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There were milk cartons like kids use at school, except made of plywood and so big the mouth is a full size door entrance. We were walking one time and saw a group of people collected around one and we could hear music. Joni Mitchell and Jimi Hendrix were playing acoustic guitars and harmonizing.  Duane Allman, then unknown except to Georgians, watched from the crowd.
When Joni later performed at the fest Hollies singer-songwriter Graham Nash, whom Joni had met through their mutual friend, David Crosby, accompanied her. 


But we were in a hurry to see County Joe and the Fish, of whom we were big fans, for the first time. 
Later we found out Hendrix was involved in the financing of this festival and held one of his own at this raceway later in the spring of 1969. His other partners in putting on this one got emboldened by the great success and started planning one at home in New York state where they were from. They later did it as Woodstock.
Also Duane Hanson http://arted.osu.edu/160/18_Hanson.php
 had his realistic looking people in unusual places to be found. Once I’m stumbling along with the crowd which parts and leaves me hanging over the most realistic bloody motorcycle wreck!  

Then there were the stereotypical old tourist couple standing and pointing out something. 

Most performers hung around the grounds and enjoyed themselves as long as they could stay. Other famous people had just come to experience the east coast Monterey.
We realized the campgrounds would probably be filled or closed by the time the crowd exited for the night. We asked around and heard the Indians were coming to the rescue of their brothers the hippies. 
Yeah, and scalp them! The Seminoles motioned the line of campers with signs, “camp cheap. This Way.” with an arrow. We should have learned to beware American Indians bearing arrows.
We followed in the dark out into areas looking swamp even in the darkness. Then a campground, but the arrows sent us further. Phantasmagoric sights to exhausted people. Finally. You can stop. Sleeping bags plopped and people were asleep on hitting the ground.
Upon awakening in the morning we found ourselves in the dump for the reservation campground. A garbage filled swamp surrounded this tiny isthmus full of cars. Lots of bugs and we heard gators grunting in the bushes around the water. They would only allow hippies access to a standpipe for water, so no shower. Also wouldn’t allow access to the laundry. Why are hippies so dirty?
Jeff’s experience in naval matters had him direct us to a big marina. We hung outside the clubhouse until we saw a hip looking kid. He let us in and lent us his key so we could get in both genders for showers and hair washing.  He left telling us which boat, yacht actually, to return the key. It felt good to wash off the Seminole dump. We were a clean but scraggly still collection of beatniks. 
When we returned the key, the kid’s father came out and we thought he would be mad, but he invited us aboard and kept filling a pipe of high quality hash to smoke before we left. Wow, is this world changing or what. We hurried to eat ravenously. Everything, even salt crystals were exquisite in their tastes and textures. As hunger slacked everyone went from wolf to aesthetes enjoying the very essence of the act of eating. And we had a Pop Festival to go yet today!
Sunday December 29th Steppenwolf, Marvin Gaye, Grateful Dead, Hugh Masekela, Flatt and Scruggs, Butterfield Blues Band, Joni Mitchell, James Cotton Blues Band, Richie Havens, The Boxtops.
The second night we would not fall victim to Seminole arrows. We went to look for the girl Other Jeff knew. He called and she told us to come quietly. We drove stealthily into the Miami suburbs and cut the engine to drift into the driveway of a split-level suburban manse with a large lawn. Again exhausted sleeping bags deployed.
We awoke to the sun and a small girl walking around looking at us. She ran back into the house and we scrambled to collect ourselves back into Ol’ Baby to make a get away. Before we were successful, the girl returned. “Mama wants to know how many of you want eggs?”
Mom invited us inside and made a big spread. Biscuits, honey, orange juice, eggs, ham, lots of coffee. It was like being home something my mother would do. “Invite your freaky friends in dear and introduce them!” Mom even made sandwiches she put in a pack and handed the women in the group before sending us all off to the festival.
But first we had to make a stop for her teenage daughter to pick up a sack of acid for she and Other Jeff to sell today. I had never knowingly been around tripping people or certainly so many varied drugs, but still Gabi and I were fine with Cannabis forms alone since we didn’t even drink.

Monday December 30th Iron Butterfly The Turtles, Canned Heat, The Grassroots, Jr. Walker and the All Stars, Ian and Sylvia, Charles Lloyd Quartet, Sweet Inspirations, Sweetwater, The Joe Tex Revue.





The Grateful Dead Miami set (Free download
 http://www.archive.org/details/gd68-12-29.sbd.cotsman.5425.sbeok.shnf), 

The Miami Festival: An Inspired Bag of Pop
by Ellen Sander 
New York Times   January 12, 1969

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area was alive with beads, bells, prim and pressed cotton resort wear, cheerful faces, spontaneous dancers, and a total of 99,000 fans. They had all come over a three-day period from the Eastern Seaboard, from Detroit, Chicago, Cleveland, and as far away as Montreal and Big Sur to attend the first annual Miami Pop Festival held in Gulf Stream Park, Hallandale, Florida, from one to ten P.M. each day, December 28 through December 30, 1968. 

The event was a resounding success in both organization and programming, making it the first significant major pop festival held on the East Coast and the first successful pop festival since the now legendary Monterey International Pop Festival in June, 1967. 

The program, which consisted of 35 acts, offered hardcore blues, sassy San Francisco funk, rockabilly, gospel, rousing rhythm and blues, folk music, jazz, top 40 pop, Latin rock, and hillbilly music in addition to a solid lineup of rock and roll. The generous expanse of pop was with a conscious sense of scope, history, roots, and direction. 

With a singular lack of superstars, the festival was the first event of its kind to successfully showcase pop in perspective, gracefully carrying the hillbilly-and-grits banjo picking of Flatt and Scruggs, the multi-textured outbursts of the Grateful Dead, the Chicago blues of the Paul Butterfield and the James Cotton Blues Bands, the jazz of the Charles Lloyd Quintet and the hard rock of Steppenwolf, all on the same bill. 

