I was told the strychnine was to make you see colors. If too much is in the batch, you get a very nasty taste crawling up the back of your throat the next day. On the topic of LSD contents. Do a search here for my handle and LSD and or drugs and you will find a very thorough dissertation and discussion on the subject and why there may be any variety of contaminants of dubious virtue within your drugs. As a result multiple doses of acid that was very strong to begin with were sometimes taken, and some trips got way out of hand.
My generation had a meme, that the younger generation may no longer be aware of that went something along the lines of " I was at Woodstock".
Well Rockdrumr I call bullshit. By your user name i call bullshit that you are even old enough to have been at Woodstock. Tried to edit out all use of the word bullshit, and other non GQ statements.
Either missed the window or did it wrong. I apologize for my tone. Thank you. Not sure why that post touched a nerve. I thought this job was going to be fun, but it turned out to be, like, "Dude, don't take the brown acid.
That chick is the brown acid, but hey, it's up to you. The acid you really shouldn't drop. Last time you dropped the brown acid, you stood on the roof thinking you were Jesus for three weeks! I could've sworn that Hydrochloric acid isn't naturally brown Diarhreah that makes one's asshole burn.
Like last night. You know what I'ma talkin' 'bout , that brown acid comin' out yo' butt. Michael Lang tried to do the right thing. He had a lot on his plate. I worked mostly with [principal partner] Joel [Rosenman]. You can never do it again. We were the first group of people to dedicate ourselves to doing audio of live events.
At that time, nobody wanted to pay money for sound. Practically all the sound at Woodstock came from the stage and the towers. That was all we could afford. We used Macintosh watt RMS amplifiers and speakers built 10 to 12 feet above the ground and secondary speakers 60 to 70 feet off the ground.
I was setting up for only , people I remembered manning the sound console at Newport between Pete Yarrow and Pete Seeger for Bob Dylan, and all that distortion when he plugged in. The Woodstock album was recorded directly from the on-stage microphones. We split them up between the sound system and the tape recorders. I made sure everything made it to the end. My mission was to make the world a little better place to live in.
There was no such thing as a bulb. We had to train new operators because the Fillmore fellas decided working from dusk until dawn was a little past their engagement. It was difficult to say the least. What I took away from Woodstock was, when I walk into a gig, I make sure I have three contingency plans available. Seriously, it was a marvelous thing to do. There was a tapping on my shoulder at 6 in the morning Friday.
It was petrifying, but the wonderful thing was, it was just me. I had no preparation, so I came out as myself. It was just something that had to be done immediately And the crowd maintained that distance — along with a foot fence and some telephone poles — the rest of the weekend.
The brown acid warning was pretty silly, but it was the only thing I could do without causing panic. The warning very well may have been a set-up, but I doubt it because it came from one of the doctors, who wanted us to help direct people to the medical tent. Rona Elliot, PR advisor and community liaison, Woodstock.
My job was to tell the local Kiwanis Club how great Woodstock was going to be. I arrived there in May and stayed until September. For me, the power of music unleashes something inexplicable, magical and spiritual. Woodstock is an aspirational, mythic idea that has continued to persist and elicit strong opinions.
The military draft was starting to affect middle-class white kids. Woodstock was a spiritual window which opened briefly to express a certain kind of peace, love and community, but that window soon closed, and I realized it could never happen again. It was a one-shot thing, totally infused with magic. For the first time, we realized there were others just like us in the world.
Everyone took care of each other that weekend. That was certainly the defining moment of the weekend. Music was the glue for our generation like technology is for the current one.
Everyone who worked at Woodstock did what we had to do to keep everybody safe. We shared this experience and it changed all of us, the audience and the people who worked on it. Gerardo Velez, played percussion with Jimi Hendrix; seven-time Grammy nominee and member of Spyrogyra.
I could play my little butt off I was 19 but looked 9, and I had the girls, the drugs and the money. He wanted to break up the Experience and do something with Latin, jazz, Middle Eastern music, blending them together to see what we came up with. I was familiar with the area from visiting my sister Martha Velez [the original Hair cast member and the first artist signed to Sire Records by Seymour Stein and Richard Gottehrer].
Billy Cox and Mitch Mitchell both stayed there when they came up. He wanted to show that even if we were the counterculture, we were also Americans. He was just saying, this is our country, too. I went to the site to suss out what was going on, and I saw people swimming naked in the lake; it looked cool.
We got to the site early on Sunday and taken to a house on the property. They kept pushing our start time back, so we rehearsed, dropped acid and got laid each time. When we finally hit the stage, there were maybe 30,, people there.
We were totally spent sexually, totally spent drug-wise. We just wanted to play, like stallions held back. It was really tough. The stage had already buckled and the smell of urine and decomposition was thick. During the performance, my tooth started to abscess, which sent a sharp pain shooting through my system.
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