You Haven't Done Nothing (Stevie Wonder)
We are amazed but not amused
By all the things you say that you'll do
Though much concerned but not involved
With decisions that are made by you
But we are sick and tired of hearing your song
Telling how you are gonna change right from wrong
'Cause if you really want to hear our views
"You haven't done nothing"!<a href="http://www.testimania.com/">Testi Canzoni</a>
It's not too cool to be ridiculed
But you brought this upon yourself
The world is tired of pacifiers
We want the truth and nothing else
And we are sick and tired of hearing your song
Telling how you are gonna change right from wrong
'Cause if you really want to hear our views
"You haven't done nothing"!
Jackson 5 join along with me say
Doo doo wop - hey hey hey
Doo doo wop - wow wow wow
Doo doo wop - co co co
Doo doo wop - naw naw naw
Doo doo wop - bum bum bum
Doo doo wop
We would not care to wake up to the nightmare
That's becoming real life
But when mislead who knows a person's mind
Can turn as cold as ice un hum
Why do you keep on making us hear your song
Telling us how you are changing right from wrong
'Cause if you really want to hear our views
"You haven't done nothing"!
Yeah
Jackson 5 sing along again say
Doo doo wop
Doo doo wop - oh
Doo doo wop - co co co
Doo doo wop - sing it baby
Doo doo wop - bum bum bum
Doo doo wop - um
Sing it loud for your people say
Doo doo wop - um um um
Doo doo wop - stand up be counted, say
Doo doo wop - co co co
Doo doo wop - ow
Doo doo wop - bum bum bum
Doo doo wop - ah hum
http://en.wikipedia.org/wiki/You_Haven't_Done_Nothin'
"You Haven't Done Nothin'" is a 1974 funk single by Stevie Wonder featuring background vocals from The Jackson 5 and featured on the album Fulfillingness' First Finale. The politically-aware song became Wonder's fourth number-one pop hit, his tenth number one soul hit.[1] and was one of his angriest political statements aimed squarely at former President Richard Nixon. This song also features a thick clavinet track and an early appearance of the drum machine. The B-side of this single was "Big Brother", also a political statement from his earlier album Talking Book.
"Big Brother" Stevie Wonder youtube
http://www.youtube.com/watch?v=l1lz-ybIByM
http://en.wikipedia.org/wiki/December,_1963_(Oh,_What_a_Night)
Excerpt:
"December 1963 (Oh, What A Night)" is a hit single by The Four Seasons, written by original Four Seasons keyboard player Bob Gaudio and his future wife Judy Parker, produced by Gaudio, and included on the group's 1975 album, Who Loves You.
This single was released in December 1975 and hit number one on the UK Singles Chart on February 21, 1976. It repeated the feat on the U.S. Billboard Hot 100 on March 13, 1976, remaining in the top spot for three weeks and one week on Cash Box. On April 10 of the same year, it topped the RPM National Top Singles Chart in Canada.[1] New drummer Gerry Polci and bassist Don Ciccone shared lead vocals with long-time frontman Frankie Valli.
The song was originally about the repeal of Prohibition with the title of "December 5th, 1933," [2] but the lyrics were changed at the urgings of Valli and lyricist Parker. The song became a nostalgic remembrance of a young man's "first time" with a woman. In the Broadway play Jersey Boys, the song accompanied the Bob Gaudio character being set up with a prostitute by the other Four Seasons, in order to lose his virginity.
In 1994, the record was re-released with added percussion effects and remixed vocals (mixed by Dutch disc jockey Ben Liebrand in 1988). This version of "December 1963" spent 27 weeks on the Hot 100 (matching the chart life of the original single). The peak position of the remix version was #14.
Adding together the two 27-week chart runs from 1976 and 1994 gives the song the longest tenure ever on the Billboard Hot 100 music chart.[3]
The song was used in promos for KFRE in Fresno, CA from 2002 to 2004.
Stevie Wonder Big Brother Lyrics:
Your name is big brother
You say that you're watching me on the tele,
Seeing me go nowhere,
Your name is big brother,
You say that you're tired of me protesting,
Children dying everyday,
My name is nobody
But I can't wait to see your face inside my door
Your name is big brother
You say that you got me all in your notebook,
Writing it down everyday,
[ Find more Lyrics on http://mp3lyrics.org/LZMo ]
Your name is I'll see ya,
I'll change if you vote me in as the pres,
The President of your soul
I live in the ghetto,
You just come to visit me 'round election time
I live in the ghetto,
Someday I will move on my
feet to the other side,
My name is secluded,
we live in a house the size of a matchbox,
Roaches live with us wall to wall,
You've killed all our leaders,
I don't even have to do nothin' to you
You'll cause your own country to fall
Lyrics: Big Brother, Stevie Wonder [end]
Excerpt:
Arizona prohibition started before the rest of the nation's
Although elections might drive some to drink, Arizona voters in 1914 elected to ban alcohol sales and consumption, enacting a prohibition that went into effect on Jan. 1, 1915, five years before the national ban began.
