89314 - CRADLE 1992 Spring CatalogGrades 7-12

ii Noting Legal Trends - A Musical Approach

Arthur Malden

Upper Lab SchoolNew York NY

ABSTRACT: The six independent music based sessions can be incorporated into

any history, literary, or music course which focuses on the themes of social

justice, equality or human rights. The module actively engages students by using

one of their favored media of exchanges - the recording/rock/folk genre.

Through this module students are drawn into an active criticalexamination oftexts and concepts which are law-related in their popular culture. The project

guarantees success and cooperative sharing through its emphasis onconversation, dialogue, and listening skfllq. Teachers can adapt the strategiesused here to period music and folksongs as well.

This is a short unit, approximately six class sessions designed for a homogeneoushigh school Social Studies class which willexamine the political,social andeconomic impact of music on our society. Other forms of media such as film,

photos, poems, animation, videos as well as the written word willbe used to

augment the understanding of this unit. The overall impact of the media on

society willalso be examined.

Although the framework here is for one unit of six sessions, each session, with

slight modification, could be employed separately within other social studiesunits.

That music can be utilized as a bonafide educational resource is without doubt.

Though itis as old as speech itself,the technological advances of the twentieth

century made music an increasingly integral part of our society. There are indeed

few aspects of politicaland social lifein our society which have not been

commented on via music. In addition to sparking student interest, music can be

used to develop and sharpen a variety of learning ski]].q.

Overall objectives for this unit:

I. Affective: Students will demonstrate

A. Positive attitudes toward objective analysis and inquiryB. Positive attitudes toward intercultural empathy and comprehension

C. Negative attitudes toward stereotyping, prejudice and injustice.

D. The perception that music can be a tool for constructive change.E. The capacity to accept and defend democratic beliefs in both government and

interpersonal relations.

II. Behavioral: Students willbe able to demonstrate

A. The ability to make comparisons and contrasts between music and related ideasand events.

B. The abfi/ty to analyze one mus/cal time period to another and one event or ideato another.

C. The abilityto think criticallyabout the place of music in society.

D. The abi]/ty to evaluate information presented through music objectively, and

to reach conclusions on the basis of independent analysis.

E. The ability to analyze various perspectives and arrive at an intellectually

personal assessment.

F. A willingness to work in small groups.

G. An objective awareness of the media.

H. Use of listening, writing, and oral skills.

III. Affective evaluation will be based mainly on teacher observation of students

to see how well they work in groups and alone, what resources they find toaugment c/ass activities, the quality of questions they ask and the quality of

responses to questions asked of them. An increased student self-understandingof music and the media should be evident. In addition, written feedback from

students assessing the unit should offer an indication of its worth.

IV. Behavioral evaluation willtake place via:

1. A group project

2. Class discussion and participation

3. A journal4. Oral report

5. Written analysis6. Homework

Day 1

Affective Ob_-_iives

1. Get students interested in the unit through sound collage.2. Students w/I/think about the integral role music plays in our society.

Behavioral Ob_ives

1. Students will understand what is expected of them during this unit.2. Students will sharpen listening skills.3. Students will analyze two songs, one for sounds, one for content.

Activities

1. Turn lights off. Play song titled "Western Special" by Floyd Lloyd and thePotatoe Five. Ask students to note the various sounds they can identify in this

song. Discuss them, along with the students reaction to the song. (10 minutes)

· . _ ___ ·

2. Expla/n unit and assign the project for th/s unit:The c/ass willd/vide into groups of three. By consensus, each group wi]]come upwith a piece of music which they feel has particular social or po]/ticalimportance.

( Groups have the option of writingtheir own song.

On the last day of the unit each group wi]/play their song for the c/ass and offeran analysis as to why they feel it'simportant or relevant. The song wi]/be

accompanied by the lyrics, as well as a photo, caricature, an original drawing, or

a short video in order to clarify the mean/ng of the song. If the project is

repeated each year we would then have an in-house resource available to examine

the changes in students perception of what is mnPJr".,_11y important over a period oft/me.

Pick the groups. Each group willalso come up with a short listof questions forthe rest of the class to help them clarify what is politicallyor socially important

about the song. In addition, each student willwrite an essay on the song chosen

by their group, analyzing its socia/or politicalcommentary. (10 minutes)

3. An example:

Pass out lyrics for "Superpowers" a song by Alpha Blondy and a relevant

picture. Pass out quest/on sheet about "Superpowers". Play song. (10 minutes)

4. Class is assigned into groups of three, or as small as possible, then students

dec/de on the one who w/llbe designated as "spokesperson". Th/s person will

verbalize group conclusions as well as write on the blackboard, when called for.

