Stoner Classics - Headbanger Boogie

1968 Acid Rock. Heavy Rock. 5.1 Dolby Remaster

Andy Warhol's Exploding Plastic Inevitable is also the title of an 18-minute film by Ronald Nameth with recordings from one week of performances of the shows which were filmed at Poor Richard's nightclub in Chicago, Illinois, in 1966. The Exploding Plastic Inevitable (originally known as the Erupting Plastic Inevitable and later known as Plastic Inevitable or EPI), was a series of multimedia gesamtkunstwerk events organized by Andy Warhol and Paul Morrissey in 1966 and 1967, featuring musical performances by the Velvet Underground and Nico, screenings of Warhol's films, such as Eat, and dancing and mime performance art by regulars of Warhol's Factory, especially Mary Woronov and Gerard Malanga. The events were inspired by New York artist Bobb Goldsteinn, who had coined the term "multimedia" to describe his 1965 "lightworks".

Rare short film with psychedelic effects. This movie immortalizes the "Human Be-in" gathering on the 17th of January 1967 at the Golden Gate Park of San Francisco as the beginning of the summer of love.

When teenagers are turning into zombies, Max and 99 go after their idol the Groovy Guru. Predictive programming for iPad and Apple computers and live streaming.

When initially presented to CBS, a network official stated that Turn-On was "so fast with the cuts and chops that some of our people actually got physically disturbed by it." Tim Conway has stated that Turn-On was canceled midway through its only episode, so that the party that the cast and crew held for its premiere as the show aired across the United States also marked its cancellation. A native of Cleveland, Ohio, Conway later claimed that the Cleveland ABC affiliate, WEWS-TV, replaced the show after the first commercial break and utilized an "emergency protocol" of a black screen with live organ music. Ten minutes into Turn-On, WEWS general manager Donald Perris called ABC's headquarters by telephone to notify them that they would no longer air the show and sent to ABC president Elton Rule an angry telegram: "If your naughty little boys have to write dirty words on the walls, please don't use our walls. Turn-On is turned off, as far as WEWS is concerned. You tried too hard." After the program aired, a WEWS spokesman claimed that the station's switchboard was "lit up" with protest calls, and Perris derided Turn-On as being "in excessive poor taste". George Schlatter would later accuse Perris of actively lobbying other affiliates prior to the broadcast to force a network cancellation after objecting to it replacing Peyton Place on the Wednesday night schedule. However, Perris told The Cleveland Press that neither he nor the station's then-current program director, Ernest Sindelar, had gotten a chance to preview the show prior to its broadcast, saying that: It was previewed by a member of our staff whose judgment is usually good. Last night it wasn't very good. The show shouldn't have gone on. It's all right to be racy—but this was just plain dirty. This was a hate show. Its spirit was dirty. I watched it at home and I felt very bad that it was on. At the same time, WAKR-TV in Akron, Ohio—the Cleveland market's other primary ABC affiliate—did not receive any negative phone calls but their general manager criticized the show's "questionable taste".

Turn-On is an American surreal sketch comedy series created by Digby Wolfe and George Schlatter that aired once on ABC on Wednesday, February 5, 1969. Only one episode was shown partially before being pulled from ABC's airing schedule, leaving another episode unaired. Turn-On's premise was that it was "the first computerized TV show", according to its opening sequence; the show had no sets except for a clinical white backdrop, where sketches generated by an artificially intelligent computer would be acted out. Unlike the generally appealing humor of Laugh-In, Turn-On was oriented around off-color humor and "focused almost exclusively on sex as a comedic subject", using various rapid-fire jokes and risqué skits. Co-creator and production executive Digby Wolfe described it as a "visual, comedic, sensory assault involving animation, videotape, stop-action film, electronic distortion, computer graphics—even people." Sounds created with Moog synthesizers were used in lieu of a laugh track, representing the computer's laughter. The program was also filmed instead of presented live or on videotape; in a style of presentation that was novel for the time, several sketches and jokes were presented with the screen divided into four squares resembling comic strip panels. The production credits of the episode were inserted at random intervals after the first commercial break, instead of conventionally at the beginning or end.

Acid Rock 1970

Monterey Pop Festival: https://en-academic.com/dic.nsf/enwiki/210743 Wikipedia: https://en.wikipedia.org/wiki/Monterey_International_Pop_Festival

Monterey Pop Festival: https://en-academic.com/dic.nsf/enwiki/210743 Wikipedia: https://en.wikipedia.org/wiki/Monterey_International_Pop_Festival

US debut performance of The Jimi Hendrix Experience at The Monterey International Pop Festival that propelled Hendrix and his band mates, Mitch Mitchell and Noel Redding, to the top ranks of international rock royalty. It’s a remarkable musical document that reconfirms what the Monterey audience bore witness to on June 18, 1967: Hendrix’s unbridled talent and flair for showmanship are unparalleled in the annals of music.