Arizona eventually voted to repeal federal Prohibition on Sept. 5, 1933, becoming the 21st state to do so. But during the 1914 drive to make the state dry, there was strong momentum behind the measure, Proposition 203.
Those against the banning of alcohol didn't argue that people could control their own consumption. Instead, they said prohibition would hurt pharmacists and Catholic priests.
In a full-page newspaper ad, the Arizona Local Self-Government League called the proposed "dry amendment" too drastic.
In a full-page newspaper ad, the Arizona Local Self-Government League called the proposed "dry amendment" too drastic.
"It is the first prohibitory law ever proposed that did not exempt liquor for medicinal, sacramental or scientific purposes," the ad said. It warned of druggists violating the law by prescribing medicines that contained alcohol. It also said the law would infringe on religious freedom, forbidding the use of wine in the Catholic Mass.
Authorities later said they would not go after churches.
The measure was supported by The Arizona Republican, the morning paper now known as The Arizona Republic, and the afternoon Arizona Gazette, the precursor to the Phoenix Gazette. In fact, the measure provided ammunition in the papers' long-running feud, with the Gazette editorial page saying the Republican was being hypocritical by supporting prohibition while accepting ads for whiskey and beer.
The president and manager of the Republican, Dwight B. Heard, spoke at a rally in October 1914, saying he was more in favor of temperance than prohibition, but still thought it best if Arizona rid itself of alcohol completely.
"I am opposed to the saloons on account of the economic waste they entail," Heard said. "I would suppress them to conserve human life and efficiency."
Arizona became a popular speaking spot for members of the national prohibition movement. At an October rally in downtown Phoenix, Daniel Poling, secretary of the Flying Squadron, a group just beginning a national tour in support of prohibition, argued that drink was leading to the rise in child labor: As family breadwinners were rendered unable to work, children were left to make their own way.
"To judge (the saloon), you just judge it by the finished product," Poling said. "And its finished product is wrecked and diseased bodies, wrecked and diseased minds and wrecked and diseased souls."
The Arizona measure passed easily, with only Cochise and Yavapai counties voting to stay "wet."
Arizona joined Colorado, Oregon and Washington in banning booze that November. California and Ohio voted against prohibition amendments.
The measure was challenged in federal court, with "wet" proponents arguing that the law was an unconstitutional grab of property and that Arizona was stepping into territory that could only be controlled by the federal government.
The judges rendered their decision on Christmas Eve 1914: The measure was constitutional and could take effect on Jan. 1, 1915.
Citizens bought up all the alcohol they could. Liquor stores had planned to ship their remaining stock out of state, but there reportedly was little left come New Year's Eve.
A Tucson temperance leader, Tom Marshall, published a study looking at the first six months of prohibition. He found that crime across the state went down and prosperity went up. Phoenix had been averaging seven arrests a day for drunkenness. That was reduced to one every two days, he reported. Prescott had no inmates in its city jail for three months, the report said.
Arizona's prohibition made worldwide news. A British Pathé newsreel showed Arizona law-enforcement authorities pouring confiscated liquor into a wooden barrel on a cart. As horses pulled the cart down the street, the barrel sprayed booze along the dirt road. A man ran behind, trying to use his hat as a makeshift glass.
Frank Zappa -Who Needs The Peace Corps 1968 youtube
Excerpt:
The Tipper Sticker
 | This section is in a list format that may be better presented using prose. You can help by converting this section to prose, if appropriate. Editing help is available. (September 2008) |
Main article: Parental Advisory
On November 1, 1985, before the hearing ended, the RIAA agreed to put "Parental Advisory" labels on selected releases at their own discretion. The labels were generic, unlike the original idea of a descriptive label categorizing the explicit lyrics.
Many record stores refused to sell albums containing the label (most notably Wal-Mart), and others limited sales of those albums to minors. The label became known as the "Tipper sticker".[citation needed] One of the albums to receive the "Parental Advisory" sticker was Frank Zappa's Grammy-winning album Jazz From Hell, presumably for the use of the word "Hell" in its title but also for the song "G-Spot Tornado", even though it is a collection of instrumental pieces and contains no lyrics at all.
Many musicians have criticized or parodied the PMRC and Tipper Gore:
- Danzig's 1988 song "Mother" scored a top 40 hit as the most famous song about[7] the PMRC labeling and its inherent problems. This is still one of the only songs about[7] Tipper Gore and the PMRC to reach a wide audience.
- The song "Rock You to Hell" from the album of the same name by heavy metal band Grim Reaper is a protest song against the PMRC's attempts to censor music.
- As an early parody of the PMRC "explicit lyrics" warning labels, many prints of Metallica's 1986 release of their album Master of Puppets sported a sticker on the front in the shape of a stop-sign saying:
"THE ONLY TRACK YOU PROBABLY WON'T WANT TO PLAY IS "DAMAGE, INC." DUE TO THE MULTIPLE USE OF THE INFAMOUS "F" WORD. OTHERWISE, THERE AREN'T ANY "SHITS," "FUCKS," "PISSES," "CUNTS," "MOTHERFUCKERS," OR "COCKSUCKERS" ANYWHERE ON THIS RECORD"
- In 1987, NOFX released an EP entitled The P.M.R.C. Can Suck on This. When originally released, the album had a black and white photo of Tammy Faye Bakker pegging then-husband (and televangelist) Jim Bakker.