5. Break into sinai]groups, di._cuss the mearitng and implications of the song, and

start answering the questions. (10 minutes)

6. Compare and discuss group reactions with rest of c/ass. (5 m/nutes)

Homework: Answer questions from sheet handed out on song "Superpowers".

A/so: Start a journal concerning music you hear in everyday life. What political,or economic effects of th/s music do you notice? A paragraph a day willsuffice.

Day 2

Affective Objectives

1. Students will rea]iTe the changes that have occurred in popular music in thelast fifty years.

2. Students will debate whether or not certain songs can remain relevant over

t/me or if they only pertain to the era during wh/ch they were made.

Behavioral Objectives

1. Students will sharpen their listening skills by 1/stening to Tom Wa/ts sing"Small Change".

2. Students will note how music has come to be used in movies and commercialadvertisements.

3. Students will see different ways in which music provides a social commentary.

Activities

1. Students listen to "Small Change" by Tom Waits and analyze its social( commentary about lifeand death in the city. (10 minutes)

2. Students listen to "The Pusher" by Steppenwolf and discuss whether this

1960's song is stillrelevant in the late 1980's. (10 minutes)

3. Conduct a teacher led discussion with students about changes in hair style,clothing, and dance which have ac_x_mpanied popnlar m,_-qicin the 1950's, 1960's,

1970's and 1980's. View pictures of styles during each decade. Question to be

examined: "Does mn._ic, with its accompanying social effects, provide an accuraterepresentation of an historical era?" (10 minutes)

4. View video of a commercial using music to sell a product such as the Nike

commercial which uses the Beatles song "Revolution." Does it work? What does it

say about where music has gone in the last half of the twentieth century? Is mn_cart or business, or both? (10 minutes).

5. Students break into thpir project groups and work on their project. (5minutes)

Assignment: Work on projects and journal.

Day 3

Affective Objectives

1. Students willunderstand how music can be political.

2. Students willrecognize the "left"vs. "right" in politicalmusic.

Behavioral Objectives

1. Students willcompare and contrast patriotic and anti-establishment types ofmusic.

2. Students willanalyze a few songs to decide ifthey are capable of swaying

public and governmental attitudes on major issues.

3. Students willexamine the changes which occurred musically during the courseof the Viet Nam War.

4. Students willwork on note taking skillswhen listening to songs.

Act-ivities

1. Students listen to the "Battle Hymn of the Republic" and "The Green Berets"

by Sgt. Barry Saddler and analyze its politicalcontent. What kinds of images do

these songs provoke? (10-12 minutes)

2. Students listento "Fixin to Die Rag" by Country Joe and The Fish, BarryMcGuire's "Eve of Destruction" and Alpha Blondy's "Apartheid Is Na_.i_jn"andanalyze for politicalcontent. (10 minutes) What kinds of images do these songs

{ provoke?

3. Students break into groups and compare and contrast the two sets of songs.Are these songs reflectiveof "specialinterest"groups or do they represent theviews of large segments of society? Identify whose intereststhe songs represent.(10 minutes)

4. Compare group findings and have students list them on blackboard. (5-7minutes )

5. Discuss how, as the American involvement grew in Southeast Asia, the musicgrew increasingly critical (rest of class period).

Assignment

1. Students will interview parents, grandparents, older relatives or siblings as towhat place politics had in music when they were growing up and if they think itsrole has changed.

2. Work on project and keep up daily journal.

Day 4Affective Objectives

1. Students will see that music can be a direct vehicle for change.

2. Students willobserve the increasing internationalizationof music and itsadvancement of causes.

3. Students willthink about censorship in music and video (MTV).

Behavioral Objectives

1. Students will see that a prisoner actually won the right to a new trial becauseof the publicity generated by a song.

2. Students will appreciate how powerful music can be by seeing how the BobMarley song "Zimbabwe", was adopted as the anthem of guerrillaswaging arevolution in Africa for independence, and how he was recognized when Zimbabwebecame an entity.

3. Students willexamine the rise of "benefit"concerts to a/d certain causes.

4. Discussion of examples of censorskip.

Activities

1. Listen to the story of the "Hurricane" by Bob Dylan and analyze itto see ifitstatesthe case of Reuban Carter well.Note that thissong and the ensuingpublicitywon Carter a new trial.(15 minutes)

2. Students listen to "Zimbabwe" by Bob Marley, analyze its lyrics and di.qcuss

how it became a rallying cry for the ultimately successful revolution. (10 minutes)

3. Teacher led discussion on rise of benefit concerts from Bangladesh to Live

Aid, and Farm Aid. View clip from "We Are The World". Is it a duty of popularmusicians to use their influence to aid social causes? (5 minutes)

4. Discuss censorship in music and video. Neff Young's "This Notes For You"

(banned from MTV) and Lou Reed's "Dirty Boulevard". Is there a need forcensorship? If so, why, where and when? (7 minutes)

5. Discuss the findings of student interviews of older persons about the

relationship between politics and music. (5 minutes)

Day 5

Affective Ob'_tives

1. Students willthink about the place or importance of the music and the media in

our society.

