Category Archives: Music

Memories of The Dead in Piedmont Park 7/7/69

We were married  07/07/69 at the “Free Concert” in the park after  the 1st Atlanta POP.

Schroeder & Renée

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Schroder and his beloved Renee, Hippie love story – together till he recently died.

The Piedmont show which actually 2 or 3 days after, Tuesday I believe was the result of politics.  According to the Great speckled Bird, “How could we charge $$$ for music … even $13.50 a day.”  we had to do something to appease the social uproar over our commercialism.  Spirit, CTA, and Delaney and Bonnie stuck around for room and board.  And the Dead played for travel, rooms and beer.  So yes I was very involved in it as well as the rest of the team.

I remember Pigpen cracking two cases of beer, neatly arranging them on the balustrade around the pavilion, and calmly dosing each one with premium Owsley Acid.  Everyone around the pavilion was glowing.

 I would love to have a list of the people that attended the FREE concert in Piedmont Park after that Festival with Spirit, Chicago Transit Authority, Delaney and Bonnie and Friends (including Dave Mason and others), and THE GREATFUL DEAD.  That was the seminal moment.- Robin Conant

Delaney and Bonnie & Friends start off the afternoon.

 Very nice. I can tell you why there was no one there at 1:00PM. The performers who stayed after the last night of the Pop Festival were all invited to “The River House” a rather infamous hippie house on Riverside Drive. Quite a few made the trip, including “The Dead” Those memories are a bit fuzzy, so I’m not sure who all was there. I vaguely remember sitting outside on the ground watching the sun come up and singing folk songs with Jerry Garcia playing acoustic guitar. Seems like there was a bunch of people making music, but I couldn’t swear who was there. John Ivey & Ricky Bear, local studio musicians, lived nearby on the river. They may have been there; possibly Barry Bailey. Barry played a lot with John & Ricky. Studio work and just local jams. This was when “The Joint Effort” was changing its name to the Atlanta Rhythm Section. A PR decision. Anyhow, no one woke up before late afternoon and that threw the free concert behind schedule.

 If you hear from John Ivey or anyone else from the River House, please let me know.

 

If you were there, what are YOUR experiences

 

A Bus Stops in Piedmont Park July 7, 1969

A Bus Stops in Piedmont Park  July 7, 1969

July 7, 1969 Piedmont Park with The Grateful Dead

(c) 1998 Patrick Edmondson  (Excerpted from a longer work in progress)

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Ed Casady of Spirit in the Piedmont Park Pavilion 7/7/69. photo by mystere
Note the Dead’s equipment

You have to understand; it was the sixties. Things were different then. In Atlanta there had started to be free concerts held in Piedmont Park. At first they were only for special holidays, then there were concerts nearly every weekend. Soon someone figured out how to “liberate” electricity to the Pavilion and there was some music in the park almost everyday, officially permitted or not.

The quality varied widely from garage bands needing lots more practice to local heroes such as Radar or the unbelievable Hampton Grease Band, to up and comers The Allman Brothers.  National acts showed up, too; which brings me to the point of the story I’m setting up here.

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Mickey Hart with Mark Andes and Ed Casady of Spirit, Bonnie Bramlett of Delany and Bonnie & Friends

I have meant to write this down for a long time. Finally I did on 7/7/98. Days later I checked on the exact date of the concert. It was 7/7/69! (insert Twilight Zone intro here…)

The Atlanta International Pop Festival was held at Hampton Raceway in July 1969.  It was such a large crowd – in Atlanta!  Lots of famous musicans of that day and all days performed. A great time was had by all.

We were about to leave and saw a guy in a leather jacket. Painted on the back was, “I came from England to hear Led Zeppelin!”.  Somehow it impressed us enough to stay to hear the unknown Led Zeppelin close the show; amazing performance!

People began to wind their way slowly back to the campground just lingering in the vibe of the evening, the music, and there being SO MANY HIPPIES; we aren’t alone!

Passing among the crowd were leaflets declaring simply, “Come to Piedmont Park Monday 1 PM”. Another band trying to get started we thought; but we had a feeling…and no one had work or classes Monday afternoon .

Monday about lunchtime we loaded up the Celestial Omnibus with our small circle of friends and headed off to the park, joining lots of other small circles of friends coming together in a temporal free-zone, our community, beginning to coalesce  around the park. The Strip was for commerce with straights and all; the Park was for letting your freak flag fly without fear of the attacks still common from rednecks. Here, if only for the moment, weirdness was the standard, and we reveled in it.

The Celestial Omnibus  was a hippie VW bus. My fourth bus experience.  My first bus experience had been when a fellow Beatle maniac’s mother had agreed to drive the two of us 30 miles to the theatre showing “A Hard Day’s Night” a year before it would drag to our town. We went in a VW van, rare in South Georgia. On the way home we were in dreams of being the Beatles going to a gig; a great time! I thought this was the coolest mother to appreciate how much it meant to the two of us, even if adults sneered at her stupidity in indulging us. It wasn’t normal.

My second “bus” experience was years later.  Not too much out of the ordinary happened in Tifton. The expressway was a new link to the outside world bringing  the outside world in greater force than old Highway 41. I was killing time  waiting on my friend Fred to finish work at the Royal Castle, currently THE In spot for burgers and fries after school, just off Interstate 75.  Our band was to practice that night and I was impatient for him to come on.

“Man, you gotta come see these guys! “, a friend rushed in  yelling. “A wild old school bus full of crazy people and loud music is stopped for gas next door. Hurry before they leave! You gotta see this!”

We all ran over to see. A commotion  seemed to be erupting from this strange old traveling bus that was gassing-up at the Phillips 66 station. The bus itself was colored like a circus vehicle, which was what I had naturally assumed it was since this was still living under the spell of the button-down fifties.  Anything so colorful just had to be part of a circus or a fair. And there were certainly people that looked like they were in a circus swarming out of and all over the bus. Most wore these coveralls. People would probably have been scared since they were acting so unusual if they hadn’t assumed from the vehicle and clothes that they were entertainers headed somewhere on the expressway. I just remember these weird expressions and some kind of excitement they generated.

Was it…?  I wondered when I later read “The Electric Kool-aid Acid Test”. The chronology seems to fit but I am unsure, it was at least similar minded folks; still it was a seed. I thought how it would be neat to carry your friends in a rolling  party.

Christmas after starting college came the third bus experience, Christmas 1968. A VW bus driven by Martin the beatnik gnome, the Cassidy figure in my life, spirited me from home.  Friends from college  headed to the Miami Pop Festival, living on the fringes. Incredible adventures. I lived them and I barely believe it all.

Now I acquired my first car. A 1959 VW microbus that cost $100 and came with $150 worth of camping equipment, but could barely climb a big bump; my long bus trip begins. With Martin’s mechanical wizardry we gave it a motor and everything else transplant. My part was to paint the bus.