The 35 acts gave a total of 42 performances on two stages during the three days. Concerts were staggered in sets of 45 minutes each with a 15-minute overlap, making it possible to see everything or stay in one area for those portions of the program which seemed most attractive. 

The two performance areas, one in front of the Gulf Stream race track grandstand, another in a large tree-lined meadow, were several acres apart. Between the two were an art exhibit, arts and crafts concessions, enormous pop art sculptures, food and drink concessions, and two live, painted Indian elephants who watched the spectacle with politely amused ponderousness. The layout of the grounds and situation of the diversions kept the crowd in a constant state of flux, and the entire affair had a continuing, organic feel about it, being both artistic and entertaining at each meandering turn. The weather was balmy, audience and performers were in good spirits, and there was hardly a set that didn't meet with wild enthusiasm. 

Particularly satisfying were Three Dogs (sic) Night, a brilliantly eclectic group that did inspired re- creations of, and improvisations around the hits of other pop artists and contemporary writers; and also Pacific Gas and Electric, a blues-rock-gospel ensemble in spirited, uncontrived, crisp music. Their audiences, for the most part, had never seen them before. These two and Sweetwater, a Los Angeles group with a vaguely oriental rock sound, are among the best and most underexposed talent in the country. The Festival was a perfect setting for the discovery, rediscovery and elevation of fresh sounds in the musty closet of rock. 

Chuck Berry who, along with Elvis, precipitated the onslaught of rock way back in the fifties, performed a chronological set of his old hits, which by now are institutions. Marvin Gaye, Junior Walker and the All Stars, and the Sweet Inspirations burrowed deep into the rich black roots of rhythm and blues, the basis of all rock and roll. Richie Havens did unique, incandescent thing. From England, Procul Harum and the Terry Reid group performed. Country Joe and the Fish, which temporarily includes Jack Cassidy on leave from the Jefferson Airplane, played a set. It was a hardy, inspired mix of sounds. 

Significantly enough, the only real disappointment was Steppenwolf, which came on in all arrogance and superstar nonchalance for one of the Sunday night's closing performances. They were one of the biggest names scheduled and the worst show. Also Fleetwood Mac, a blues- inspired group from England, had a hard time getting together musically. Folk duo Ian and Silvia were rather restrained at their first pop festival. And the Box Tops gave off a feeling of irrelevance. But these failures were somehow bearable. 

Constant magic and music filled the air as crowds wandered comfortably from area to area. There were several narcotics busts made on the festival grounds but no violence or brutaility (sic) of any kind ever erupted. The police, private security corps and concessionaires were easygoing and goodnatured and, as festival producer Tom Rounds observed dryly Monday evening when two pot smokers were quietly escorted into paddy wagons "Anyone who can't find a place to turn on in 250 acres without getting caught, is just dumb." 

The Miami Pop Festival was a monument to pop, an excellent model for future events of this kind. It was a shift in perspective, an experiment in depth rather than sensation. It had that special balance of humility and extravagance which consistently delighted an initially skeptical audience. After all, these pop fans had been through a year and a half of badly produced, expensive pop festivals, most of which failed miserably. The ticket price was only $7 for ten consecutive hours of entertainment each day. 

Jose Feliciano appeared twice, Joni Mitchell closed her notably lovely set singing Dino Valenti's "Get Together," accompanied by Richie Havens and Graham Nash, late of the Hollies. Fred Neil, an oft-forgotten folk singer and songwriter who directly or indirectly influenced a good portion of today's pop, visited the festivities Monday night looking lean, tanned and healthy. Music from both stages could be heard all over the festival grounds and spontaneous jams ignited in the performer's private area. 

Post-festival celebrations included a rock and roll wedding in which Spanky of Spanky and Our Gang was married to Medicine Charlie of the Turtles in a folk coffee house in Coral Gables. The wedding party included members of Our Gang, the Turtles, Richie Havens and Tiny Tim. After all that, New Year's was a letdown. 
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Printed from the Joni Mitchell Discussion List website.
http://www.jmdl.com/articles/view.cfm?id=824 

On December 28-30, 1968, Gulfstream hosted the Miami Pop Festival, post-Monterey and pre-Woodstock. The festival drew 100,000 fans over three beautiful winter days, and featured many seminal acts of the time: The Grateful Dead (Free download http://www.archive.org/details/gd68-12-29.sbd.cotsman.5425.sbeok.shnf), 
Chuck Berry, 

Marvin Gaye, Joni Mitchell, Richie Havens, Steppenwolf, Procol Harum, Country Joe and the Fish, Canned Heat, the Turtles, and Three Dog Night were among the fourteen daily acts that appeared on two stages -- one at the grandstand and the other near the south end of the park -- for the price of seven dollars per day.

According to Rolling Stone (February 1, 1969), the festival was "a monumental success in almost every aspect, the first significant -- and truly festive -- international pop festival held on the East Coast." Woodstock, of course, took place in 1969, and Hallandale city officials, horrified by visions of stoned hippies dancing naked at Gulfstream, nixed plans for a second Miami Pop Festival.




     http://www.archive.org/details/gd68-12-29.sbd.cotsman.5425.sbeok.shnfhttp://www.jmdl.com/articles/view.cfm?id=824http://www.archive.org/details/gd68-12-29.sbd.cotsman.5425.sbeok.shnf../../../../Photos_by_Boyd_Lewis.htmlshapeimage_3_link_0shapeimage_3_link_1shapeimage_3_link_2
Sweet Inspirations onstage and off!
 

Ms. Toots at the second stage