2. Students will be more analytical when examining things presented to them

through various forms of media.

Behavioral Ob_yJ'tives

1. Students willexamine and interpret the "storyboard" that I have devised and

be encouraged to create their own (for their project).

2. Students willshare images that come to mind when seeing various headlines.

3. Students willanalyze a poem and answer questions from a sheet I have made.

Activities

1. Students will view storyboard and talk about the images that come to mind

when seeing certain everyday words used by the media. Does the media shape

these images? (7 minutes)

2. Students willname other media sources which help shape these images. (3

minutes)

3. Students willanalyze the poem "Poetry, Violence, and the Trembling Lambs"

by Alan Ginsberg (with aid of teacher). Write down images suggested by the poemon blackboard. (20 minutes)

4. Students will work on answering questions from work sheet. (15 minutes)

Day 6

Affective Ob_'tives

1. Students will gain an understanding of each others ideas on just how withpoliticsand/or social commentary.

[ 2. Students willappreciate that learning does not necessarily depend on fact,there are many different ways in which learning can take place.

Behavioral Oboe"rives

1. Students will build oral reporting skills.

2. Students willincrease their analytic ability.

3. Students willbe able to link the music they and other students listen to with

the politicaland social ramifications it holds for our society.

4. Students willsee how art or photography can be used to emphasize the meaningbehind a musical piece or a written one (the lyrics).

5. Students win enjoy the lesson.

Activities (Presentations willprobably take more than one class period)

1. Presentation of student projects.

a) Prior to passing out of lyrics and playing of song, each group will pass out the

picture, drawing, caricature or photo they have chosen to reiterate the meaning

of their song. Classmates willgive their reactions to it and the images which it

brings to their minds.

2. After each presentation is made, the class willcomment on its politicalor socialrelevance.

3. At the end of presentations, the class willdi.e,cuss their feelings about them asa whole.

4. Collect written work for presentation, journal and previous day's worksheet.

A._qigmmant:

Write a two page analysis of this unit. What did you like or dislike and why? Howcould it be improved? Did you feel it was worthwhile? Would you like to see otherunits like this?

Song: Super PowersArtist: Alpha Blondy

Super, Super Powers

Subjecting hell out of Africa, yea

Chorus:

No more machine gunsNo more, no more, no more, no more bombs

No more politicaloppression

No more, no more economical black mail

Super Powers

Subjecting hell out of AfricaWe don't want your nuclear bombs

No, no, no, no

We sure don't want your violent plan to destroy sweet earth

Go away you and your C.I.A.

Go away you and your C.I.A.

Go away you and your C.I.A.

Super super powers

Subjecting hell out of AfricaIn Africa we need bread and peace

In Africa we want, mighty brotherhoodWe don't need, we don't want your missiles

We don't need, we don't want your nuclear bombs.

No, no, we don't want your violent plan to destroy sweet earthWe don't want to see you and your K.G.B.

We don't want to deal with you and your radar screen

We don't want to see your missilesWe don't want to see nuclear bombs

Say no, no, no, noWe sure don't want, your interplanetary plan to destroy sweet earth

So power to the people, give the power to Jah peopleGive the power to my people

Questionstothinkaboutwhilelistening to Superpowers

( 1. Is the world divided into two systems, capit;d_.qm of the United States andcommunism of the Soviet Union?

2. What does the song say about this?

3. How does the artist/singer view the "Superpowers"?

4. What are the representative forces of the U.S and the U.S.S.R. in Africa

according to this song?

5. Can you think of any others?

6. What methods do the C.I.A. and K.G.B. use to exert influence in Africa?

7. What does the singer want from the "superpowers"?

8. Do you think the singer's view is realistic? Why or why not?

9. Does the song have the capability of effecting changes in peoples' thinking?Where?

10. Can some of Africa's problems be traced to the ideological conflict which

exists between the "superpowers"? How? Why?

11. Does the song typify a "Third World" point of view?

Worksheet for "Poetry, Violence, and the Trembling Lambs"

( 1. Does the media make things clear or does it confuse things?