The name in psychedelic bubble smoke letters was “The Celestial Omnibus”.  In Senior year English class we had read an E.M. Forster story, “The Celestial Omnibus”, about a bus that literally took you to literary heaven ; it remained corporeal as long as you didn’t doubt , but if you had doubt. It would come crashing back to normal life.  That was much the aim I had for this vehicle.

Two fish twirled in the yin-yang replaced the VW circle to lead the way. The driver’s door got the zig-zag man, still hip code then. The opposite side doors got a reclining Mr. Natural with a speech balloon declaring, “Mr. Natural says…”.  Fill in your own sage advice if you have any, Mr. Natural said only a fool would follow his advise anyway. We were subtle stealth hippies. We loaded up the bus and headed for the hills of Piedmont, park that is.

Upon arriving at the Park and parking by the Pavilion, we found…nothing happening. A beautiful July afternoon even if it had been a hoax. We were grooving on the park as other groups of our friends and acquaintances arrived.  Many folks were left over from the Pop Festival still meandering onward.

The crowd was growing.  Drizzling rain was welcomed. A community formed. Someone brought out a giant clear plastic tarp and threw it out for people to crowd under.  The edges were tucked down and, this being the sixties, joints came out everywhere.  Vision was soon obscured and it became a personal challenge to see how long you could stay before scrambling to the edge, poke out your head and gulp purer air before returning under the plastic.

The rain stopped and on a count the plastic was quickly pulled back at once. A smoke signal was released to Atlanta and everything began to shift.

Lovely hippie women in long skirts swirled and danced through the crowd stopping at various individuals. “Please open your mouth.”, they beatifically smiled. A bit of paper was placed on the tongue & and with a cheery, “Enjoy!” they would sashay away. There were also jugs marked “acidophilus cider” being offered for swigs.

Legend has it that this was a going away party for a certain teddy bear that had to be held a coast away from local authorities.  After twenty minutes it was indeed a party with the only music coming from someone’s portable  eight-track in the pavilion.

“Make way for equipment!” The crowd was parted so trucks and funky vans could drive up to the pavilion.  As they were unloaded we watched for stencils to identify the bands.  The Allman Brother’s mushroom, of course; Spirit; Delaney and Bonnie and Friends; the Chicago Transit Authority; The Hampton Grease Band; and some lighting bolt through a skull design.

When our friend Dan, just back from Fran Sanfisco,  saw this,

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Jerry Garcia in Piedmont Park. Phot by Arlo Forbes

he lazily smiled  slyly beneath his round blue-smoked glasses and droopy ended mustache. His laconic drawl informed us, “Ya’ll are in for a treat. It’s the Dead.”

The Dead! San Francisco musicians, emissaries from the Tribes on the West Coast, free, here on a Summer Day in Piedmont Park! The Dead were of our culture, but we really considered them as of us rather than stars, an antithesis to the new culture.

Sixties roadies really worked. From installing the exact setup on varied stages once or twice a day, they evolved the process into balletic precision.  Zen masters at work in a dance of their own devising. Barely giving each other a notice, they knew just when to put out a hand needed to help get amps, cords, drums and all into place.  Everything seemed to grow almost organically as layer after layer of equipment was installed for various bands.

Soon Glenn Phillips prescient-electronica guitar yelps and Harold Kelling’s sweet melodies wove threads around sonic blues riffs from attacked guitars. Mike Greene, now the president of the Grammies, played and sang sweet harmonies to counter Bruce Hampton’s fabled screamed/sung dada linguistics and insane stage antics.  Hampton and Martin had first met when they had been the weird kids at Georgia Military Academy where their parents had sentenced both to do time for being weird; a threat I also received.

With a little help from their friends with the paper and cider, this crowd was really getting into the music driving the musicians to redoubled efforts. Everyone was dancing and strolling about meeting or just smiling at people.  Some sat in groups and communed with the music.

The Allman Brother’s blues flowed in accompaniment to a glorious sunset. The multi-rhythms of Berry, Jaimoe, and Butch set waves of energy moving through the people. Duane’s heartbreaking solos merging with Greg’s plaintive vocals touched your soul.

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Spirit

Strange trap set on stage; two big bass drums mounted slanted sideways over the regular trap set. Older bald head, eyes electric- Ed Casady pounded like a spirit possessed wailing the enigmatic Spirit lyrics.  “Fresh Garbage” introduced by stepson Randy California’s tasty guitar licks interwoven with keyboards and mingled voices created a feeling like a strange and enveloping tapestry.

IMG_4082_2Bonnie Bramlett with husband Delaney led a band of friends. The Friends featured Jim Keltner’s horn section and Merry Clayton leading the backup vocal trio.  Excellent Gospel tinged southern rock.

The party was in full swing as Chicago Transit Authority’s brass led melodies created “Saturday in the Park” on a Monday evening.

With the night came more magic. Dan got a cot from the Celestial Omnibus and lay in the open with a sign saying “Feed Me.”. Throughout the rest of the evening innumerable paper bits, a few joints, and a few female breasts were inserted in his smile.  Gabi and I being purists who endured eating Morning Glory seeds to get to the natural source, passed on over five hits to he and Ronnie.

Now the Dead began to tune.  Word spread through the telephone pipeline to the suburbs; A beckoning from the bathhouse pay phones.

As the crowd grew the officers of the law had at first grown tense. Since the crowd was all peaceful and grooving together; a gathering of the tribes, they relaxed.

Love really began to prevail. Dealer’s opened their stores and set phalanxes of joint rollers to work.  Cops asked for some of the cider, were warned and tried it anyway. They let pretty women try on their hats. They danced and let people decorate them with flowers and incense. They winked at people passing joints and even took mostly ceremonial hits at first. Cops got kissed. Soon cops were joining the circles around water pipes.

“I can’t do this any more!” yelled one young cop as he tore off his uniform.  For his trouble two hippie women soothed him under a hedge by the stonewalls. Giggle, moans, and body parts occasionally protruded from the shrubbery during the rest of the evening.

The Dead began playing I watched a skinny longhaired guy in hanging jeans climb a scraggly elm in front of the Pavilion. He sat on the one branch protruding vertically about 15 ft. from the ground. It didn’t look like it could possibly hold even his weight.  We watched in expectation of his imminent descent

The rhythm seemed to get him before gravity.  Unbelievably he let go of the main part of the tree and stood erect on the limb. He began to sway with the music and shift from foot to foot.  Then he jerked still and stayed as paralyzed for a few minutes. Just as suddenly he began to prance and gyrate wildly breaking laws of physics.

I glanced at him every few minutes from then on. He continued to be a marionette pulled by every chord Jerry played. Finally I looked back and he was gone without a trace. I asked but no one around saw him ever come down…

It was midnight and Dead had played most of the songs for which they were becoming known and they stopped after about three hours. But now more equipment was added to the stage?!

