Editing Jimi Hendrix (section)

==== Monterey Pop Festival ====
{{Main|Monterey Pop Festival}}
[[File:Jimi Hendrix burning his guitar at the Monterey Pop Festival, June 18, 1967.jpg|right|thumb|upright|alt=A color photograph of a man kneeling over a guitar that is on fire|Author Michael Heatley wrote: "The iconic image by Ed Caraeff of Hendrix summoning the flames higher with his fingers will forever conjure up memories of Monterey for those who were there and the majority of us who weren't."{{sfn|Heatley|2009|p=80}}]]

Although popular in Europe at the time, the Experience's first US single, "Hey Joe", failed to reach the [[Billboard Hot 100|''Billboard'' Hot 100]] chart upon its release on May 1, 1967.{{sfn|Shadwick|2003|p=109}} Their fortunes improved when McCartney recommended them to the organizers of the [[Monterey Pop Festival]]. He insisted that the event would be incomplete without Hendrix, whom he called "an absolute ace on the guitar". McCartney agreed to join the board of organizers on the condition that the Experience perform at the festival in mid-June.<ref>{{harvnb|Cross|2005|p=184}}; "an absolute ace on the guitar"; {{harvnb|Shadwick|2003|pp=110–115}}: McCartney insisted that the festival would be incomplete without Hendrix.</ref>

On June 18, 1967,{{sfn|Gelfand|Piccoli|2009|p=1}} introduced by Brian Jones as "the most exciting performer [he had] ever heard", Hendrix opened with a fast arrangement of Howlin' Wolf's song "Killing Floor", wearing what Shadwick described as "clothes as exotic as any on display elsewhere".<ref>{{harvnb|Shapiro|Glebbeek|1995|p=190}}: "the most exciting performer [he had] ever heard"; {{harvnb|Shadwick|2003|p=115}}: "clothes as exotic as any on display elsewhere".</ref> Shadwick wrote: "[Hendrix] was not only something utterly new musically, but an entirely original vision of what a black American entertainer should and could look like."<ref>{{harvnb|Shapiro|Glebbeek|1995|p=190}}: "the most exciting performer [he had] ever heard"; {{harvnb|Shadwick|2003|p=115}}: "He was not only something utterly new musically".</ref> The Experience went on to perform renditions of "Hey Joe", B.B. King's "Rock Me Baby", [[Chip Taylor]]'s "[[Wild Thing (The Troggs song)|Wild Thing]]", and [[Bob Dylan]]'s "[[Like a Rolling Stone]]", and four original compositions: "[[Foxy Lady]]", "Can You See Me", "The Wind Cries Mary", and "Purple Haze".{{sfn|McDermott|2009|p=52}} The set ended with Hendrix [[Instrument destruction|destroying his guitar]] and tossing pieces of it out to the audience.{{sfn|Shadwick|2003|pp=110–115}} ''Rolling Stone''{{'s}} Alex Vadukul wrote:

{{Blockquote|When Jimi Hendrix set his guitar on fire at the 1967 Monterey Pop Festival he created one of rock's most perfect moments. Standing in the front row of that concert was a 17-year-old boy named [[Ed Caraeff]]. Caraeff had never seen Hendrix before nor heard his music, but he had a camera with him and there was one shot left in his roll of film. As Hendrix lit his guitar, Caraeff took a final photo. It would become one of the most famous images in rock and roll.<ref>{{cite magazine|last=Vadukul|first=Alex|title="Who Shot Rock and Roll" Celebrates the Photographers Behind the Iconic Images|magazine=[[Rolling Stone]]|date=November 13, 2009|url=https://www.rollingstone.com/music/news/who-shot-rock-and-roll-celebrates-the-photographers-behind-the-iconic-images-20091113|access-date=February 1, 2014|archive-url=https://web.archive.org/web/20140409143530/http://www.rollingstone.com/music/news/who-shot-rock-and-roll-celebrates-the-photographers-behind-the-iconic-images-20091113|archive-date=April 9, 2014|url-status=live}}</ref>{{refn|group=nb|According to author Bob Gula, "When Jimi torched his guitar onstage at the Monterey Pop Festival, it became one of, if not the single greatest iconic moment in the first half-century of rock; his image as the psychedelic voodoo child conjuring uncontrollable forces is a rock archetype."{{sfn|Gula|2008|p=121}} Musicologist David Moskowitz wrote: "The image of Jimi kneeling over his burning guitar at Monterey became one of the most iconic pictures of the era."{{sfn|Moskowitz|2010|p=22}}}}}}