- Alice Donut's song "Tipper Gore", from 1988's Donut Comes Alive, uses a sexual metaphor to parody Gore's actions.
- The Megadeth song "Hook In Mouth" from their 1988 album So Far, So Good... So What! is "aimed at the P.M.R.C."[8] It compares the PMRC to the Orwellian state in Nineteen Eighty-Four.
http://www.youtube.com/watch?v=acb15JsCGSk
Steve Martin and Steep Canyon Rangers official site
http://www.steepcanyon.com/news.asp
Dixie Chicks and Steve Martin
http://www.theboot.com/2010/07/23/dixie-chicks-steve-martin/
Steve Martin feat. Dixie Chicks "You" youtube
http://www.youtube.com/watch?v=Eg2EwqOjtDU
http://afteramerica.wordpress.com/2010/02/14/the-cia-created-the-hippie-movement-in-the-1960s/
Excerpt:
The CIA Created The Hippie Movement in the 1960′s.
Posted on February 14, 2010 by afteramerica
Inside The LC: The Strange but Mostly True Story of Laurel Canyon and the Birth of the Hippie Generation
Part I
There’s something happening here
What it is ain’t exactly clear”
Join me now, if you have the time, as we take a stroll down memory lane to a time nearly four-and-a-half decades ago – a time when America last had uniformed ground troops fighting a sustained and bloody battle to impose, uhmm, ‘democracy’ on a sovereign nation.
It is the first week of August, 1964, and U.S. warships under the command of U.S. Navy Admiral George Stephen Morrison have allegedly come under attack while patrolling Vietnam’s Tonkin Gulf. This event, subsequently dubbed the ‘Tonkin Gulf Incident,’ will result in the immediate passing by the U.S. Congress of the obviously pre-drafted Tonkin Gulf Resolution, which will, in turn, quickly lead to America’s deep immersion into the bloody Vietnam quagmire. Before it is over, well over fifty thousand American bodies – along with literally millions of Southeast Asian bodies – will litter the battlefields of Vietnam, Laos and Cambodia.
For the record, the Tonkin Gulf Incident appears to differ somewhat from other alleged provocations that have driven this country to war. This was not, as we have seen so many times before, a ‘false flag’ operation (which is to say, an operation that involves Uncle Sam attacking himself and then pointing an accusatory finger at someone else). It was also not, as we have also seen on more than one occasion, an attack that was quite deliberately provoked. No, what the Tonkin Gulf incident actually was, as it turns out, is an ‘attack’ that never took place at all. The entire incident, as has been all but officially acknowledged, was spun from whole cloth. (It is quite possible, however, that the intent was to provoke a defensive response, which could then be cast as an unprovoked attack on U.S ships. The ships in question were on an intelligence mission and were operating in a decidedly provocative manner. It is quite possible that when Vietnamese forces failed to respond as anticipated, Uncle Sam decided to just pretend as though they had.)
Nevertheless, by early February 1965, the U.S. will – without a declaration of war and with no valid reason to wage one – begin indiscriminately bombing North Vietnam. By March of that same year, the infamous “Operation Rolling Thunder” will have commenced. Over the course of the next three-and-a-half years, millions of tons of bombs, missiles, rockets, incendiary devices and chemical warfare agents will be dumped on the people of Vietnam in what can only be described as one of the worst crimes against humanity ever perpetrated on this planet.
Also in March of 1965, the first uniformed U.S. soldier will officially set foot on Vietnamese soil (although Special Forces units masquerading as ‘advisers’ and ‘trainers’ had been there for at least four years, and likely much longer). By April 1965, fully 25,000 uniformed American kids, most still teenagers barely out of high school, will be slogging through the rice paddies of Vietnam. By the end of the year, U.S. troop strength will have surged to 200,000.
Meanwhile, elsewhere in the world in those early months of 1965, a new ‘scene’ is just beginning to take shape in the city of Los Angeles. In a geographically and socially isolated community known as Laurel Canyon – a heavily wooded, rustic, serene, yet vaguely ominous slice of LA nestled in the hills that separate the Los Angeles basin from the San Fernando Valley – musicians, singers and songwriters suddenly begin to gather as though summoned there by some unseen Pied Piper. Within months, the ‘hippie/flower child’ movement will be given birth there, along with the new style of music that will provide the soundtrack for the tumultuous second half of the 1960s.