Most of the musicians retook the stage to play with the Dead.  Big horn section, background singers, eight drummers, a bass quintet, and Harold Kelling, Glenn Phillips, Duane Allman and Dickie Betts, Delaney Bramlett, Chicago’s guitarist, Randy California, and Jerry Garcia trading and interlacing lead lines.

This was a two-hour shakedown song before they settled into “Dark Star” experimentation. This became a rock symphony full of the once and future hits of all concerned.

About 3:30 AM Jerry’s guys shifted to their closing song. Coda after coda rang into the darkness of Atlanta’s late July night stillness.

The musicians hung out a while. No one wanted to leave and break the spell. We watched the roadie’s performance as they prestidigitate loads of equipment into their small spots within the trucks and vans. When loaded, these spirited away into the night. Only naked bulbs over the pavilion competed with the moon.  Light around both seemed to hang in solid Van Gogh visions of colors streaks.

Cops and the crowd felt the shift back almost to the normality we had forsaken for a while.  All our faces had been stolen.

We collected our stimulated to satiation group into the Celestial Omnibus. Dan’s face became animated, “Was I right?” He had been. it had been a night to live in memories. We’d forever know that skull split by a lightning bolt.

 

(c) 1998 Patrick Edmondson

(First published in Smash magazine, Excerpted from a longer work in progress)

The Twelfth Gate is a church for turned-on types.

Atlanta Constitution Magazine  June 9, 1968 pg. 24

The Twelfth Gate is a church for turned-on types. Coffeehouse Preach-In

By Olive Ann Burns  (note the wonderful Southern author)

image001THERE’LL be a preach-in and love feast at Piedmont Park this afternoon if it doesn’t rain.

The crowd will gather at 12:30, as usual on Sundays, at The Twelfth Gate, 36 Tenth St. NW, an old two-story green house with red, gold, blue, pink and tan trim, like straight out of a storybook, man.

If we have a great big beautiful day, the community of worshippers—many of them as bearded as the early Christians—will walk eight blocks together to Piedmont Park for a be-in by the lake. In full view of the park’s usual Sunday population of ballplayers, bird watchers, lovers and picnickers, The Coffeehouse Church will begin its celebration of worship by reading aloud:

image003“We gather as we live, in the Name of the Father, the Son and the Holy Spirit . . .. 0 Lord, we confess our slowness to see the good in our brothers, the evil in ourselves.

 And this is the one objective and ever lasting truth—in Jesus Christ our sins are forgiven. May we receive the gift and live . . ..”

 A handsome, dark-eyed young Methodist minister will preach the sermon—the Rev. Bruce Donnelly, who speaks straight from the hip about the fact that for thousands years “turned-on types have experienced religious highs—visions and trips even—without the aid of mind-expanding drugs.” He talks about what’s wrong with straight society and what’s wrong with hippies, about what it means to be free: Free to love God, free to give, free to be sincere, not hung-up in guilts, fears or prejudices.

Even without a tie, the Rev. Donne looks like a product of straight society, which he is. He grew up as a Methodist Youth Fellowship leader at Peachtree Road Methodist Church in Buckhead, was president of his fraternity at Emory University and three years ago married a lovely straight-type Agnes Scott College graduate named Barbara Chambers. But he digs the needs of the artsy, folksy, craftsy types among the 25,000 unmarried young adults who live in Atlanta’s 10th Street area.

Bruce’s thing is The Twelfth Gate: On Sundays a religious community, the rest of the week a coffeehouse A place to talk play chess, buy a girl a gift. take a free course—in ESP or leathercraft, yogi-style meditating or the parables of Jesus—or sit over coffee and salami in rapt silence while the folk singers do their thing with songs like “Saturday Night and Sunday Morning’ or “Isn’t It a Drag That People Take Tranquilizers “

THE house opens every night at 8. The music starts at 9 Cover charge 50 cents or a dollar. No LSD. no pot, no beer, no whisky, no crash-pad, no nightclub-types jokes, no go-go. You could take visiting preachers, fifth-grade Girl Scouts or sheltered teen-agers there for the music and find nothing objectionable—unless you object to beards, candle light, red walls, satirical posters, a heavy fog of cigarette smoke or jokes about “kids on pot today, speed yesterday and acid the day before, but if you mention a cocktail, man, they wouldn’t touch the stuff, and that’s what I call hip-pocrisy. “

Unlike some other coffeehouses, the only pot available at The Gate is the kind that holds 50 cents worth of exotic coffee or tea. Jasmine and Himalayan Darjeeling have to compete with Georgia sassafras, brewed for the coffeehouse by a red-bearded folk singer who was once an Eagle Scout and got expelled from college for joining the march on Selma.

image005THE upstairs Head Shop sells no water pipes, roll-your-own cigarette papers or other equipment for smoking pot. It merely has folk records, books, posters, horoscopes, and lapel buttons that say, “God Is Alive and Well in Mexico City” or “Keep the X in Xmas.” In the Flower Shop, also upstairs, you can buy trappings of the hippie subculture—candles, beads. Incense (10 cents a stick), metal crosses hung on thongs, psychedelic sunglasses, and paper flowers. But there’s nothing weirdo about paper flowers when you find out they were made by student nurses at Georgia Baptist Hospital.

What’s so great about flowers” “They’re a symbol of beauty and peace, you never see one flower fighting another flower.” explained Brenda Brantly, the 23-year-old very unhippie engineering data clerk who is chairman of The Coffeehouse Church’s official board. Brenda came to Atlanta from Milner, Ga., and has surely seen a honeysuckle vine smothering a rose bush, but that’s what she said.

Despite all the beards, beads and sandals. The Twelfth Gate is too straight for most hippies. “I think I’ve finally convinced my father,” said Brenda. “that the kids here just aren’t interested in freaking out.” The working girls and boys, the college and trade-school kids and student nurses who patronize The Gate turn on with poetry, folk songs, art or religion, not with drugs.

Yet a Georgia Tech sorority refused to initiate a pledge when the members learned she’d been going there, and a lot of parents can’t believe any coffeehouse on 10th Street could really be nice.

