Year Later
Year Later

40 Years Later Hair the Musical Art ..... on With the Hairy Revolution!
Los Angeles, CA, USA August 15, 2008. Amongst the protests of antiwar and economic uncertainty growing stronger with no end in site, I would like draw attention to artwork from the 1960’s that has made an impact on my life. Remember the day glow posters and black lights? Remember the rock art from The Fillmore play bills we all saved? Remember the image from HAiR the American Tribal Love Rock Musical? All these and more will always hang in my mind as remembrance of a time of innocence. Drugs, Sex and Rock and Roll were a part of most of the baby boomers lives when we were not afraid to get stoned and attend an antiwar peace protest. I will always remember protesting the Vietnam War in NYC and a blurry instance of running over the rocks and hills in Central Park when we were chased by police at a Schaefer Music Festival Concert in Central Park. We can all relive the experiences of going to Led Zeppelin, Edgar Winter, Johnny Winter, Black Sabbath, and Grand Funk Rail Road concerts...what a time we had....Quaaludes, Benzedrine, Tuinals, Seconals. Boones Farm anyone? Though the majority of of us are all clean and sober now...it is still fun to reminisce those great days.
The memories I have of the Hippie movement are resonating more today than ever with the revival of HAiR the American Tribal Love Rock Musical free concert at Central Park’s Delacorte Theater. The message is resonating more strongly with the youth and young adults of the world today than perhaps ever before. When asked recently about the resonance and resurgence of this iconic symbol on today’s young adults, the plays legendary producer, Michael Butler, answered emphatically, "It isn’t coming back, it never left, HAiR’s message is more relevant today than its ever been. Over 11 million people have seen the play, an estimated quarter of a billion have heard the music. It’s in dozens of productions around the world as we speak. In fact, a third of all American actors have had some association with HAiR. Its been a force for good for almost four decades."
The Age of Aquarius times of running around as free as a bird was a time in history when we lived in the moment without a worry in the world. Hair, the first ever rock opera, opened in 1968 and all of us would travel into the city form Long Island and New Jersey to participate in this communal offering giving us an insight into the decade of the flower children which we were all very much a part of. It shocked audiences for its lyrics and subject matter, as well as onstage nudity. The original script contains a nude scene, but it is not essential to the plot and individual productions may or may not choose to include it. The original script also contains some racist language which again, may be edited on today’s stage.
As reported recently in "USA Today" the New York based trend forecasting think tank, The Trends Research Institute, found something unique in American history, a new generation looking back in time for inspiration... specifically, the 1960’s.
"Hair" grew out of a new downtown ethos embraced by the radical - and charismatic - Joseph Papp, who in the mid-’60s was adding the Public Theater to his New York Shakespeare Festival in Central Park. After a brief run at a nightclub called Cheetah, the show was picked up by Michael Butler, heir to a Chicago paper fortune. He had it restaged by Tom O’Horgan, and readied for Broadway in 1968.
"As I look through my old posters, play bills, and concert flyers I’ve collected through the years I have such fond memories of growing up in the 60’s. As a young girl living in Southern California life was quite enjoyable. Saving my allowance to buy the latest albums, going to concerts...it was all so exciting. One of my most happy memories is seeing the touring production of the musical HAiR...and I still have the play booklet. Over the past few years I have been collecting HAiR posters from all over the world, in different languages from different Tribes! The best poster in my collection is the reproduction of the original from the 1968 Broadway opening There is something mesmerizing about the aura photographed around the actors head. I love the colors of this art piece of which promote brotherly love and world peace.".....states Myrle Atchley from Mississippi.
There are many great 60’s pop artists; I love Andy Warhol, John Van Hamersveld, Roy Lichtenstein, and Bob Massy. There is something really special about the work that Russoli and Rodriquez created for HAiR. They were experimenting the aura technique in photography. When approached by Producer Michael Butler with the idea to create the marketing for the new play, he introduced them to Steve Curry, one of the original actors in the soon to open Broadway production of HAiR. The play opened on April 29th at The Biltmore Theater in NYC and sold out every night and ran for 1,750 performances. I was 16 years old at West Hempstead High School when my girlfriend’s mom took us into Manhattan to see the show.
Forty years later....I love the art hanging on my wall.....Frame and hang and enjoy as art takes you through the memories and the journey of our lives...
Art imitates life and as we witness today’s youth letting there hair down and getting that what we lived through in the sixties parallels with what is happening in the world today.
On with the HAiRy revolution.......