2. How important is the role of the media in our society?

3. Do you obtain more information from experience or from the media?

4. What values in our society are advanced by the media?

5. Does the media give us our interpretation of history?

6. Is media a portrayal of events biased?

7. Is society overly dependent on the media for its informaUon?

8. To what degree does the media shape people's views on life?

9. Do you feel there is a high degree of control in the media or is it an outlet forfree expression of idea?

10. Do different age groups and different segments of society rely more heavilyon certain types of media?

11. Does geographic location effect your exposure to the media?

12. Does the media act as a mechanical consciousness?

13. What form of media do you find most effective and why?

14. Does the poem raise a legitimate concern about the media and its role in

society?

15. Is the media a double edged sword?

THE RUBBING OUT OF LONG HAIR

Words: Eric V. Burdon

Music: Burdon /C arter/Diez /Garti g/Kra vetz /Noya/Passmann

( Publishing: Crossfire Music

If you take a close look at the photographs,The one, everybody knows.

You']] observe the gung ho killers going over the top,At the back, well, it'sthe weekend boys.

It'salways the same with the students,

You know you can't take a chance with the rads.

Their hair's too long, outlook's allwrong, I've seen it:

The rubbing out of long hair.The rubbing out of long hair.

Next time you see the officers of the law,

Standing three deep in rows.Gas masks upon their fear filled faces,

Boy, I'm telling you, you better get ready to go.One thing I know for sure, the far east ain't that far away,

It's aliaround the world, I smell it in the air:

The rubbing out of long hair.

The rubbing out of long hair.

The rubbing out of long hair.

The rubbing out of long hair.

One sideways glance from any straight,He can see, I got blood in my eyes.

Saturday fright's,the big experience,

You know, it'sdo or die,You know, it'sdo or die.

It'salways the same with the students,

You know, you can't take a chance with the rads,

Their hair's too long, outlook's all wrong, I've seen it:

The rubbing out of long hair.

The rubbing out of long hair.

The rubbing out of long hair.The rubbing out of long hair.

BIRD ON THE BEACH

Words: Eric V. Burdon

Music: Burdon /Carter /Diez /Gartig /Kravetz /Noya/Passmann( Publishing: Crossfire Music

Stood with my kid on a lonely wind-swept beach.The winter sun was on the horizon, and we were both out of reach.

She ran ahead of me looking for that next surprise.

Our soles were wet from the incoming tide.She stopped and looked at me, Lord, with tears in her eyes.

It's only a dead bird, and his soul has gone to the sky.He's free, not like you and me.

He's free, not like you and me.

I never ever thought, that you would be so out of reach.

And the lonely times have been like poison, child.I wish, I could practice, what I preach.

Then I could release these fep]ings, that I've been holding deep inside.Been missing you so much baby, the only healer can be time.

By then you willhave forgotten the dead bird on the beach.But please, don't forget your father, child, cause he's out of reach.

Yeah, my dream is to be free, free, free, freedom for you and me.

Yeah free, free, free, freedom for you and me.

You'll hear my music in the wind,

Heartbeat like the rolling tide.One thing, you can be sure of, my love.

Whenever you go, I'llhold our love inside.And I take a look, don't cry,

Even if he was llvin'and you had him in your hands,

You'd sti]]have to open up and let him fly.That bird must be free!

She turned around and looked at me, Lord, with pain in her eyes.

It's only a dead bird and he's lefthis body behind.Don't you know, he's free, just like you and me.

Don't you know, he's free, just like you and me...

"REAL SITUATION"

CHECK OUT THE REAL SITUATION

NATION WAR AGAINST NATION

WHERE DID IT ALL BEGIN, WHEN WILL IT ENDWELL IT SEEMS LIKE TOTAL DESTRUCTIONTHE ONLY SOLUTION

AND THERE AIN'T NO USE

NO ONE CAN STOP THEM NOW

AIN'T NO USE NOBODY CAN STOP THEM NOW

GIVE THEM AN INCH THEY TAKE A YARDGIVE THEM YARD THEY TAKE A MILE

ONCE A MAN AND TWICE A CHILD

AND EVERYTHING IS JUST FOR A WHILE

IT SEEMS LIKE TOTAL DESTRUCTIONTHE ONLY SOLUTION

AND THERE AIN'T NO USENO ONE CAN STOP THEM NOW

AIN'T NO USE NOBODY CAN STOP THEM NOW

AIN'T NO USE NOBODY CAN STOP THEM NOW

AIN'T NO USE NOBODY CAN STOP THEM NOW

CHECK IN THE REAL SITUATION

CHECK IT OUT, CHECK IT OUTNATION FIGHT AGAINST NATION

WHERE DID IT ALL BEGIN, WHERE WILL IT END.WELL IT SEEMS LIKE TOTAL DESTRUCTION

THE ONLY SOLUTION

NO USE CAN'T STOP THEM

AIN'T NO USE CAN'T STOP THEMAIN'T NO USE NO ONE CAN STOP THEM NOW

CAN'T STOP THEM NOW

AIN'T NO USE NO ONE CAN STOP THEM NOW

AIN'T NO USE YOU EVEN TRY.