An uncanny number of rock music superstars will emerge from Laurel Canyon beginning in the mid-1960s and carrying through the decade of the 1970s. The first to drop an album will be The Byrds, whose biggest star will prove to be David Crosby. The band’s debut effort, “Mr. Tambourine Man,” will be released on the Summer Solstice of 1965. It will quickly be followed by releases from the John Phillips-led Mamas and the Papas (“If You Can Believe Your Eyes and Ears,” January 1966), Love with Arthur Lee (“Love,” May 1966), Frank Zappa and The Mothers of Invention (“Freak Out,” June 1966), Buffalo Springfield, featuring Stephen Stills and Neil Young (“Buffalo Springfield,” October 1966), and The Doors (“The Doors,” January 1967).
One of the earliest on the Laurel Canyon/Sunset Strip scene is Jim Morrison, the enigmatic lead singer of The Doors. Jim will quickly become one of the most iconic, controversial, critically acclaimed, and influential figures to take up residence in Laurel Canyon. Curiously enough though, the self-proclaimed “Lizard King” has another claim to fame as well, albeit one that none of his numerous chroniclers will feel is of much relevance to his career and possible untimely death: he is the son, as it turns out, of the aforementioned Admiral George Stephen Morrison.
And so it is that, even while the father is actively conspiring to fabricate an incident that will be used to massively accelerate an illegal war, the son is positioning himself to become an icon of the ‘hippie’/anti-war crowd. Nothing unusual about that, I suppose. It is, you know, a small world and all that. And it is not as if Jim Morrison’s story is in any way unique.
During the early years of its heyday, Laurel Canyon’s father figure is the rather eccentric personality known as Frank Zappa. Though he and his various Mothers of Invention line-ups will never attain the commercial success of the band headed by the admiral’s son, Frank will be a hugely influential figure among his contemporaries. Ensconced in an abode dubbed the ‘Log Cabin’ – which sat right in the heart of Laurel Canyon, at the crossroads of Laurel Canyon Boulevard and Lookout Mountain Avenue – Zappa will play host to virtually every musician who passes through the canyon in the mid- to late-1960s. He will also discover and sign numerous acts to his various Laurel Canyon-based record labels. Many of these acts will be rather bizarre and somewhat obscure characters (think Captain Beefheart and Larry “Wild Man” Fischer), but some of them, such as psychedelic rocker cum shock-rocker Alice Cooper, will go on to superstardom.
Zappa, along with certain members of his sizable entourage (the ‘Log Cabin’ was run as an early commune, with numerous hangers-on occupying various rooms in the main house and the guest house, as well as in the peculiar caves and tunnels lacing the grounds of the home; far from the quaint homestead the name seems to imply, by the way, the ‘Log Cabin’ was a cavernous five-level home that featured a 2,000+ square-foot living room with three massive chandeliers and an enormous floor-to-ceiling stone fireplace), will also be instrumental in introducing the look and attitude that will define the ‘hippie’ counterculture (although the Zappa crew preferred the label ‘Freak’). Nevertheless, Zappa (born, curiously enough, on the Winter Solstice of 1940) never really made a secret of the fact that he had nothing but contempt for the ‘hippie’ culture that he helped create and that he surrounded himself with.
Given that Zappa was, by numerous accounts, a rigidly authoritarian control-freak and a supporter of U.S. military actions in Southeast Asia, it is perhaps not surprising that he would not feel a kinship with the youth movement that he helped nurture. And it is probably safe to say that Frank’s dad also had little regard for the youth culture of the 1960s, given that Francis Zappa was, in case you were wondering, a chemical warfare specialist assigned to – where else? – the Edgewood Arsenal. Edgewood is, of course, the longtime home of America’s chemical warfare program, as well as a facility frequently cited as being deeply enmeshed in MK-ULTRA operations. Curiously enough, Frank Zappa literally grew up at the Edgewood Arsenal, having lived the first seven years of his life in military housing on the grounds of the facility. The family later moved to Lancaster, California, near Edwards Air Force Base, where Francis Zappa continued to busy himself with doing classified work for the military/intelligence complex. His son, meanwhile, prepped himself to become an icon of the peace & love crowd. Again, nothing unusual about that, I suppose.
Frank Zappa with his manager Herb Cohen
Making up the other half of Laurel Canyon’s First Family is Frank’s wife, Gail Zappa, known formerly as Adelaide Sloatman. Gail hails from a long line of career Naval officers, including her father, who spent his life working on classified nuclear weapons research for the U.S. Navy. Gail herself had once worked as a secretary for the Office of Naval Research and Development (she also once told an interviewer that she had “heard voices all [her] life”). Many years before their nearly simultaneous arrival in Laurel Canyon, Gail had attended a Naval kindergarten with “Mr. Mojo Risin’” himself, Jim Morrison (it is claimed that, as children, Gail once hit Jim over the head with a hammer). The very same Jim Morrison had later attended the same Alexandria, Virginia high school as two other future Laurel Canyon luminaries – John Phillips and Cass Elliott.