 “Part of the problem.” said Bruce. “is newspaper articles that call this a hippie house and label me as a minister to mixed-up kids. Also there’s the public notion that anybody who has a chin growth or long hair or sings folk songs is a hippie. This is just not a hippie thing. We’ve had no trouble with kids trying to take drugs here. Those who come are bright, turned on to life, with a great depth and capacity for enjoyment. But most of them have too much sense to risk damage from LSD or a police record from marijuana. If you say the sun is beautiful today, they don’t automatically think, “Yeah, but it would be really great under grass.”

image007“Sure. some of the kids have problems, especially with money. Most of those who left home because of family conflicts—or to be on their own were told by mommy and daddy, “Okay, you won’t live with us, we won’t send .you to college or pay your rent.”  But they’re working out their problems in responsible ways. And they run this place responsibly. It’s the only church of 18 to 25-year-olds anywhere, that I know of, and we’ve never been late with a bill. Out of coffeehouse profits we pay me, we pay rent and overhead. We spent $2,500 this year sending three students to art school, and we’ll do that again next year. We’ll also give $3,300 to the Methodist inner-city ministry here. This inter-city program will pay my salary beginning in July, but the kids will then pay a manager—a soldier at Ft Mac named Pete Schoen. He’s getting out of service soon and will take over buying groceries, booking folk singers -and-running the staff, so I can have more time for running the church and counseling.”

MOST of the kids who come to The Twelfth Gate are between 18 and 25. (Bruce is 26.) Most of Atlanta’s hippies are just 13 to 17.

“There are only about 250 of these bubble-gum hippies and teeny-boppers in the 10th Street area,” said the young minister, “I’m talking about the ones whose life-style includes philosophizing, sharing what they have, not working at regular jobs. I’m talking about resident hippies, right? I don’t mean the 2,000 kids under 18 who hit Atlanta last summer.

“The vacation hippies fell in three categories: Those having trouble at home, those who wanted to see what it’s like to be on their own, and a minority who came for thrills—for sex and drugs and the glamour of running away.

“They came from all over the South, but a lot of the summer kids. were runaways from $50,000 homes in the Atlanta suburbs. Some stopped shaving, mussed their hair, went dirty, wore beads swiped from mom, stood on the corner of 14th and Peachtree to get stared at and learned to say would you be-in to a cup of coffee. To them everything was psychedelic, man, meaning colored lights, not consciousness-expanding. But most of them went back home after two or three weeks—when they got sick or real hungry, or maybe it was time for school to start. Unfortunately, a lot of the thrill-seekers went home really messed up on LSD—or VD.”

According to Bruce, the word is out that Atlanta is where it’s at this summer, man, the place to be: “Some think we can expect 16,000 to 18,000 between 13 and 15 years old. The out of-towners think Atlanta won’t lock up or run out that many. Well, Atlanta will. If 18,000 come, 16, 000 will soon leave. The problems of runaways aren’t solved by police harassment, but this city is just not equipped to take care of a big migration of teen-agers.”

A lot of parents and policemen call The Gate about runaways, from as far away as California and Idaho. One month Bruce located 20 kids out of 90 calls. “But I don’t really have much time. I often drop by the crash-pads or apartments where hippies live when the coffeehouse closes at midnight, and some hippies come to our church service on Sunday. But the heartache is that I’m not really helping these younger kids and nobody else in Atlanta is.  A lot of them are real sharp and talk about real gutty issues, but The Gate doesn’t attract them. Young teen-agers aren’t interested in sitting around listening to folk singers. What they want is a rock house—a nice dance place. All we’d need to start one is an empty warehouse or auditorium with a jukebox and soft-drink machine. No chairs, no tables. no overhead. Psychedelic light shows maybe, and let them rock out. Young kids have a lot of stored-up tension and dancing is still the safest way they can work it off. But churches tend to back away from this fact.”

BRUCE got up to greet the red-bearded folk singer, who had walked in with a gallon jug of clear red sassafras tea hanging from each forefinger. The minister wrote him out a check for it, and they talked for a few minutes — debating whether it was anger or hate that Christ felt for the money changers when He drove them out of the temple. The bearded man said he thought what’s wrong with most Christians is “they won’t decide what they’re against and then take a public stand against it.” Bruce said, “I’m just not as much of a revolutionary as you are, but I do believe in Christian action.”

Then he was called to the phone I couldn’t help listening: “You want a real hippie or somebody who looks like one” . . . Right. The Marietta YMCA, next Sunday night. I’ll see what I can do for you.”

He hung up and grinned. “It’s gotten so part of my job is booking hippies or bearded folk singers for churches, schools and civic groups. I’m a sort of rent-a-hippie agency except I don’t get paid. If an MYF group asks for somebody to perform and tell about our ministry; I send one of The Gate’s folk singers, or an art student who puts on light shows he films himself, or this kid who makes and plays vagabond instruments. But if they want a real hippie, I go out to the crash-pads and find them one. Hippies like to talk about their thing. Besides, they’re usually hungry, and churches have good suppers. Anyway, I went to look for this certain kid a few weeks ago and he’d just cut his hair. I said, ‘Look, they want a hippie in full costume, right” What kind of impression you gonna make, man, with that short hair?’ He said he could borrow a wig. When his audience got to asking why he had long hair, he took off the wig and said, “What’s that again?’ “

ONE thing you learn at The Twelfth Gate is that it takes more than long hair or a beard to be a hippie. A folk singer said he wears one “because I happen to have a very fat face and besides it’s easier to get a singing job if you have a good growth.” A Gate waitress said some of the guys are just too lazy to shave, or want something to hide behind Roger Swanson, who looks like straight out of the Bible, has just always liked beards.image009

“I got out of the Marine Corps on Nov. 6 last year,” he said, “and Nov. 6 was the last day I shaved. At first I was very paranoid about the beard. I didn’t like being considered a hippie and it was hard to get an apartment. Some of the hippies do skip out on rent. You can’t blame the landladies. But it’s not hard to get a job with a beard, by the way—not in Atlanta, not if you do good work. I’m a carpenter’s helper. I also write poetry. I went to college for five years before the Marine Corps. But I’ve just gotten interested in this writing thing, also in photography.”

Roger often emcees at the coffeehouse – introducing the poets and folk singers, reminding patrons that the waitresses work for nothing except maybe $2 a night in tips, “so please cross their palms with silver when you say thanks and we have church here on Sunday afternoons at 12:30. Church does take the drag out of Sunday, so come on over.”

The Coffeehouse Church is called a “ministry” by the Methodist’s North Georgia Conference. It’s not a full-fledged church yet in the sense of a membership roll, but the kids are hoping it soon will be. Besides Sunday services, it has all the Methodist trappings, including a budget ($27,500 for next year), an official board and committees for finance, worship, programs and social concerns.

The social concerns committee ran a tutoring service for children in Vine City last summer. Two boys go to East Lake Methodist every Saturday to help with a recreation program for 270 colored children. Four of The Gate’s folk singers go on tour, booked for Methodist Youth Fellowship meetings and openings of church coffeehouses. The kids have now started a fellowship supper on Sunday nights, with ministers, politicians, city planners, lawyers, doctors, sociologists and other specialists who discuss the needs of the young people in the 10th Street area and help decide The gate’s best course of action.

As a result, the coffeehouse now has an employment agency and a free medical clinic.