AIN'T NO USE GOT TO SAY BYE BYE

AIN'T NO USE NO ONE CAN STOP THEM NOW

NO ONE CAN STOP THEM NOW

HEY WORLD !

OTIS O. SOLOMON & DAVID MARLEY

IHEY WORLD. LOOK AROUND TODAY PEOPLEDO YOU SEE WHAT YOU LIKEDO YOU SEE WI-IAT YOU LIKEYOU BETTER WAKE UP. COME ONHEY WORLD. AREN'T YOU AFRAIDTHE FOOL CALLED MAN IS GOING TO BLOW YOU AWAY

THE SITUATION IS DRASTIC

ALL YOUR GREEN GRASS IS TURNED INTO PLASTIC

A SO WE SAY. WE NAW RUN UP WE MOUTH (REPEAT)HEY WORLD YOU BETTER WAKE UP

ASO WE SAY. ASO WE SAYHEY WORLD YOU GOTTA WAKE UP

NOW YOU GOTTA WAKE UP

THE PRETTY GREEN FORESTS ARE ALMOST GONE

ONCE HAPPY ANIMALS SING A SAD SONGAIR POLLUTED WITH SMOG

OCEANS FILLED WITH OIL AND RAGS

A SO WE SAY. WE NAW RUN UP WE MOUTH (REPEAT)HEY WORLD YOU BETTER WAKE UP

A SO WE SAY. A SO WE SAY

HEY WORLD YOU GOTTA WAKE UPNOW YOU GOTTA WAKE UP

MISSILES FLYING HIGHER THAN HIGH

ONCE TALL MOUNTAINS AIN'T SO HIGH

THE BUBBLING BROOKS HAVE LOST THEIR BUBBLES

CHECK IT OUT. WE'RE IN TROUBLENAW BUBBLE. THE BROOKS NAW BUBBLE

NAW BUBBLE WE'RE IN TROUBLE

WELL. WELL IT SEEMS YOU DON'T EVEN CARE

YOU CAN'T BE ROUND. YOU MUST BE SQUARE.

A SO WE SAY. WE NAW RUN UP WE MOUTH (REPEAT)SO WE'RE SINGING HEY WORLD. YOU BETTER WAKE UP

A SO WE SAY. A SO WE SAY. WAKE UP. WAKE UP.