Papa John Phillips (Far Right)
Before arriving in Laurel Canyon and opening the doors of his home to the soon-to-be famous, the already famous, and the infamous (such as the aforementioned Charlie Manson, whose ‘Family’ also spent time at the Log Cabin and at the Laurel Canyon home of “Mama” Cass Elliot, which, in case you didn’t know, sat right across the street from the Laurel Canyon home of Abigail Folger and Voytek Frykowski, but let’s not get ahead of ourselves here), John Edmund Andrew Phillips was, shockingly enough, yet another child of the military/intelligence complex. The son of U.S. Marine Corp Captain Claude Andrew Phillips and a mother who claimed to have psychic and telekinetic powers, John attended a series of elite military prep schools in the Washington, D.C. area, culminating in an appointment to the prestigious U.S. Naval Academy at Annapolis
After leaving Annapolis, John married Susie Adams, a direct descendant of ‘Founding Father’ John Adams. Susie’s father, James Adams, Jr., had been involved in what Susie described as “cloak-and-dagger stuff with the Air Force in Vienna,” or what we like to call covert intelligence operations. Susie herself would later find employment at the Pentagon, alongside John Phillip’s older sister, Rosie, who dutifully reported to work at the complex for nearly thirty years. John’s mother, ‘Dene’ Phillips, also worked for most of her life for the federal government in some unspecified capacity. And John’s older brother, Tommy, was a battle-scarred former U.S. Marine who found work as a cop on the Alexandria police force, albeit one with a disciplinary record for exhibiting a violent streak when dealing with people of color.
John Phillips
Anyway, let’s move on to yet another of Laurel Canyon’s earliest and brightest stars, Mr. Stephen Stills. Stills will have the distinction of being a founding member of two of Laurel Canyon’s most acclaimed and beloved bands: Buffalo Springfield, and, needless to say, Crosby, Stills & Nash. In addition, Stills will pen perhaps the first, and certainly one of the most enduring anthems of the 60s generation, “For What It’s Worth,” the opening lines of which appear at the top of this post (Stills’ follow-up single will be entitled “Bluebird,” which, coincidentally or not, happens to be the original codename assigned to the MK-ULTRA program).
Before his arrival in Laurel Canyon, Stephen Stills was (*yawn*) the product of yet another career military family. Raised partly in Texas, young Stephen spent large swaths of his childhood in El Salvador, Costa Rica, the Panama Canal Zone, and various other parts of Central America – alongside his father, who was, we can be fairly certain, helping to spread ‘democracy’ to the unwashed masses in that endearingly American way. As with the rest of our cast of characters, Stills was educated primarily at schools on military bases and at elite military academies. Among his contemporaries in Laurel Canyon, he was widely viewed as having an abrasive, authoritarian personality. Nothing unusual about any of that, of course, as we have already seen with the rest of our cast of characters.
There is, however, an even more curious aspect to the Stephen Stills story: Stephen will later tell anyone who will sit and listen that he had served time for Uncle Sam in the jungles of Vietnam. These tales will be universally dismissed by chroniclers of the era as nothing more than drug-induced delusions. Such a thing couldn’t possibly be true, it will be claimed, since Stills arrived on the Laurel Canyon scene at the very time that the first uniformed troops began shipping out and he remained in the public eye thereafter. And it will of course be quite true that Stephen Stills could not have served with uniformed ground troops in Vietnam, but what will be ignored is the undeniable fact that the U.S. had thousands of ‘advisers’ – which is to say, CIA/Special Forces operatives – operating in the country for a good many years before the arrival of the first official ground troops. What will also be ignored is that, given his background, his age, and the timeline of events, Stephen Stills not only could indeed have seen action in Vietnam, he would seem to have been a prime candidate for such an assignment. After which, of course, he could rather quickly become – stop me if you’ve heard this one before – an icon of the peace generation.
Another of those icons, and one of Laurel Canyon’s most flamboyant residents, is a young man by the name of David Crosby, founding member of the seminal Laurel Canyon band the Byrds, as well as, of course, Crosby, Stills & Nash. Crosby is, not surprisingly, the son of an Annapolis graduate and WWII military intelligence officer, Major Floyd Delafield Crosby. Like others in this story, Floyd Crosby spent much of his post-service time traveling the world. Those travels landed him in places like Haiti, where he paid a visit in 1927, when the country just happened to be, coincidentally of course, under military occupation by the U.S. Marines. One of the Marines doing that occupying was a guy that we met earlier by the name of Captain Claude Andrew Phillips.
But David Crosby is much more than just the son of Major Floyd Delafield Crosby. David Van Cortlandt Crosby, as it turns out, is a scion of the closely intertwined Van Cortlandt, Van Schuyler and Van Rensselaer families. And while you’re probably thinking, “the Van Who families?,” I can assure you that if you plug those names in over at Wikipedia, you can spend a pretty fair amount of time reading up on the power wielded by this clan for the last, oh, two-and-a-quarter centuries or so. Suffice it to say that the Crosby family tree includes a truly dizzying array of US senators and congressmen, state senators and assemblymen, governors, mayors, judges, Supreme Court justices, Revolutionary and Civil War generals, signers of the Declaration of Independence, and members of the Continental Congress. It also includes, I should hasten to add – for those of you with a taste for such things – more than a few high-ranking Masons. Stephen Van Rensselaer III, for example, reportedly served as Grand Master of Masons for New York. And if all that isn’t impressive enough, according to the New England Genealogical Society, David Van Cortlandt Crosby is also a direct descendant of ‘Founding Fathers’ and Federalist Papers’ authors Alexander Hamilton and John Jay.