“Our kids man the waiting room and screen all the patients,” said Bruce. “The clinic is now open every Monday and Thursday night at First Presbyterian Church with psychologists for counseling and doctors and nurses supplied by the Fulton County Medical Association. We had a clinic last summer in my office at the coffeehouse, with just one doctor, man, and we couldn’t take care of all the patients here.”

The Twelfth Gate began a year and a half ago at Grace Methodist Church, when Bruce was an assistant pastor there. It was Grace’s effort to “do something” for the non-churched young people in the downtown community.

Diane Smith, a beautiful girl with hair to her waist, had sat listening while Bruce talked. “I was one of the original weirdos who came to The Gate when it was at Grace,” she said. “In those days none of us kids worked. We talked all night and slept till 3 in the afternoon, and if you worked, you missed out, right? I got in a real bind with money. I’ve been through the starvation bit, the having-your-gas-turned-off bit, the corn-meal boiled in water, you know, with days of nothing. and then one of the boys would earn $5 singing folk songs or a girl would wait tables for a night, and then we’d buy potatoes and a cheap roast and cook it at my apartment. I’ve had a straight job for some time now and I’m out of debt.

“But back to our weirdo days. We used to wish so much,” said Diane. “that we had a nice place to go. One night somebody said a minister had opened a coffeehouse over on Charles Alien Drive.

Oh, right, a minister has opened a coffeehouse. We shrugged it off. Then a handful of us went over to see. It was just a six-room old house with no atmosphere, and the folk singers weren’t hired. Mostly they were those of us who could sing. But Bruce was marvelous. Just nice. We kept going back and taking our friends, and after the place closed at midnight, Bruce and his wife would come to our apartment and 30 or 40 of us would talk all night.

AT Grace they all assumed we were hippies on drugs, of course. I don’t say to the potheads, hey, I’m going to hate you for taking the stuff, but I don’t want to be around them. What’s so great about watching a kid on LSD giggling like a maniac while he crawls around on the floor, talking to dust, and then going wild remembering the awful things people have done to him, and getting crazy for revenge. It’s horrible and repulsive. And what’s so great about seeing a girl who has everything going for her get so messed up on drugs she loses her job and her friends and all she’s got left are hippies like herself. Last time I saw her she was under acid and could see her self down in a soft-drink can just a tiny little person down in a can.

“Anyway, at Grace they put out all this effort to get us and then they didn’t know what to do with us. The coffeehouse was so successful we were spilling out into the yard — maybe 300 kids a night, and some of the neighbors were complaining. We got the idea we were less welcome and Bruce was getting more and more criticized, right? We thought, if the kids went to church it would show the members that Bruce was doing some good, you know, so about 20 or 30 us went to a pre-Easter service last year. Catholics, Jews, Baptists, Methodists. nothings. The guys were clean and dressed up in suits and had their beards trimmed, and the girls put on dresses, right? We sat in the back, you know, and everybody was nice to us. but like we had this feeling we’d made everybody uncomfortable. Maybe the embarrassment was all on our part, but we could see them thinking if a bearded long haired type joined the church or the choir, and that TV camera zoomed in on him, people watching television would say,” Goodness, look at Grace” Right?”

“FOR just this reason.” said Bruce. “I get more and more convinced that churches need to specialize. A minister who invites everyone in the TV audience to ‘come worship with us next Sunday’ might get a shock if they all did. It wouldn’t work, not because of snobbery or prejudice or hypocrisy. but because people who look or feel different aren’t comfortable. Everybody has a label in straight society. A boy holds a cigarette in an effeminate manner, he’s called a homo. Maybe he is, maybe he isn’t, he’s branded all the same. A guy has a beard. He’s branded a hippie, though he may have a very straight job. A girl has her “hair long and wears levis and paints pictures, she’s a weirdo. Eggheads may be respected these days, but a boy who’d rather write poetry than play or watch football is looked upon with suspicion. And there are some young people who, let’s face it, just aren’t very attractive on the surface, though they may have a depth and sincerity and loyalty you rarely find in the typical frat house or MYF group.

“The beauty of a coffeehouse is that you can expose people of all types and backgrounds to each other. With the candle light and music and coffee they relax, open up and be come themselves. Things seem more real. They don’t have to wear masks, or pretend what they don’t believe. They share a sense of belonging, and I am absolutely convinced that the need to belong to somebody is the most basic need of human beings, more basic than the need for food or sex or creativeness.”

“The kids who came to The Twelfth Gate when it was at Grace were so hungry for deep friendships they could forget food. The strange thing that happened there was the way all of a sudden, after four or five months, without my giving them any lectures about loafing, those 30 or 40 self styled weirdos started hunting jobs. They had begun to see that life is more than having friends and talking all night, that it matters to have some reason to get up in the morning. Some cut their hair and beards some didn’t. Nearly all went to work.”

Most of them were committed Christians and felt that Christ was alive in their lives says Bruce. “but they didn’t feel they had found a way to live for others. Then the kids decided to start a coffeehouse right on 10th Street, so others cotild have the chance to find themselves—the way they had at the Grace coffeehouse. The Methodist North Georgia Conference gave me the assignment, provided we’d held regular worship services.”

So The Twelfth Gate opens its door every Sunday as The Coffeehouse Church, when they aren’t having a preach-in at Piedmont Park. The kids sit in twos and fours around the tables for the sermon—drinking their coffee and smoking their cigarettes, dressed more like guests at a costume party or a come-as-you-are than like a congregation.

The Sunday I went, what made me feel “at church” was the rapt silence, the atmosphere of spiritual seeking. All eyes fastened on the Rev. Donnelly as he talked about Christ having to hang on the cross because of people’s hang ups, or quoted a priest who once asked, “Who can look up at the crucifix and say, ‘All this you have done for me and I don’t care?”

Not many churches could advertise a Sunday service that lasts three or four hours and hope to have anybody come, but that’s the way it is at The Twelfth Gate. Always after The Word comes what they call The Word Shared— something like a bull session, something like old-time Methodist testifying.

When I was there, as soon as Bruce got through with the sermon and the final folk hymn was sung, a girl at a back table said, “I’ve sinned, and I know it, and I’ve asked God’s forgiveness, right? But maybe God is like my father. I respect my father and I love him and I’ve hurt him so much. But I just can’t tell him. I just—-” She struggled for self-control. She had arrived in Atlanta the week be fore from Massachusetts. “I mean he thinks I want some thing—food or clothes or money. What I want is his love and understanding? But he just says you’ve done what, you please—and I have—so don’t come asking me for forgive ness now.”

“I guess your dad has hang ups of his own,” somebody commented.

“I know how you feel—I’d never ask my father’s forgiveness,” said a student type in suit, white shirt and tie. “I’m sure he’d just say go to hell. Let’s face it, parents really suffer when we do wrong, and it would be the right thing to apologize, even if the apology gets thrown in your face. But it’s hard to be glad about doing the right thing if you’re crying.”

