PUT ANOTHER NICKEL IN!!! >>>*MONTEREY POP (1969), • *THREE DIRECTIONS
IN AUSTRALIAN POPULAR MUSIC (1972), • *SAN FRANCISCO (1968), • *THE
CONCERT (1974), • *MUSIQUIZ (1952), • *THE CHORD SHARP (1980?1989?), •
*DISCS (1984), •


SPLODGE! NOTES: 3rd. Mon. AUGUST (19/08/02)
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3rd. Quartile

AUGUST
AD 2002

Monday, 19th.

Registration: 7.30 - 8.00 pm
Screening: >>>>> 8.00 (*EIGHT*!!!!) pm <<<<<


PUT ANOTHER NICKEL IN!!!


*MONTEREY POP (1969),

-----THREE DAYS.....THIRTY-TWO ACTS.....A LIFETIME OF MEMORIES-----

Officially dubbed THE FIRST ANNUAL MONTEREY INTERNATIONAL POP MUSIC
FESTIVAL, the 1967 International Pop Festival at Monterey, northern
California, provided a weekend filled with unique and amazing sights,
sounds, and experiences. Two years before Woodstock, over 200,000 young
people gathered in and around the Monterey County Fairgrounds for a
three day celebration of MUSIC, PEACE, FLOWER-POWER AND LOVE, a
wonderful musical memory from the Age of Aquarius.

Most of the performers appeared for free, with only lodging and travel
expenses being provided. It was a time of reunion and discovery for the
performers as well as the audience. Funds raised by the festival and
subsequent film and CD sales were earmarked to The Monterey Pop
Foundation which is still in existence today and providing help to
worthwhile causes such as the Haight Ashbury Free Clinic.

SCOTT McKENZIE's gentle ballad, (IF YOU ARE GOING TO) SAN FRANCISCO
opens the film. OTIS REDDING's rendition of TRY A LITTLE TENDERNESS,
HENDRIX's electric WILD THING, the blue-eyed blues of JANIS JOPLIN's
BALL AND CHAIN and Shankar's finale may be the highlights of the film.
Also featuring: THE MAMAS AND THE PAPAS, THE ASSOCIATION, CANNED HEAT,
BIG BROTHER AND THE HOLDING COMPANY with JANIS JOPLIN, THE JEFFERSON
AIRPLANE, THE WHO, THE BYRDS, COUNTRY JOE (McDONALD) AND THE FISH, LOU
RAWLS, BOOKER T and the MGs with THE MAR-KEYS, THE GRATEFUL DEAD, THE
STEVE MILLER BAND, BUFFALO SPRINGFIELD, QUICKSILVER MESSENGER SERVICE,
ERIC BURDON AND THE ANIMALS, MOBY GRAPE, Garfunkel SIMON AND GARFUNKEL,
The Group With No Name, The Paupers, Beverly, Al Kooper, The Blues
Project.


The Way to Monterey: Kicking Off the Summer of Love
POP MUSIC retrospectives usually give short shrift to the 1967 Monterey
International Pop Festival in favor of of Woodstock -- the bigger,
higher-profile, more decadent rock festival held two summers later.
But Monterey Pop was a seminal event: it was the first real rock
festival ever held, featuring debut performances of bands that would
shape the history of rock and affect popular culture from that day
forward.

The County Fairgrounds in Monterey, California -- all ocean breezes,
morning fog, 24 acres of lawns and spreading live oaks -- had been home
to folk, jazz and blues festivals for many years. But the weekend of
June 16 - 18, 1967 was the first time it was used to showcase rock
music. And what a showcase that turned out to be -- most notably for
launching JANIS JOPLIN, THE JIMI HENDRIX EXPERIENCE and THE WHO -- and
for featuring OTIS REDDING in one of his last important performances
before his death six months later in a plane crash.

The First Rock Festival
The Monterey International Pop Festival was a crazy quilt of more than
30 bands, performing in the space of three idyllic California June
afternoons and evenings. A festival of this size was unheard of --
never before in rock history had so many musicians performed together
at the same event, and combining the genres of soul, folk, rock and
psychedelic rock was unprecedented.

Pop music had strong regional roots at this stage in history, with
distinct sounds and styles coming from different parts of the country.
If regional musicians were talented and lucky enough, they broke
through and became nationally or internationally known. In 1960s
America, "making it" in entertainment usually meant an appearance on
the ED SULLIVAN SHOW, one of the most popular variety shows in the
history of television.