If there is, as many believe, a network of elite families that has shaped national and world events for a very long time, then it is probably safe to say that David Crosby is a bloodline member of that clan (which may explain, come to think of it, why his semen seems to be in such demand in certain circles – because, if we’re being honest here, it certainly can’t be due to his looks or talent.) If America had royalty, then David Crosby would probably be a Duke, or a Prince, or something similar (I’m not really sure how that shit works). But other than that, he is just a normal, run-of-the-mill kind of guy who just happened to shine as one of Laurel Canyon’s brightest stars. And who, I guess I should add, has a real fondness for guns, especially handguns, which he has maintained a sizable collection of for his entire life. According to those closest to him, it is a rare occasion when Mr. Crosby is not packing heat (John Phillips also owned and sometimes carried handguns). And according to Crosby himself, he has, on at least one occasion, discharged a firearm in anger at another human being. All of which made him, of course, an obvious choice for the Flower Children to rally around.
Another shining star on the Laurel Canyon scene, just a few years later, will be singer-songwriter Jackson Browne, who is – are you getting as bored with this as I am? – the product of a career military family. Browne’s father was assigned to post-war ‘reconstruction’ work in Germany, which very likely means that he was in the employ of the OSS, precursor to the CIA. As readers of my “Understanding the F-Word” may recall, U.S. involvement in post-war reconstruction in Germany largely consisted of maintaining as much of the Nazi infrastructure as possible while shielding war criminals from capture and prosecution. Against that backdrop, Jackson Browne was born in a military hospital in Heidelberg, Germany. Some two decades later, he emerged as … oh, never mind.
Let’s talk instead about three other Laurel Canyon vocalists who will rise to dizzying heights of fame and fortune: Gerry Beckley, Dan Peek and Dewey Bunnell. Individually, these three names are probably unknown to virtually all readers; but collectively, as the band America, the three will score huge hits in the early ‘70s with such songs as “Ventura Highway,” “A Horse With No Name,” and the Wizard of Oz-themed “The Tin Man.” I guess I probably don’t need to add here that all three of these lads were products of the military/intelligence community. Beckley’s dad was the commander of the now-defunct West Ruislip USAF base near London, England, a facility deeply immersed in intelligence operations. Bunnell’s and Peek’s fathers were both career Air Force officers serving under Beckley’s dad at West Ruislip, which is where the three boys first met.
We could also, I suppose, discuss Mike Nesmith of the Monkees and Cory Wells of Three Dog Night (two more hugely successful Laurel Canyon bands), who both arrived in LA not long after serving time with the U.S. Air Force. Nesmith also inherited a family fortune estimated at $25 million. Gram Parsons, who would briefly replace David Crosby in The Byrds before fronting The Flying Burrito Brothers, was the son of Major Cecil Ingram “Coon Dog” Connor II, a decorated military officer and bomber pilot who reportedly flew over 50 combat missions. Parsons was also an heir, on his mother’s side, to the formidable Snively family fortune. Said to be the wealthiest family in the exclusive enclave of Winter Haven, Florida, the Snively family was the proud owner of Snively Groves, Inc., which reportedly owned as much as 1/3 of all the citrus groves in the state of Florida.
Cory Wells
All these folks gathered nearly simultaneously along the narrow, winding roads of Laurel Canyon. They came from across the country – although the Washington, DC area was noticeably over-represented – as well as from Canada and England. They came even though, at the time, there wasn’t much of a pop music industry in Los Angeles. They came even though, at the time, there was no live pop music scene to speak of. They came even though, in retrospect, there was no discernable reason for them to do so.
It would, of course, make sense these days for an aspiring musician to venture out to Los Angeles. But in those days, the centers of the music universe were Nashville, Detroit and New York. It wasn’t the industry that drew the Laurel Canyon crowd, you see, but rather the Laurel Canyon crowd that transformed Los Angeles into the epicenter of the music industry. To what then do we attribute this unprecedented gathering of future musical superstars in the hills above Los Angeles? What was it that inspired them all to head out west? Perhaps Neil Young said it best when he told an interviewer that he couldn’t really say why he headed out to LA circa 1966; he and others “were just going like Lemmings.”
Article Link: http://www.illuminati-news.com/articles2/00201.html
Excerpt:
He is many things, but diplomat is not among them, thanks to Baker. Havel, a playwright known for absurd satire, met Zappa in Prague in January 1990, and the two men hit it off immediately. Havel had long been a fan of Zappa's music genius and even credited his music as part of the inspiration for the anti-communist revolution. A Czech group, "The Plastic People of the Universe," named after one of Zappa's songs, copied his style and became an underground sensation in Czechoslovakia. Their revolutionary lyrics so irritated the communist government that the group was thrown behind bars for disturbing the peace.
