There were disturbances, though. A group, no more than of those camping on Desolation Hill, attempted to break down the perimeter wall the day before the festival began. At 4pm on Sunday afternoon, MC Rikki Farr declared the festival free to the horror of Ray Foulk who was standing in the crowd and, after the announcement, the inner arena wall was dismantled from the inside by ticket holders, prompting a queue of concerned workers and creditors seeking immediate payment backstage.
There were arrests for possession of drugs. Conflicts do not feature prominently in the official record, however. Douglas Osmond, the chief constable of Hampshire police, dressed up like a hippy and went incognito on Desolation Hill for a day.
Every national newspaper reported on the festival, with some of them, glad for news in August, printing extensive coverage. These generally positive reports were punctuated by scurrilous stories about sex and drugs, outraged locals and photographs of nude mostly female bodies. It is interesting, then, that a view of the festival as a disaster has come to dominate. Organisers blame the late documentary film-maker Murray Lerner. The film exaggerates the intensity, significance and extent of either disturbance.
The organisers also made the mistake of inviting International Times IT , a London-based countercultural paper, to view the site under construction. Subsequently, there were no further festivals there there until The bill proposed criminalising any outdoor gathering of 1, people or more between midnight and 6am unless the organisers applied to a local authority at least four months before and provided financial guarantees.
It exposed, though, tension between young people, the counterculture and rural British conservatism. The vitriol aimed at pop festivals, and the types of social change that they were seen to represent, is startling. Great Western festivals ran into to trouble, for instance, in Tollesbury, Essex, in when trying to find a festival site it ultimately settled on Bardney, Lincolnshire. The local villagers burned effigies of the organisers, Lord Harlech and the actor Stanley Baker — the type of hip capitalists that countercultural radicals also feared.
The cover photo is from a live concert on 4 September at Deutschlandhalle , Berlin. Isle of Wight contains just part of the concert, but this release has a unique mix compared to the release of the entire performance on the album Blue Wild Angel: Live at the Isle of Wight. All tracks are written by Jimi Hendrix , except where noted.
This s album-related article is a stub. You can help Wikipedia by expanding it. From Wikipedia, the free encyclopedia. Jimi Hendrix. Official Charts Company. Retrieved 5 September Well you go to hell! With the ticket offices already abandoned, the festival was declared free. Yet the police report cited the entire event as no worse than an average football weekend and Foulk claims the crowd were, by and large, a dream.
We did have a fringe element that were objecting… there were a couple of attacks on the arena wall on occasions, but they were like a fleabite on an elephant, it was nothing. And the decision to declare the event a free festival? There were very few people coming in, a trickle. In reality, the largely celebratory crowd did indeed have a very British Woodstock.
They bathed nude on the beach. And they whooped at the sight of 11 friends of Brazilian Tropicalia musicians Gilberto Gil and Caetano Veloso dancing together in a gigantic plastic red dress then, one by one, sashaying offstage naked. Highlights were plentiful. Emerson, Lake and Palmer played only their second ever show, with Keith Emerson stabbing his piano dressed in a sequinned bolero jacket and tights while assistants fired cannons at the side of the stage.
In the middle of the night in Freshwater on the Isle of Wight, it was incredible. Giddings recalls an unexpected cultural touchstone emerging from the lengthy changeovers between acts. Backstage, with the hill invasion causing cash-flow problems and the scale of the event escalating, a certain confusion reigned. It saw Pete Townshend star-jumping and windmilling in a white boiler suit, Daltrey lassoing his microphone in four-foot sleeve tassels and the skies strafed with Second World War spotlights.
Just 18 days later he would be dead from a barbiturate overdose in London, aged Faulk saw no sign of his drug problems on the day of his last British show. The entire future of British festivals could have died with Hendrix, were it not for the police.