British Still Ruled
Regional music camps were sometimes fierce rivals, and as a result,
they didn't mingle much. This was especially true between the
California cities of Los Angeles and San Francisco -- and between the
Brits and the Americans.

In 1967, America was still very much in the throes of the British
invasion, which had swept American radio in the early 1960s. Starting
with THE BEATLES, then followed by others such as GERRY AND THE
PACEMAKERS, THE DAVE CLARK FIVE, THE ROLLING STONES and many, many
more, England was where the really hip music was happening, according
to the world.

The popularity of the Brits meant that many of America's musicians lost
their native on-air prominence and some musical genres almost
disappeared completely. But in 1967, even the British were curious
about the new American music emanating from Across the Pond.

The Beats Went On
San Franciscans enjoyed dozens of talented local bands headlining in
two big rock venues: The Avalon Ballroom, run by Chet Helms and The
Family Dog; and The Fillmore run by Bill Graham's Winterland
Productions. The funky Victorian mansions of the Haight-Ashbury area of
San Francisco became communal homes for the musicians of the San
Francisco scene. Golden Gate Park was their hangout by day; the Avalon
Ballroom and the Fillmore were their showcase by night.

The Beat poets and their fans continued to exert their influence in
northern California, espousing eastern religion, spirituality and mind
expansion through drugs such as marijuana and LSD. Beginning in 1965,
KEN KESEY and his Merry Pranksters staged Acid Tests in the Bay Area.
These were multimedia events held in random locations, attended by
several hundred people enjoying the effects of oil-based psychedelic
light shows, appearances by NEAL CASSADY, ALAN GINSBERG and music by a
scruffy band called The Warlocks -- who later became famous as THE
GRATEFUL DEAD. And, of course, there was the ubiquitous tub of punch or
wine spiked with large amounts of LSD, supplied by "the Henry Ford of
acid," the infamous Bay Area kitchen chemist, Augustus Owsley Stanley
III.

Behind The Scenes
In 1967, music producer Lou Adler and JOHN PHILIPS of THE MAMAS AND THE
PAPAS teamed up with Alan Pariser and music publicist DEREK TAYLOR to
produce a rock festival that would bring together important musicians
from all parts of the United States as well as from Great Britain and
India for a weekend of peace, love and flowers. Monterey Pop was the
embodiment of the 1960s hippie and flower-child movement. The festival
program instructed attendees to "Be happy, be free; wear flowers, bring
bells -- have a festival." For a moment in time, the country's problems
of war and racial strife were seemingly put aside. 100,000 orchids were
flown in from Hawaii and strewn by airplane over the crowd. Attendance
peaked at 50,000, with more than 200,000 peacefully attending over the
three days.

The festival was not without its critics, many of whom questioned the
motives of the organizers. The inaugural issue of Rolling Stone,
published in November, 1967, lambasted the event as extravagant and
claimed that it was simply a vehicle for Phillips' and Adler's
self-glorification. In "San Francisco Nights," Gene Sculatti and Davin
Seay commented on the commercial aspects of Monterey, stating that it
was "a combination trade show and shopping spree where [record company
executives] might browse 'till they saw something they liked, then
inquire about the price." And in a review that was most likely balled
up and eaten later, Billboard magazine panned Jimi Hendrix's debut,
reporting that "his chicken choke handling of the guitar doesn't
indicate a strong talent."

The cheerful festival atmosphere didn't reveal clues that in the space
of just a few years, some of the most memorable Monterey musicians
would be gone forever from drug overdoses or accidents: , OTIS REDDING,
JIMI HENDRIX, JANIS JOPLIN, Ron "Pigpen" McKernan, KEITH MOON, (MAMA)
CASS ELLIOTT and Monterey audience-member BRIAN JONES of the ROLLING
STONES.

Revenues from Monterey Pop '67 were donated to various causes
championed by the organizers and musicians, such as the LA Free Clinic,
the LA Children's Museum, the UCLA Children's Hospital. Net proceeds
from the sale of festival videos and CDs continue to be donated to
worthy causes, thirty years after the event. -Rusty DeSoto.

(*D. A. PENNEBAKER's film company, Pennebaker Hegedus Films are
currently in production of a new DVD version of Monterey Pop - The
Film, scheduled for release in September or October of 2002.) Prod Co:
Leacock Pennebaker Inc. Ed: Nina Schulman. Dir: D. A. PENNEBAKER,
ALBERT MAYSLES, James Desmond, Roger Murphy, Richard Leacock and Nick
Proferes. 79 mins. NFVLS.