“Every time I come here,” a girl near me muttered to her friend, “we get hung-up on forgiveness and the generation gap. No matter what Bruce has talked about.”

THE next speaker was at dashing young pirate. His beard had a sort of Sir Walter Raleigh trim, he wore one gold earring, his long hair was held neatly in place with sun glasses, pushed up from the forehead, and I tried hard not to assume he was a hippie just for looking like one.

“If there is this God that’s so Almighty and can do anything,” he began, “why doesn’t He answer when I ask forgiveness? If I offend her” — he nodded to the girl beside him— “she’ll forgive me the minute I ask her to and then every thing’s all right again. God is a lot greater than she is, but all I get from Him is silence.”

He was answered by a rather small young man with a hearing aid. wire rimmed granny glasses, cowboy boots and a mild manner. He spoke calmly: “What do you expect? Is God supposed to put on a light-show in your brain or send a message fluttering down from Heaven? When you’re not feeling holy, when you’re restless and incomplete, when the day is not beautiful, when somebody smiles and you say. ‘Go away, you bother me,’ that’s what it’s like to be unforgiven and separated from God.

“God to me is love,” he said. “I know I’m forgiven when I feel turned-on to Him, holy, with no hang-ups. It’s just a total sense of peace and relief and release from guilt.”

Not all ministers think a coffeehouse like The Gate is a valid way of reaching out to those not attracted by the established church. Though many in the Methodist clergy are enthusiastic about what Bruce Donnelly is doing, at least a few doubt that it is valid even as an experiment. They think church coffeehouses are a passing fad, like the hippie thing, and too far out from “the true vine” to change any lives.

MAYBE, maybe not. The doubters should go see for themselves.

All I know is that I like the picture of 40 or 50 young people working their hearts out for a dream, most of them without any pay, and then freely giving away thousands of hard-earned dollars in the name of the Lord.

I know I was deeply moved by the folk singers at the Sun day service, impressed by the young minister’s sincerity and positively electrified when that young man told what it’s like to feel holy.

And to think that I saw it on Peachtree Street…”

And to think that I saw it on Peachtree Street…”

©Patrick Edmondson 2012

Friday July 3rd, 1970 I was working the morning traffic selling The Great Speckled Bird at 14th and Peachtree. There was going to be a Pop Festival that weekend in Byron, Ga near Macon. The first Pop Festival had been wonderful, but the normal hot for a Georgia 4th. We knew middle and South Georgia and knew the heat there was much worse. Most people who lived there spent much of the day somewhere shady or in water. This was to again be at a treeless stock car track outside Macon, currently mayored by “Machine Gun” Ronnie Thompson who had issued machine guns to police in fear of Negro uprising. “Machine Gun” Ronnie was a really unsane belligerent Cracker who really hated hippies, making his county the perfect place for a pop festival. We had been tempted by the stories told by friends from the Zoo. They had been down building the site and told us about the free stage set up way out in the woods down newly bulldozed trails. One of them had a homestead even further back in the woods where he had his dog and was sowing some seeds. We looked at the lineup and really wanted to go, but the tickets were too costly for poor student hippies

I had gotten up early to get to the Birdhouse to buy papers and drive up 14th over Peachtree and parked The Omnibus on the corner by Ga Linen where there was a grassy lawn and big tree.  A great spot to work since people would come up and sprawl on the grass under the tree and talk to me.

I was the first hippie cars would encounter driving down Peachtree towards The Strip and I looked the part I had made a belt with silver conchos on a leather strip and leather strings hanging down my leg. I wore it low on my hips over embroidered jeans and engineer boots so the strings swung as I walked. I had made a duck hat, an engineer’s cap with the bill painted yellow. In the front I painted two big white cartoon eyes like Donald Duck. To complete the motif in winter I had a middy blouse from Navy surplus that zipped up tightly under the arm on one side.  Some people knew me simply as that duckhat guy.

Being a bit ‘on stage’ brought more money, so I got into it. It was fun to watch the long strings swing as I walked, danced, clowned along the edge of Peachtree. It was a good corner and I made quite a bit of money each day. Driving around town I always kept a load of Birds in my bus and whenever traffic stalled, I’d pull over and work the traffic until it moved or a cop came to roust me.  I devoted hours to selling Birds, but working 14th and Peachtree was the best. When traffic lulled I could go climb in the Omnibus, pull the curtains and smoke on a joint as traffic roared by outside.  I was just a crazy hippie so many pretended I wasn’t there. It was work, but also fun as I walked along and amused myself in between lights. Somehow some people want to talk to a hippie. Buying a Bird gave them a reason to talk. It was fun to people watch as mini-dramas played out every so often.

I stood at the corner holding The Great Speckled Bird open so people could see the cover.  Some cars would pull up and desperately thrust money at me for a paper as cars behind them played a cacophonous symphony.  Otherwise I waited for the light then walked along the side of the road smiling. Kids almost always bought a Bird and usually gave me at least fifty cents for a 25-cent paper. Folks wanting you to think they were cool, but usually, and sadly obviously, were not, would either overpay and wave you off or demand exact change as traffic honked.  Swingers and narcs tried to buddy talk and ask about obtaining sex and drugs. Closet hip folks would give you a dollar or other big bill and maybe a good joint or some hash for a paper, or as a tip. Girls and gay men flirted and society women were suggestive as they overpaid and were asked if they wanted change. One woman asked if I could get some “Chiba” to smoke then “fuck her like only a hippie could”. I was unsure what either meant and was in love with Gabi.

This Friday before the 4th there was a constant stream of hippies loaded into vehicles. They came from all over in some amazingly colorful and creative vehicles. And they all had the same destination, The Pop Festival.  A band in a van full of equipment just going to play the free stage was very excited. Each car was headed to see favorites, whose music blared from tape decks.  Each one made me feel more that Byron was going to be a scene for real and we needed to be there.

The final was a big cylindrical trash dumptruck from some unknown town.  Totally normal looking except for the drivers were freaks. They laughed and said they were headed for Byron. I said it was a weird vehicle to travel in. They said I didn’t know the half of it and pushed a button. The back lifted up and away as to dump trash. Now I could see a living room set up inside behind a screen.  There was a table and chairs by a pole lamp, a couch, a recliner, sleeping bags and supplies. A huge cloud had come out when the back had opened. Behind a screen, two guys sat rolling joints at the table and smoking. They said they were farmers from Indiana taking their wares to market at Byron. I laughed and they winked and lifted a tarp at the rear so I could see the pile of marijuana buds beneath. I exploded in surreal laughter- a dump dopetruck with its own living room, here on Peachtree.