HEY WORLD YOU GOT TO WAKE UPA SO WE SAY. AIN'T NOBODY GONNA DO FOR YOU

HEY WORLD. YOU BETTER. YOU BETTER WAKE UP

HEY WORLD

HEY WORLD! (con't)OTIS O. SOLOMON & DAVID MARLEY

HEY WORLD AREN'T YOU AFRAID

THE FOOL CALLED MAN IS GONNA BLOW US AWAY

WE NAW SKIN UP. WE NAW WRAP UPTHE SITUATION IS DRASTIC

ALL YOUR GREEN GRASS TURNING TO PLASTIC

A SO WE SAY. WE NAW RUN UP WE MOUTH

t COME ON. A SO WE SAY. WE NAW RUN UP WE MOUTH%

BELIEVE ME. HEY WORLD YOU BETTER WAKE UP

A SO WE SAY. A SO WE SAYBELIEVE ME. HEY WORLD YOU GOTTA WAKE UP

WE NAW SKIN UP. WE NAW WRAP UP

ZTMBABWE

( EVERY MAN GOTTA RIGHTTO DECIDE HIS OWN DESTINY

AND IN THIS JUDGEMENT

THERE IS NO PARTIALITY

SO ARM IN ARMS, WITH ARMSWE WILL FIGHT THIS LITTLE STRUGGLE

'CAUSE THAT'S THE ONLY WAY

WE CAN OVERCOME OUR LITTLE TROUBLE

BROTHER YOU'RE RIGHT, YOU'RE RIGHTYOU'RE RIGHT, YOU'RE RIGHT, YOU'RE SO RIGHT

WE GONNA FIGHT, WE'LL HAVE TO FIGHT

WE GONNA FIGHT, FIGHT FOR OUR RIGHTS

NATTY DREAD IT INA ZIMBABWE

SET IT UP INA ZIMBABWE

MASH IT UP INA ZIMBABWEAFRICANS A LIBERATE ZIMBABWE

NO MORE INTERNAL POWER STRUGGLE

WE COME TOGETHER, TO OVERCOMETHE LITTLE TROUBLE

SOON WE WILL FIND OUT

WE'LL HAVE TO FIGHT, WE GONNA FIGHT

WE'LL HAVE TO FIGHT, FIGHTING FOR OUR RIGHTS

PLASH IT UP INA ZIMBABWE

NATTY TRASH IT INA ZIMBABWE

AFRICAuNS A LIBERATE ZIMBABWE

I AND I A LIBERATE ZIMBABWE

BROTHER YOU'RE RIGHT, YOU'RE RIGHT

YOU'RE RIGHT, YOU'RE RIGHT, YOU'RE SO RIGHT

WE GONNA FIGHT, WE'LL HAVE TO FIGHT

WE GONNA FIGHT, FIGHT FOR OUR RIGHTS

ZIMBABWE (mn't)

TO DIVIDE AND RULECOULD ONLY TEAR US APARTIN EVERYMA2q CHESTTHERE BEATS A HEARTSO SOON WE'LL FIND OUTWHO IS THE REAL REVOLUTIONARIESAND I DON'T WANT MY PEOPLETO BE TRICKED BY MERCENARIES

BROTHER YOU'RE RIGHT, YOU'RE RIGHTYOU'RE RIGHT, YOU'RE RIGHT, YOU'RE SO RIGHTWE GONNA FIGHT, WE'LL }{AVE TO FIGHTWE GONNA FIGHT, FIGHT FOR OUR RIGHTS

NATTY TRASH IT INA ZIMBABWEMASH IT UP INA ZIMBABWESET IT UP INA ZIMBABWEAFRICANS A LIBERATE ZIMBABWEAFRICANS A LIBERATE ZIMBABWENATTY DUB IT INA ZIMBABWESET IT UP INA ZIMBABWEAFRICANS A LIBERATE ZIMBABWEEVERY PlAN GOT A RIGHTTO DECIDE HIS OWN DESTINY

BOBDYLAN

DESIRESONGS OF REDEMPTION

(Hurricane, the only innocent hurricane, protest song: Pro (in favor) - Attest

(testify for) the character case of Boxer Mr. Carter framed on bum rap Passaic

County N.J. whom Dylan minstrel visited in jail.Doctor Poet W.C. Williams dying

nearby said "A new world is only a new mind," & spent liferedeeming pure NorthJersey language so later poets could sing "tough iron metal" talk rhymes

"They want to put his ass in stir

They want to pin this triple Murder on him

... He coulda been the champion of the wooorld --"

& end plain as day

"...Shame !

to live in a land where Justice is a game!"

so every Paterson kid willknow News furthermore that

"Rubin sits like Buddha in a 10 foot ceil."

Big daily Announcement, song']] hit streets Supreme Courts']] have coughed &weeped.

Rubin Carter sprung pray God if there's One in America -- Familiar harmonica

pierces ears that just heard about

"criminals in their coats & their ties ..."

Song "WAR" by B. Marley

Ras Tafari's words inspired the movement of the Rastafarians, their spiritual

lifestyle, and popular reggae m,,._ic:

·.. that until the color of a man's skin is of no more siqnificance than the color of

his eyes; that until the basic human r/qhts are .guaranteed to all without regard to

race; until that day, the dream of everlasting peace and world citizenship and the

rule of international morality will remain but a fleeting illu._ionto be pursued but

never attained. And until the ignoble but unhappy regimes that hold our brothers

... in South Africa in subhuman bondage have been toppled and destroyed; until

bigotry and prejudice and malicious and inhuman self-interest have been replacedby understanding and tolerance and goodwill; until allAfricans stand and speak

as free human beings, equal in the eyes of the Almighty; until that day, the

African Continent willnot know peace. We Africans willfight, if necessary, and

know that we shall win, as we are confident in the victory of .good over evil.

from a speech delivered at Stanford University in 1968 by

His Imperial Majesty Haile Selassie I (Ras Tafari)

YOU CAN GET IT IF YOU REALLY WANT

You can get it if you really want

{ You can get itif you really wantYou cmn get it if you really want

But you must try, try and try, try and tryYou'll succeed at last.