That mobilized Havel and other artists to form a dissident group that led the opposition and, after communism was toppled, formed the nucleus of the current Czech government.
So Havel had plenty to thank Zappa for. He was so grateful, in fact, that he impetuously created the special ambassadorship for Zappa. The musician left town with Havel's praise in his ears and the adulation of hundreds of fans who treated him as a Czech national hero. He was even talking about applying for citizenship.
Two weeks later, Baker came to town carrying an old grudge. It dated from 1985, when Susan Baker and other well-connected Washington wives, including Tipper Gore, wife of Sen. Albert Gore, D-Tenn., formed Parents Music Resource Center. The group's objective was a music ratings system similar to the movie ratings, based on sex, obscenity and violence.
Excerpt:
History
From January into August 1968, under the rule of Communist Party leader Alexander Dubček, Czechoslovakians experienced the Prague Spring. In August, Soviet and other Warsaw Pact troops invaded Czechoslovakia. This led to the overthrow of Dubček and to what came to be known as the normalization process. Less than a month after the invasion, Plastic People of the Universe was formed.[1]
Bassist Milan Hlavsa formed the band which was heavily influenced by Frank Zappa (Plastic People being a song by Zappa and the Mothers of Invention) and the Velvet Underground in 1968.[2] Czech art historian and cultural critic Ivan Jirous became their manager/artistic director in the following year,[1] fulfilling a role similar to the one Andy Warhol had with the Velvet Underground. Jirous introduced Hlavsa to guitarist Josef Janíček,[1] and viola player Jiří Kabeš. The consolidated Czech communist government revoked the band's musicians license in 1970.[3]
Because Ivan Jirous believed that English was the lingua franca of rock music, he employed Paul Wilson, a Canadian who had been teaching in Prague, to teach the band the lyrics of the American songs they covered and to translate their original Czech lyrics into English. Wilson served as lead singer for the Plastics from 1970 to 1972, and during this time, the band's repertoire drew heavily on songs by the Velvet Underground and the Fugs. The only two songs sung in Czech in this period were "Na sosnové větvi" and "Růže a mrtví", lyrics of both being written by Czech poet Jiří Kolář. Wilson encouraged them to sing in Czech. After he left, saxophonist Vratislav Brabenec joined the band and they began to draw upon Egon Bondy[2] whose work had been banned by the government. In the following 3 years, Bondy's lyrics nearly completely dominated the PPU music. In December 1974, the band recorded their first "studio" album, Egon Bondy's Happy Hearts Club Banned (the title being a play on The Beatles' Sgt. Pepper's Lonely Hearts Club Band), which was released in France in 1978.
In 1974, thousands of people traveled from Prague to the town of České Budějovice to visit "the Plastics's" performance. Stopped by police, they were sent back to Prague, and several students were arrested.[1] The band was forced underground until the Velvet Revolution in 1989. Unable to perform openly, an entire underground cultural movement formed around the band during the 1970s. The symphatizers of the movement were often called máničky, mainly due to their long hair.
In 1976, the Plastics and other people from underground were arrested and put on trial (after performing at the Third festival of the second culture) by the Communist government to make an example. They were convicted of "organized disturbance of the peace" and sentenced to terms in prison ranging from 8 to 18 months.[1] Paul Wilson was deported[3] even though he had left the band in 1972. It was in protest of these arrests and prosecution that led playwright Václav Havel and others to write the Charter 77.[3]
In 1978, the PPU recorded Pašijové hry velikonoční (released in Canada as "The Passion Play" at Paul Wilson's company Boží mlýn). The lyrics were written earlier by Vratislav Brabenec. In 1979, followed Jak bude po smrti, being influenced by a Czech philosopher and writer from the first half of the 20th century, Ladislav Klíma. In 1980, they rehearsed and performed a new record, recorded one year later, Co znamená vésti koně (released in Canada as "Leading Horses"). In 1982, Vratislav Brabenec was forced by the police to leave and emigrate to Canada. After he left, the band released its next record Hovězí porážka (1983) and Půlnoční myš (1986, Midnight Mouse). Czech record label GLOBUS INTERNATIONAL has collected the original work of the Plastic People as 10 CDs, and released them in various forms several times between 1992 and 2004, with various liner notes and photos, and also as a limited edition box set. They have also released other PPU live and solo albums, and related work such as DG 307.
Despite their clashes with the government, the musicians never considered themselves activists and always claimed that they wanted only to play their music.[2] The band broke up in 1988, with some members forming the group Půlnoc (meaning "midnight" in Czech), which recorded briefly for Arista Records.[1] At President Havel's suggestion, they reunited in 1997 in honor of the 20th anniversary of Charter 77,[2][3] and have performed regularly since then.
Milan Hlavsa died in 2001[1] of lung cancer.[2] He was replaced by a new member Eva Turnová from the group Půlnoc.[2]
Paul Wilson later went on to become one of the major translators into English of Václav Havel's work. Currently he is working on a new translation of The Memorandum for the Havel Festival, which also features two other of his translations.