They handed me a few joints and closed the truck before continuing down Peachtree towards The Strip. I now knew we had to at least go down and enjoy the people and the scene. We might even get to hear some music. Clearly Byron, Ga. was where to spend July 4th 1970.

Gabi worked as the manager of a uniform shop near Emory. She was very good at running the store. I was a student who sold Birds, did odd jobs and silk screening, etc. to make a bit of money. My other responsibility was to be sure we had good dope.  I looked very out of place in the uniform store around the nurses, but began telling her what I had seen and that I was going for supplies because we had to go to the Pop festival.  Soon she was excited and a young nurse was calling her boyfriend wanting to go also.

 

What Beast is this that crawls to Byron to be born?

From The Great Speckled Bird July 7, 1970 pg. 2-3

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Let us celebrate the triumph of Byron. WE DID A THING! To understand its nature and its impact, we must see the Atlanta Pop Festival not as a “music extravaganza,” nor simply as an occasion to do all

the dope we wanted to in total freedom, a chance to get naked, and a moment of meditation but – and this is absolutely basic -as a people’s assembly in, of, and for Woodstock Nation, population in the millions, of whom several hundred thousand were gathered at Byron, Georgia. It is the year 2, the second year in the life of our new nation—Woodstock Nation—born on the streets of Chicago in August of 68, baptized in White Lake, New York. the following summer, evicted from People’s Park, educated at Columbia, graduated at Kent State, stronger every day with much more than a chronological growth: a new nation, conceived in the bowels of the Monster and dedicated to the liberation of all the Kirns from all the Spiros. Learning more about How in Byron.

If the idea of us as a “nation” seems, at first, far-fetched, it’s because nations are traditionally defined in terms of contiguous territory with continuous borders. Ours is not—yet. We hold title to no territory, we control no geographic space in Amerika; we live and evolve in significant but very small and widely scattered aggregations of spaces—10th Street Atlanta, Lower East Side. Bay Area, the Commons in Boston. And we are more than this, we have residents our consciousness who can be found in every city, town, hamlet, and countryside from coast to coast. No matter how strong our numbers, pigs riddle even our most secure areas. And every time a billy club comes down on a head in California, all the longhairs across the country, down into the Deep South of Byron, Georgia- we all feel the blow.

So our nation is measured not in square miles but in People. And more than that by mere numbers of people (another dehumanizing form of body count), we are measured by our consciousness, by our commitment, by our dedication to the establishment of new life in the rotten gut of Babylon/monster/Amerika. It is in that way, with that understanding, that it makes sense to speak of Byron as a triumph.

Because Byron was about growth. ‘No one who was there,” blares  the billboard for Woodstock (the movie) “will ever be the same again.” More than you know Warner Brothers, more than you know. We came to Byron hopeful but uptight. We left joyful and confident, because not only had we done a Thing, but the way we learned to do it was by the very process of doing it.

As at Woodstock, we were many hundred thousands strong. Some say 5, some say 4 or 3, some say 2 1/2 hundred thousands. In any case, these thousands were confined to 162 acres. If you can imagine cramming the population of Atlanta into a quarter of a square mile, you get some picture of the squeeze. Allowing 75 square feel for each of the 30,000 cars in that area, there remained for all the people present a legal allotment of 11,749 square feel a space measuring roughly 3 1/2 feet square per person. Should we be surprised that “private property” was tresspassed,” or that a “private” club (so labelled to “keep out the ni–ers”) refused even to negotiate for the use of their land and lake?

The Silent Majority of Amerika cannot comprehend either this magnitude (quantity) or of the consciousness (quality) of the people at the festival: nor could they be expected to understand. Our own failures within the New come straight out of the system of values and institutions that grasps these millions in its iron jaws. And so we are just beginning our struggle to break free. We make mistakes. The many failures within this gathering together of Woodstock Nation flow directly from the system which renders the straight world incapable of digging the truth of the event. Our own incompetencies stem from capitalist conditioning from the day we were born in Amerika where you hustle for the dollar and take care of ol’ number one first and foremost. The system has challenged us to take ourselves seriously as Woodstock Nation. Amerika comes on strong; it is powerful- the most powerful empire in the history of our planet -and it takes a shit-load of revolutionary discipline (not Amerikan “discipline”) to maintain and nourish our consciousness of a citizenship distinct from Amerika. We are conditioned to remain ignorant. Conditioned to be specialists in a capitalist industrial system where everyone has his “place.” Trained to call in an “expert” when something goes wrong, channelled into brain factories instead of (also) being taught that our hands and heads will work creatively it we use them, educated into the inability to repair our automobiles, build fires, or find our way out of the woods.

Pampered in and by an obscenely affluent society, we overlook the real fact that the economic resources of Woodstock Nation are pitifully small: Woodstock/Atlanta is an economy of scarcity, not of affluence, and in that respect we resemble people’s China more than we might at first glance. At the festival, this showed in our wasting of precious water, our squandering of money that could and should have gone to the festival (not the promoters, but “us)

Music drew us, constant music, a three-day bath in the sounds that have given us back our bodies, freed them from the tyranny of our “do-don’t” Minds. We came as passive consumers, whose only responsibility for the success of the festival was to pay $14, just like –dig it- Disneyland. Only it didn’t work out that way. 80-90% of the people gathered did not have tickets and had no intention of buying them at the gate. Either because they could not afford them or because they figured sooner or later they could force the promoters to proclaim a “free” festival.

Thursday night and all day Friday that’swhere it was at: us (the people) against them (the promoters, who threatened to cancel the festival if enough tickets were not sold to cover their “losses”—that was Thursday night). Action creates reaction, and the rumor (later reported as fact by the Atlanta Constitution) that bikers had been hired to tote shotguns to keep people without tickets out triggered militant “plans” (which were as strategically moronic as they were ideologically heroic) to tear down the fences and liberate the music.

Both sides were off the mark. The people were naive, the promoters functioning out of ignorance, greed, and/or fear. Had the Cosmic Conspiracy not intervened, I don’t know what would have happened, I don’t know how the battle of the gate would have turned out. But massively and dramatically at three crucial moments, the cosmos took on a vanguard role. First the heat. It was so goddam hot that it was difficult to get beyond one’s personal survival, let alone get juiced up about storming the gate or guarding it. Because it was hot, and because of  our imprisonment in a consciousness of affluence and greed, we were unaware that we were selfishly wasting a precious resource—water. Water. Water poured over people from 5 gallon cans “just to cool off.” Water running from barrels onto the ground as people washed their hands and faces under the spigot. Water turning to mud as folks drank directly from the hose, diverting that water from those barrels. Water flowing 9 o’clock Friday night at a measured rate of a gallon and a half per minute -the sole source for 15,000 in our campground.