Persecution you must bear

Win or lose you got to get your shareGot your mind set on a dream

You can get it though hard it may seem now.CHORUS

Rome was not built in a day

Opposition willcome your wayBut the harder the battle you see

It's the sweeter the victory.CHORUS

THE HARDER THEY COME

Well they tellme a pie up in the sky

Waiting for me when I dieBut between the day you're born and when you die

They never seem to hear even your crySo as sure as the sun will shine

I'm gonna get my share now, what's mine

And then the harder they comeThe harder they fallone and all

The harder they come

The harder they fallone and all.

Well the oppressors and trying to keep me down

Trying to drive me undergroundAnd they think that they have got the battle won

I say forgive them Lord they know not what they've doneCause as sure as the sun willshine

I'm gonna get my share now, what's mineCHORUS

And I'llkeep fighting for the things I want

Though ! know that when you're dead you cant

But I'd rather be a free man in my grave

Than living as a puppet or a slaveSo as sure as the sun willshine

I'm gonna get my share now, what's mineCHORUS

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Neville Brothersget personal'Yellow Moon' letsgroup expresslselves ' ., ... ., ,.,,.

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NEW YoRK -- They're c&tled the _ AfEt_ II_lNIl#lkwml_, _s"heartbeat of New Orleans" wire _ M_ll_w#ltlke(1411nll

And in must<' clrcle_, the Neville

Brothers Ire known iR 'muRl<'l&n _

L _b For over .'10 yeBrq, the Nevfile name Teboll4141,1111i" i l"4111 _ _ l

hlel been synonym.u_ with ltl the W _11y__ id] IMllYeqltlrl_ittOttl nf _hP {'re.cent city Their z , *.SOUnd II culled from I Rumba) o(!1¥ leNJ

_IIZ%. Caribbean. AlYICln ('luun rOCk. dtJle*_nk -- r_ullln_ in mil!lC _ _l_{inctlVeu New ()rlelnq lie.Pit I'hllrleq Neville.

who pllyl IlJXollh f_ne cllll Il NeWOrlelnl rhylhm Init hlue_

The brnlherq Afl Aaron. Ch&rle.J II ,

ind ('yrll wHrkewf Indl_l(lullly formore Ihlrl Iwn <Jewadeq h_fore Ihfyfinally mer_e_t the,r (fl_Pf_ llJPnts In '

1977 Fv_ewfMt d_l_/b,t,i_lndAdll_lnl_ "Well_l _IWT_IMI_ Y_Iee_m m %qm_m pt m _m.m uw

.4P Iludlll_ll_ll"me'll_ people and decide f'of themselv_ "_ nicltnm IIw the 8tlldiO Nql_llkl BIr_lll_' Art reel. '*aMIA tier 5evernl alb.m_ and · iwo-yenr "We want to conveT to youth that beeame 'the swamp,' "C/I'U _ _ · _e'm WII _ K_II l! Iml_ll_'

interlude, the i_nd ha._ just reteL_-.,,d they don't hive to be lUp_humlm or laup "Awhele&t_llm_ 'lr_llll_l_Oll_ ,Iheirnev, aihum yelJowMmm' smart to make a change for the better tn crel_l, wttieh you Ire ama te II_r _MI _le i_ 41_ _1_ lB ilk All_

The ,-,n//e_.uon including elghl orlgi- the world" the meord.'* "Tile ail _ _ _ Nl_411e

nil _d_ngw _s perhaps Ihelr most pohtlcaJ "My Blood." another _mnK by (¥T'tl. Jofi&LhdMI i (*'_l_ll_ Blrxl4Jl_filWild." "Mimed 14)W ME41,") dk, lEIIII Aria' ir tier itqllM_.and persona/ album, one In which they Spelkl II. Ut the rooL_ of oppr_sllon. ,_

exprt_ theft concern far _m'lal issues with particular mention of South Affl- the video for "Sillier I_k." ';= '1'11_ Neff lid _ll_' _ _1_ Mfilmmaker shares tke mulid_ IIl_..d TIMir !l_MiMle Iblylm" wi

The IJbum's first single. "Sifter cans, Ilmtians and Amerle_n Indians in HlUU After workinl ____el411K, almld'edlki_ i