*SAN FRANCISCO (1968),
Hey, better put some flour in your hair for this one! A kaleidoscopic
vision of life in San Francisco - home of alternative culture - circa
1968(!) over a 24 hour period, showing the characteristics of late
'Sixties American society through the city's contrasts. Using a
startling rapid montage flash and freeze-frame technique, the film's
rapid and closely-cut sequences form a colourful montage of bizarre
images, creating a portrait of SF in all its photogenic glamour and
kooky excess. 'Interstellar Overdrive' by PINK FLOYD is the soundtrack.
Prod, dir: Anthony Stern [A/D: TONIGHT LET'S ALL MAKE LOVE IN LONDON
(1967)]. Mus: PINK FLOYD. 15 mins. NFVLS.


*THREE DIRECTIONS IN AUSTRALIAN POPULAR MUSIC (1972),
Meanstwhile, back at the farm... Snazzy snapshots of Australian pop
music from the 1970s: the theatrical act of WENDY SADDINGTON &
TEARDROP; the jug music of the CAPTAIN MATCHBOX WHOOPIE BAND; and the
popular rock group, THE INDELIBLE MURTCEPS (SPECTRUM, spelt backwards).
Prod Co: Commonwealth Film Unit. Prod: Malcolm Otton. Phot: Michael
Edols. Ed: Jim Coffey. Dir: PETER WEIR. 11 mins. (AUSTRALIAN COLOUR
DIARY, #43) ALC.


*THE CONCERT (1974),
Hilarious musical fantasy punctuated by cartoonish sight-gags. A
self-styled soloist discovers that his feet make music as he steps
across a pedestrian crossing's black & white stripes as if they were
piano keys outside The Royal Albert Hall in London. Others are drawn
in: tuning, et c., a constable and a group of more traditional
musicians, and even the birds make the telephone lines into musical
staffs. 47th ACADEMY AWARDtm nominee: Best Live Action Short Film,
1974. Prod. Co: The Black and White Colour Film Company, Ltd. Producer:
Mark O'Connor. Dir: Claude Chagrin. Wr: Julian and Claude Chagrin. 12
mins. NFVLS.


*MUSIQUIZ (1952),
O--ow, it’s a PETE SMITH SPECIALTY! Using a quiz format, and Pete
Smith's distinctive narrational style, this intallment from a now
legendary series conveys some esoteric information about music and
introduces some unusual musical instruments. Prod Co:
Metro-Goldwyn-Mayer. Prod: Pete Smith. Dir: David Barclay. Cast:
Narrator, Peter Smith. 9 mins. NFVLS.


*THE CHORD SHARP (1980?1989?),
A busker suddenly rises to fame despite a lack of musical talent. His
off-pitch style becomes his signature. Superbly animated look at the
making of a rock superstar. Prod. Hand Made Films/Joachim Kreck film
and television productions. MOO Movies, London. Foerd. Institute for
film promotion. Dir: Joachim Kreck, Ian Moo-Young. With: Volker
Kriegel, Alastair McIlwain. 9 mins. ALC.


*DISCS (1984),
Thousands of vinyl LP covers fly by in this brief pixillated look at
the lost art of record album sleeves. Prod/Dir: DIRK DE BRUYN. 2 mins.
ALC.



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Minor programme changes may occur due to unforseen
circumstances.
Feature runs last; shorts order may vary from listing.

* Acknowledging ACMI Inc. ;) *

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CASUAL VISITORS are MOST WELCOME and admitted WITHOUT CHARGE
up to TWO times!!!!

OTHERWISE, ADMISSION IS RESTRICTED TO MEMBERS & THEIR GUESTS!
(SO WE RECOMMEND THAT YOU ATTEND AS A CASUAL VISITOR!)
THIS IS A FILM SOCIETY SCREENING OPEN TO MEMBERS

BUT IF YOU WISH TO BECOME A MEMBER, THE JOINING FEE IS SO LOW,
IT *MIGHT AS WELL BE FREE*!

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MEMBERSHIP RATES:
Quarterly*:
Generally Socially-Advantaged: $7.00

Generally Socially-Oppressed: $6.00

*annual and half-yearly memberships available on request

If you wish to join on the night, we strongly advise you to
arrive well-prior to the time listed for the screening to
commence!

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