But by then it had rained, so that the people who had crowded like cattle to the showers now fled to thier tents to escape the biggest, most democratically distributed, treeest shower available most but not all. Some had learned. So that the surge to the gate—reversed. So that the land (not to speak of the people) cooled. So that the lines at the water barrels disappeared; the precious resource could be conserved, could gain on the thirst of a refreshed people. And the music—stopped. Into which stepped the promoters. Using the rain as what could only be called a transparently lame excuse, Friday night’s music (only) was declared “free.” Having thus lured us back witli B. B. King, however, the promoters laid on their larger audience basically the same riff as the night before: we need bread. Basically the same— they wanted everybody to pay—but still different: $1 a day, they said, would see them through.

It never happened. Saturday we finally made it inside the fence. There was time to take showers, now about half inoperative, but hot naked freaks were standing quietly in line, holding each other’s clothes—again we were learning. There was a hole in the inside fence, which previously herded people to the rear of the concert site. Standing there was a dude with a money pail; outside had been a people’s propagandist with a bullhorn. Period. Economic coercion and accompanying threat of violence had vanished. Even the bikers seemed relieved;

Inside the people were very together, especially . considering the fact that by now the outside world knew the “concert” was “free” and there would be a lot of straight people coming in to dig our music. The rain came again, this time to loosen the crowd up, to drive the straights for shelter. We stuck it out until the rain had served its purpose. Night had fallen but the fireworks people launched a red sun, that hung in the sky, growing brighter for maybe 30 seconds before it set. WE DID A THING!

And we learned that music is just as important to us, no more, no less, as our own blood, for music is the blood of Woodstock Nation-it flows through all of us— as crucial to our survival as dope, which gets us high, inspires us, strengthens us, communizes us; and as water.

We came to Byron believing that music should be free, that it should be the occasion for no one making a  profit, hoarding thus the scant resources ofWoodstock Nation. But we learned that while nothing is without its price, selling us our music was precisely and exactly the same as selling us our water would have been.

The promoters evidenced that kind of growth on Saturday when the stage announced that all dope dealers were being asked to give 10% of their bread—and concessions 25%. Now DIG. That procedure is national, wethepeopleofwoodstocknation levy the following taxes. Enforcement? That, of course, did not happen— this time—but it could have, and next time it might. Suppose, for instance, four hours after these announcements, the ir   had resounded:

Okay now, we’ve had four righteous dealers pay their dues, so here’s what we ‘re gonna do. If those four guys, and we remember who you are, will come up here now, we ‘II give you a stamped receipt. Any other dealer who comes across will also get a receipt. And people, ask your dealer to show you his receipt when you buy your next hit.

A s for the concessions, well, they don’t seem to have gotten the message, so let’s try this. We know you’re thirsty, so we’re not going to ask you not to buy drinks. We are, however, going to suggest that you Don’t Buy Coke-until Coke comes across. If and when Coke pays up, we’ll ask you then to patronize only them, until Pepsi gets religion. You dig?

And we would dig, even though that did not happen this time-this time

So now we know where we are. One nation conceived in concert and dedicated to the proposition that we are One. Our music is not for sale; no amount of money can “buy it.” For we are our music, as much as it is us. And our music, it turns out, is not free; it costs us our lives.

As the Jefferson Airplane sings, “Our life’s too fine to let it die.” Nor will it die. But we must understand that in order for our life to live, we must destroy Ameri-ka. Our room to live, to build our own cities, towns, festivals, industries, must be chipped piece by piece or seized all at once from those pigs who now call their lakes and clubs “private property.” Our life, our stoned, rhythmic energy will endure (and grow) only through constant, ceaseless struggle—total war against Amerika. All your private property is target for your enemy / And your enemy is- We. WE.

Moreover, our life’s too fine to hoard it the way the pigs hoard their wealth, so we shall grow, we are growing. As we drove up freak-lined 1-75, the spirit of the festival drifted up the road like lingering marijuana smoke; At first, I noticed, we freeks banded together in the right-hand lane, slowing down traffic so that the sisters and brothers could safely catch and give rides, while the straights took the left lane, eyeing us curiously. But the further up the road we went (the longer the straights had to get used to us), the friendlier they became; one lady waved first; another dude passed six hitchhikers-and picked up the seventh.

And the kids of the straights? We lured them from our psychedelic cars with Vs answering their own that they subersively flashed from the back seat of the family car on a Sunday drive.

At our exit, I held my hat out the window, waving to a carload of freeks movin on up the road. Sad that for us the festival had ended; but joyous in the bonds that link my family with literally hundreds of thousands of other families from coast to coast—we sleep “free” in Vermont, California, Oregon, Georgia, every state in the Union, under the freek flag of Woodstock Nation. STP.

-greg gregory

Byron links

For my money Carter Tomassi took THE photographs to capture the flavor of this happening.

Appreciate Carter’s Photographic Essay here.

Carter has started a central place to collect people’s memories.

Lots of good stories and you can add your own about the festival. There is an area for  special moments, too.

Were you at The Free Stage? – Carter Tomassi’s has the only photos of which I am aware. It was a long bulldozed trek into the woods. It had sprung up dealer’s camped with signs. Many of the performers played here also. Much more up close and personal. We were unable to loacate its whereabouts in the now built up area. Memories?

We would like to collect your Atlanta stories  at this site. Next time you’re deep in meditation about the 1970’s please feel free to send over any stories you remember. We hope to add on memories and pictures from as many people as possible.

Earl McGehee’s Photos on flickr

Crowd panorama

Richard Powers worked in the medical tent at Byron.

Samfinesilver’s photos

Fest on the Fourth photos.

 

 

 

 

Atlanta newspaper’s accounts of the Pop Festival

Read Atlanta newspaper’s accounts (links inactive during translation)

AJC July 1 ‘Rock It to All’ Festival Theme

   AJC July 4 Joplin, 80,000 Rock Buffs To Make Festival Scene

AJC July 5 That Sound’s Really Cool, Man, But It’s Mighty Hot

ACon  July 5  Music Fans Stay Orderly  Despite Heat, Wine, Drugs

AJC July 7 Pop’s The Thing Despite Heat at Hampton

AJC July 7 Pop Group Came To Find a Groove

ACon July 12 A Lot Happened at Pop Festival

July 7, 1969 The Grateful Dead in Piedmont Park

Download The Dead in Piedmont Park

AJC 7/8/69 Bonnie says she is a natural, clean hippie

AJC Magazine July 12 Park Rock Concert Wows ‘Em

  Aug 20,1969   Metro Beat Magazine Pop Festival

    Remembering the Atlanta International Pop Festival

Miami Pop from Joni Mitchell’s site

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, pastedGraphic.pdf

 

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.

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The Miami Festival: An Inspired Bag of Pop

The Miami Festival: An Inspired Bag of Pop

by Ellen Sander

New York Times   January 12, 1969 ————————————————————————

The 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.