RMS," is & tribute to Rosa Parks. who There's also a rPa. of' Sam mid hearinllCyrtlM_"!_l_l_Rfl_qlm _ i_e_J_/ll_. _ . __'11_lel_r_l_be,cme one of the catalysts fur the ctvd ('ookes"AL'h&n_e Is(;onnaCome,"lnd D_fllrlle llmLedAJlel'kl_...__ . _ IIM_m_ *1-- ' i_1141111 But

rtllhta mo .... nt m 1955 when ,he re two Bob Ih/lan eover_. "The Hlllad of to HaJU to pe_. _1_1 _ filrlridleu- dld_tql_ma e_UI_ [O give up her _,eat for · whfie Ilollis Brown" and "With GqXI on E)ur "Butbedidn'twmtNlelm/_l ILhdl_l_lll_Mm41per,on on n _Perm_ated bus m MnnU_om Side Although Aaron and (¥ril tr_le Sun City." maid Cy1'iL I_ II_mMl_- 'll_l_j_llJIl_*y_ Mocm''er_. Als The raj) reggie number, wr:t off as lead voCallSM on mMt of the ¢mlleduul_ltedlB_level_Ml_l_ _Jd_ll_r_klll_tBe_'_terlten and performed by percussionis( album. Art lets the ¢hanee to belt ,)ut Al'nee. "He wanted _ _ek mm Int_Ry .... .-

Cyril, refiecw the album s overaU theme "Fire and Brimstone' wlt_ the same smlilar root- and _." Tile A CIMII_ II1_1_1111_11_11 10· to educate pea)pie h._ mcrea._mg their enlhusla._m he see, ma to have far life in br_the_ and DemJBO fss,l work_ll on · p.m _rd amies H_ume

...I awareness general Charles is h,.ard prommentJy vlde_ wlI, N the IlffitJan bmm:l La Ire RaJtt, GI'_ Atllm_. i IEy<IMeo.**If you don t h.arn from ht_t_)r_ i1 ()n the instrumental "Helhng ('hint" !'lrenl

Jimmy hfi_._ MIMI mid TVtends to repeal it.<.elf because ,( ('an }ourmdMt CAI Illdl17 _1o wm perfecto

dellnitely happen again ' _a.I Arl the Illmm,rdl_lln'lheawm_l' I_M_I_'II_ '*Sixty MhBi Mia** with the BI_]_NWtkeyboardis! There as a tenuous and harmonious The brotherm' musbell roots lo back Bradley Il oJ_ _ marly film u_bo ha

"l,m_k al (hd' new, Nazis and gkin Ihrea(lto '¥'PIIowMuon"partlyrlueb0 tothe54)l Artwmp41r(oflhe don(-edwHhwtldll_M&Neville

hemlls" ad(led (_rH wd.arlnR a '_l,)p I )r'ducer I)anlel I.anot._ _Peter Gabriel. Hawkette.q in 1954 when thej ree_)rded Brotherl eaeeeet "Our mm_e kApartheid button 9_e wafH fl, give II21 re_rding style lie u_.d · New the lellendlry New (hrleana anthem, definitely _ta¢ TIM_'I Ute way to

youth a _'haner t(_ hx)k Al t'a,h (,Iher ,)n ()rleanl apartment mslemJ of & qludlo Mlrdl (;rls Mambo" II1 Ihe 19'701. he r_"_pondtO it." md.* Charier "Tt_ ...amiIhelr own t,_rm,L rather than I.,w It was "His method of re<'ordinK i_ t,) build helped form the t4eterm. · funk froup enerl_ we I_lt out II ree_'l_d throughin the laB! g,,nd,rat.m _h*) had . ,-Prtaln the slOdlO ar.un(t the artist, rather than with frill impact on fellow muRlctln3 the lud_nee In · place wiUl IlO dance

amount of h.ar and hatr(.(t [;qillll)e._J Int. f. rce the artist lo , nn£.rm (_) Aome and _uch new h&ndt, Ill The _[)l)hi'e niJof, there _, leu enerl_ c_)mlnf hickIhem h,er.r,, they g_)l a ('ham ,* h, h.,k al t. xlstln K envlronm,.nt. Charie_ slid ( 'harles was busy Iourlnl_ with Hi K rrna Ihe ludiellCe"

Eivla CMteib -- noted sonfwriter, musician "Miehad Jaebm doif_' INmpdm_o_m meand eonnoiueur of sour frapem - hu · few immemse!7, IMemmo Im_lIl thil met or Tmna_ thinfs to say about MlehM! Jaekm in fi'om aether pdlam_ _ tam ,[ !mm ebim-next month's Mtmieian nuqpuda_ INmSe_ami _ m ndl' !bm 1.4 · m :.;mo_

Erie Clapam. mere W!awood i _ plaUt_'asobeeouids_Nmdti_rea_pm-'eoumu let · f_ hrb, too. mu !mmm bra'sf_tlmMr rata m 7out

Seems little Klvts doesn't think they mhouM poog_ dm _gr tho wlm_k md JiMJGmertea.be uain_ their music to pluf beer and soda. Ho'bm eftlM fi_ mast hamml poopb hatimThey'realreadyrich,he sa_ao wh_mci1om? wrld, m- ABdwhats bo,ad!!a_ tbm_

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