by Jerry Hopkins, Northridge, Calif. — Once again violence has severely mauled the face of rock, with several hundred persons injured in rioting outside Newport ‘69, what probably was, in attendance, the world's largest pop festival.
    Because of this violence, and perhaps as much as $50,000 in damage done to neighborhood homes and businesses, the Los Angeles police commission has launched a full investigation. It could result in new city policies on the grant*ing of concert permits and certainly means there will never be another rock festival held here.
    Over 150,000 attended the three-day series of concerts — featuring Jimi Hendrix, Creedence Clearwater Revival, Johnny Winter and the Rascals among the 33 acts—and for most of those visit*ing this suburban Los Angeles commu*nity, the only bummer was the festival itself. They were not aware of the bloody violence erupting outside the gates. For them there was only the last logjam of humanity that made the festival like attending a high school reunion in a closet.
    The producers of Newport '69—no re*lation to the folk or jazz festivals in Rhode Island—spent $11,000 on hurri*cane fencing and it was this fence that hundreds of youngsters stormed, rather than pay the $7 admission cost. Gate*crashers the first two days caused only minor incidents, but early Sunday after*noon all hell broke loose.
    As was true in another southern Cali*fornia festival, in Palm Springs Easter week, a small minority of youngsters can be blamed for initiating the trouble, and police can be faulted for reacting too brutally.
    The kids threw bottles and rocks and the police randomly slashed out with ba*tons, causing blood to stream freely. (Those injured were as young as 14.) Teenagers swarmed across a nearby shopping center, causing nearly $10,000 in damage to two gas stations, an equal amount of damage to apartment houses, another $1,500 worth of vandalism at a grocery store. While police demonstrated a sure-fire way of halting a kid — ap*proach him at a dead run, grabbing him by the back of the neck, slamming him head first into a parked car; then club him when he's down.
    (This technique was shown in terrifying clarity in newsfilm on two networks that night.)
    As all this was happening, thousands of youngsters continued approaching the festival fairgrounds and this, coupled with a roving band of several hundred members of the Street Racers — a bike club hired by the festival as an intern security force—only complicated matters even farther.
    By mid-evening, about 9 PM Sunday the gates were opened and those remaining in the area were admitted free.
    By then, however, an estimated 300 had been injured—15 cops among the —and another 75 had been placed under arrest, about half of them on charges of assault with a deadly weapon against a police officer. Other charges ranged from drinking in public to possession of drugs.
    Next day, the city began to bellow and grunt.
    Michael Kohn, police commission pres*ident, said this group undoubtedly would present the city council with recommen*dations for a new ordinance to enforce more rigid controls over concerts and similar events. City Councilman Robert Wilkinson said extra police and overtime cost to the city was $35,000 "and we haven't even begun to figure the damage to city prop*erty." Wilkinson represents the Devon*shire Downs area, where the festival was held.
    And local residents were shouting about the number of young people using their pools and camping overnight in their flower beds.
    While the entire area—several blocks in all directions—looked as if ten garbage and trash trucks had collided in the middle of a windstorm.
    Even disregarding the violence and vandalism (as impossible as that is), the festival was anything but festive. The producers, Mark Robinson and Paul Schibe of Mark Productions, tried hard, spending thousands of dollars on ground cover and other facilities, but it just wasn't enough. For a few thousand who were positioned close to the huge stage it might have been the musical trip of the decade, but for the vast majority it was a nightmare.
    Traffic to and from the fairgrounds was nearly impenetrable and parking severely limited, forcing thousands to park on distant residential streets.
    Hundred-foot lines formed outside an insufficient number of stinking, overfiowing portable toilets.
    The sound system was totally inade*quate, however good it might have been, with nearly all the 50,000 or so present each day beyond the reach of the speak*ers- There was also a droning public ad*dress system echoing through a nearby strip of temporary psychedelic shops ... while overhead there was a constantly circling police helicopter (dubbed "the Blue Fist" from Yellow Submarine by master of ceremonies John Carpenter). Sometimes there were two helicopters, drowning out the likes of Buffy Sainte-Marie.
    Visibility was similarly limited. Even those near the 10-foot high stage couldn't see well because of crowding and the height of the stage itself. For most of those present, the stage was so far away you knew where the acts were only because that's where most people were facing. Lighting and camera towers obstructed vision more.
    Even for those who were close enough to hear and see, some of the acts were bad—including Jimi Hendrix, who pro*vided a listless set, told the audience it was a "teenybopper crowd," and left to a smattering of applause. (It might be add*ed that Hendrix was paid $100,000 for the gig—a sum he did not ask but was offered by the promoters, and which put some other performers uptight.)
    The biggest bummer of all was the enormity of the thing. Even though the fairgrounds was the size of a small air*field, the mammoth number of bodies jammed together over much of it and scattered along the perimeter made it look look (and feel) like the railroad sta*tion scene during the burning of Atlanta in Gone With the Wind.
    Local high schools and colleges had just closed for the summer and as one observer put it. "Have you noticed the number of babies and small children here? You know why? Because every babysitter in Los AngelesCounty is here.
    All there was lo do, unless you were immobilized in the center of the crush of humanity, was to mill around—which is what tens of thousands did, looking for amusement and booze and drugs. “Got any dope?” was a frequently heard plaint. So was, "How about sharing your wine?"
    And when it was all over, those on the inside merely added to the destruction accomplished outside.
    Giant bonfires were built on the astro-turf and burlap ground covering, virtu*ally destroying it. The tassled canopies scattered across the fairgrounds were torn down and set aflame. The grand*stand at one side of the field was par*tially dismantled, along with the slatted wood walls of a nearby exhibition build*ing. And everywhere there was a sea of broken Ripple and Gallo bottles. (The first aid tent, manned by the Free Clinic, treated hundreds for cut feet.)
    Of course there were good moments— as when Janis Joplin was introduced to thunderous applause the first night and when, on Sunday, Hendrix redeemed himself and returned to jam with Tracy Nelson of Mother Earth, Buddy Miles and the bassist from Janis's band. Also as when two bands not scheduled to ap*pear (Smoke and Navaho Honey) set up and began to play in an open building adjacent to the psychedelic runway, giv*ing several hundred a place to get it on. The light show, by Glenn McKay's Head Lights, was dwarfed by the size of things but excellent. The standard hot dog and Pepsi fare offered at such gatherings was happily augmented by Hansen jukes and health cookies. And the Ike and Tina Turner Revue knocked 'em dead, as did Joe Cocker, Three Dog Night, and a number of others.
    Before the festival was held, Mark Robinson (who had been involved in two other bummers in the summers in 1967 and 1968 in Los Angeles) distributed to the press a "final pre budget" breakdown, showing he had committed himself to spending $282,000 for the acts.
    In name value, it was a quarter-mil*lion seemingly well-spent (however exorbitant) Besides those already men*tioned, the festival presented Spirit, Steppenwolf, the Chambers Brothers, the Don Ellis Orchestra, the Edwin Hawkins Singers, Southwind, Taj Mahal, Albert Collins, Brenton Wood, Cat Mother, Charity, Eric Burdon, Friends of Distinc*tion, Jethro Tull, Love, Sweetwater, Jerry Lauderdale, the Womb, Booker T and the MGs, Flock, the Grassroots, Marvin Gaye (who missed his plane—and his gig), the Byrds, and Poco. It was, like the attendance, one of the biggest turn outs yet.
    Unfortunately, it probably was this high cost of talent that drove the ticket cost up (to $6 a day in advance, $7 at the gate, $15 in advance for the three days) and beyond the reach of hundreds. Others came to the festival specifically to crash the gates.
    I interviewed one of the gate-crashers once he was inside. In fact, he claimed in a peculiarly proud way to be one of the "ring leaders."
    "I never pay to go to these things, man," he said. "Why should I? I don't support these guys. I only support the people who need the money. I've been to every festival there is and I've never paid to get into one of them."
    He did not seem willing to accept— or even consider—the possibility that his actions might cause the festival to be can*celled or make it impossible ever to hold another in this area, he told me to go fuck myself and walked off.
    The violence started on another front the same day (Friday), when teenagers outside the fence surrounding the back-stage area threw rocks at the Don Ellis Orchestra as it was preparing to go on. Ellis began his set saying three of the guys in the band had been injured, one of them hospitalized (Sam Falzone, lead sax), another suffering a broken foot, the third bruises and cuts on his face.
    From that point it was downhill, with occasional high points which may have seemed high because the rest was so mis*erable.
    Mark Robinson claimed his costs amounted to more than half a million dollars, closer, in fact to $600,000. He could not be reached for a final gate count, but the festival's publicist quoted him as saying the gross had passed $750,000 by two o'clock Sunday—seven hours before the gates were opened to everyone. Because of the violence, how*ever, he claims to have lost, not made, $130,000.
    A few days before Newport ‘69 began, George Wein of the NewportR.I., jazz and folk festival got a court injunction against the producers of the California fete while co-producers of the esthetically disastrous but financially rewarding Newport '68 festival also laid claim to the name.
    Today the producers of Newport '69 probably would sell the name for a buck. A buck-fifty tops.
    Even then they might be getting too much.