Interest in the band was rekindled in 2006 thanks to a new play, Rock 'n' Roll by Tom Stoppard,[2] in which two of their recordings are featured. They are also playing a few songs live in Czech performances in the Czech National Theatre.[2] The play's characters also discuss at length the music of the Plastics and its effects on Czech society. The Plastics performed in London for the first time in January 2007 with Turnová on bass.
http://en.wikipedia.org/wiki/We%27re_Only_in_It_for_the_Money
http://en.wikipedia.org/wiki/We%27re_Only_in_It_for_the_Money
Excerpt:
"Who Needs the Peace Corps?": a spoken line "I will love the police as they kick the shit out of me" was cut out.[5]
Excerpt from "Who Needs the Peace Corps" lyrics"
Excerpt from "Who Needs the Peace Corps" lyrics"
I will wander around barefoot
I will have a psychedelic gleam in my eye at all times
I will love everyone
I will love the police as they kick the shit out of me on the streetI will sleep...
I will, I will go to a house
That's, that's what I will do
I will go to a house
Where there's a rock roll band
'Cause the groups all live together
And I will join a rock & roll band
I will be their road manager
And I will stay there with them
And I will get the crabs
But I won't care
Steve Martin on Dave Letterman re: Paul McCartney-Steve Martin song youtube
http://www.youtube.com/watch?v=CFn9qlG4Jxg
Steve Martin/Martin Short 'The Prince of Egypt' Soundtrack -Playing with the Big Boys Track 9
http://www.youtube.com/watch?v=tv3h57S3Rhw
http://en.wikipedia.org/wiki/The_Prince_of_Egypt
Excerpt:
The Prince of Egypt is a 1998 American animated musical film and the first traditionally animated film produced and released by DreamWorks Animation. The film is an adaptation of the Book of Exodus and follows the life of Moses from being a prince of Egypt to his ultimate destiny to lead the Hebrew slaves out of Egypt. The film was directed by Brenda Chapman, Simon Wells and Steve Hickner. The film featured songs written by Stephen Schwartz and a score composed by Hans Zimmer. The voice cast featured a number of major Hollywood actors in the speaking roles, while professional singers replaced them for the songs. The exceptions were Michelle Pfeiffer, Ralph Fiennes, Ofra Haza, Steve Martin, and Martin Short, who sang their own parts.
I will have a psychedelic gleam in my eye at all times
I will love everyone
I will love the police as they kick the shit out of me on the streetI will sleep...
I will, I will go to a house
That's, that's what I will do
I will go to a house
Where there's a rock roll band
'Cause the groups all live together
And I will join a rock & roll band
I will be their road manager
And I will stay there with them
And I will get the crabs
But I won't care
Steve Martin on Dave Letterman re: Paul McCartney-Steve Martin song youtube
http://www.youtube.com/watch?v=CFn9qlG4Jxg
Steve Martin/Martin Short 'The Prince of Egypt' Soundtrack -Playing with the Big Boys Track 9
http://www.youtube.com/watch?v=tv3h57S3Rhw
http://en.wikipedia.org/wiki/The_Prince_of_Egypt
Excerpt:
| The Prince of Egypt | |
|---|---|
 Theatrical release poster | |
| Directed by | Simon Wells Brenda Chapman Steve Hickner |
| Produced by | Penney Finkelman Cox Sandra Rabins Jeffrey Katzenberg (executive producer) |
| Screenplay by | Philip LaZebnik Nicholas Meyer |
| Starring | Val Kilmer Ralph Fiennes Michelle Pfeiffer Sandra Bullock Jeff Goldblum Patrick Stewart Danny Glover Steve Martin Martin Short Jim Cummings Lee Tockar Jan Rabson |
| Music by | Stephen Schwartz (songs) Hans Zimmer (score) |
| Editing by | Nick Fletcher |
| Studio | DreamWorks Animation |
| Distributed by | DreamWorks Pictures |
| Release date(s) | December 18, 1998 |
| Running time | 99 minutes |
| Country | United States |
| Language | English |
| Budget | $70 million[1] |
| Gross revenue | $218,613,188[1] |
The Prince of Egypt is a 1998 American animated musical film and the first traditionally animated film produced and released by DreamWorks Animation. The film is an adaptation of the Book of Exodus and follows the life of Moses from being a prince of Egypt to his ultimate destiny to lead the Hebrew slaves out of Egypt. The film was directed by Brenda Chapman, Simon Wells and Steve Hickner. The film featured songs written by Stephen Schwartz and a score composed by Hans Zimmer. The voice cast featured a number of major Hollywood actors in the speaking roles, while professional singers replaced them for the songs. The exceptions were Michelle Pfeiffer, Ralph Fiennes, Ofra Haza, Steve Martin, and Martin Short, who sang their own parts.
...liby (That's Sybil spelled backwards without the capital 'S' and with an 'a' for maiden name at the end of liby, it's libya.) hmmmm