Caraeff stood on a chair next to the edge of the stage and took four [[monochrome photography|monochrome pictures]] of Hendrix burning his guitar.<ref name="GB2009">{{cite book|last=Buckland|first=Gail|title=Who Shot Rock and Roll: A Photographic History, 1955–Present|year=2009|publisher= Knopf|isbn=978-0-307-27016-0|url=https://archive.org/details/whoshotrockrollp0000buck |url-access=registration|pages=[https://archive.org/details/whoshotrockrollp0000buck/page/62 62]–63}}</ref>{{refn|group=nb|Earlier in the festival, a German photographer advised Caraeff, who was taking pictures of performers, to save film for Hendrix.<ref name="GB2009" />}} Caraeff was close enough to the fire that he had to use his camera to protect his face from the heat. ''Rolling Stone'' later colorized the image, matching it with other pictures taken at the festival before using the shot for a 1987 magazine cover.<ref name="GB2009" /> According to author Gail Buckland, the final frame of "Hendrix kneeling in front of his burning guitar, hands raised, is one of the most famous images in rock".<ref name="GB2009" /> Author and historian Matthew C. Whitaker wrote that "Hendrix's burning of his guitar became an iconic image in rock history and brought him national attention".{{sfn|Whitaker|2011|p=382}} The ''[[Los Angeles Times]]'' asserted that, upon leaving the stage, Hendrix "graduated from rumor to legend".{{sfn|Shapiro|Glebbeek|1995|p=194}} Author John McDermott wrote that "Hendrix left the Monterey audience stunned and in disbelief at what they'd just heard and seen".{{sfn|Guitar World|2011|p=62}} According to Hendrix: "I decided to destroy my guitar at the end of a song as a sacrifice. You sacrifice things you love. I love my guitar."{{sfn|Hendrix|McDermott|2007|p=28}} The performance was filmed by [[D.&nbsp;A. Pennebaker]] and included in the concert documentary ''[[Monterey Pop]]'', which helped Hendrix gain popularity with the US public.<ref>{{harvnb|Cross|2005|p=184}}; {{harvnb|Moskowitz|2010|p=22}}; {{harvnb|Shadwick|2003|pp=110–115}}.</ref>

After the festival, the Experience was booked for five concerts at [[Bill Graham (promoter)|Bill Graham's]] [[The Fillmore|Fillmore]], with [[Big Brother and the Holding Company]] and [[Jefferson Airplane]]. The Experience outperformed Jefferson Airplane during the first two nights and replaced them at the top of the bill on the fifth.{{sfn|Shadwick|2003|p=116}} Following their successful West Coast introduction, which included a free open-air concert at [[Golden Gate Park]] and a concert at the [[Whisky a Go Go]], the Experience was booked as the opening act for the first American tour of [[the Monkees]].{{sfn|McDermott|2009|pp=54–56}} The Monkees requested Hendrix as a supporting act because they were fans, but their young audience disliked the Experience, who left the tour after six shows.{{sfn|Shadwick|2003|pp=116–117}} Chandler later said he engineered the tour to gain publicity for Hendrix.<ref>{{harvnb|McDermott|1992|p=103}}: the Monkees tour as publicity for Hendrix; {{harvnb|Potash|1996|p=89}}: the Monkees asked for Hendrix.</ref>