    (Page 8) ‘Hendrix Charged: Smack, Hash’ by Jerry Hopkins:
    TORONTO—Jimi Hendrix will have to stand jury trial on charges of pos*session of heroin and hashish. Judge Robert Taylor ruled at a preliminary hearing June 19th.
    Hendrix was released on 410,000 cash bail, and no definite date was set for the trial.
    Hendrix was arrested May 3rd at To*rontoInternationalAirport when a cus*toms official found three packages of while powder in a glass jar in a flight bag Hendrix had offered for inspection. Also found was a metal tube.
    At the hearing, the state prosecutor said that chemical analysis showed the powder to be heroin, while the sub*stance in the tube was hash.
    Hendrix was not expected to enter a plea at the hearing — a normal, pro*cedural event— and remained silent while the prosecutor read a list of other con*tents of the flight bag—shampoo, hair spray, a large comb, vitamin pills, and a pocket book
    There were no other charges leveled at Hendrix, thus dispelling reports of trafficking, transporting, and cannabis charges spread around the time of the airport arrest.
    Hendrix was busted near the tail end of a long concert tour; he had just flown into Toronto fromDetroit when his eight-man troupe was stopped at Cus*toms.
    After his preliminary hearing, he flew back west to appear the next night at the Newport ‘69 festival at Devonshire Downs. He was uptight, to say the least, but seemed a totally different man Sun*day, when he made a surprise appearance to conduct, direct, and play a two-hour jam with Buddy Miles, Mother Earth, Eric Burdon, and assorted sax and reed men.

    From Hopkins choice of words it doesn't appear that Janis actually sang, though, but was merely in attendance.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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  16. #11
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    Re: 1969-06-22 'Newport '69', San Fernando Valley State College, Devonshire Downs

    The video looks sharper and more colorful than the versions I know:

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  18. #12
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    Re: 1969-06-22 'Newport '69', San Fernando Valley State College, Devonshire Downs

    It looks exactly like the old 16mm torrent to me.

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