HAiR The American Tribal Love Rock Musical ®1968
HAiR Lithograph is used with permission courtesy of Natoma Productions ®1968
About the Author
Ace Ross
http://www.hairtribes.com
Year Later
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I'll Scream Later $11.59 Critically acclaimed and award-winning actress Marlee Matlin reveals the illuminating moving and often surprising story of how she defied all expectations to become one of the most prolific and beloved actresses of our time. Marlee Matlin entered our lives as the deaf pupil turned custodian audiences fell in love with in Children of a Lesser God a role for which she became the youngest woman ever to win a Best Actress Oscar. More than twenty years after her stunning big screen debut the Golden Globe- and Emmy-nominated actress is an inspirational force of nature -- a mother an activist and a role model for millions of deaf and hard-of-hearing people around the world. In I'll Scream Later Marlee takes readers on the frank and touching journey of her life from the frightening loss of her hearing at eighteen months old to the highs and lows of Hollywood her battles with addiction and the unexpected challenges of being thrust into the spotlight as an emissary for the deaf community. She speaks candidly for the first time about the troubles of her youth the passionate and tumultuous two-year relationship with Oscar winner William Hurt that dovetailed with a stint in rehab and her subsequent romances with heartthrobs like Rob Lowe Richard Dean Anderson and David E. Kelley. Though she became famous at the age of twenty-one Marlee struggled all her life to connect with people fighting against anyone who tried to hold her back. Her own mother often hid behind their communication barrier and Marlee turned to drugs before she even started high school. However she found in acting -- with the encouragement of her mentor Henry Winkler -- a discipline a drive and a talent for understanding the human condition that belied her age and her inability to hear. By the time Hollywood embraced her she had almost no formal training a fact that caused many other deaf actors to give her the cold shoulder even as she was looked upon as a spokesperson for their community. She has played memorable roles on wildly popular television shows such as Seinfeld The West Wing and The L Word danced a show-stopping cha-cha-cha on Dancing with the Stars and now with uncompromising honesty and humor Marlee shares the story of her life -- an enduring tale that is an unforgettable lesson in following your dreams. |
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Later With Jools Holland - Hootenanny $12.99 Jools Holland's long-established Hogmanay/New Year's Eve celebration Later � Hootenanny remains TV's definitive dad-rock haven after 11 years on air. This formidably well-stuffed collection is a best of the best: the easiest way to check out the guest list is to study the cover picture--there really are that many names. Amusingly, the compilation comes close to shooting itself in the foot by opening with Solomon Burke's rip-roaring "Everybody Needs Somebody to Love", thus giving the following 31 turns a near-impossible act to follow. If in doubt, watch it at the end, as the everybody-up-on-stage version of Jeff Beck's "Hi Ho Silver Lining" that closes the disc is unfortunately a shambles. Along the way, though, there are plenty of highlights, the best of which add up to a triumph for the Welsh contingent. Cerys Matthews and Tom Jones do their best smoochy version of "Baby It's Cold Outside" before it began to wear a bit thin, the strapping Matthews managing to come on like a cross between Bambi and that girl you fancied in the lower sixth. Immediately preceding this is a gloriously menacing performance from John Cale in which he turns Johnny Mercer's jazz classic "I Wanna Be Around" into a leering, spitting threat to the listener's personal safety. There's something for everyone here, though, so just enjoy the show. Track Listing: Everybody Needs Somebody To Love � Solomon Burke You Really Got Me � Ray Davies Let The Boogie Woogie Roll � Robert Plant You Can Get It If You Really Want � Jimmy Cliff Fly Me To The Moon � Hughie Morgan War � Edwin Starr The Time Is Now � Roisin Murphy Such A Night � Dr. John A Change Is Gonna Come � Beverley Knight Miss Otis Regrets � Kirsty MacColl Handbags And Gladrags � Kelly Jones Be-Bop-A-Lula � Tom Jones & Jeff Beck Reconsider Baby � Eric Clapton Ooh La La � Ronnie Wood Ain�t No Pleasing You � Chas �n� Dave Will It Go Round In Circles? � Paul Weller Surrender � Sharleen Spiteri Out Of This World � Chrissie Hynde I�m In A Dancing Mood � Jools Holland Give Me A Little More Time � Gabrielle Misty Blue � David McAlmont Eyesight To The Blind � B.B. King I Wanna Be Around � John Cale Baby It�s Cold Outside � Tom Jones & Cerys Matthews A Whiter Shade Of Pale � Gary Brooker I�m A Man � Steve Winwood T-Bone Shuffle � Mick Hucknall Rotterdam � Paul Heaton & David Rotheray Cry To Me � Solomon Burke Drown In My Own Tears � Sam Brown Say Hello Wave Goodbye � Marc Almond Let�s Stick Together � Bryan Ferry That�s All � Ruby Turner Hi Ho Silver Lining � Jeff Beck |
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Ten Years Later $1.79 pubOne.info present you this new edition. Towards the middle of the month of May, in the year 1660, at nine o'clock in the morning, when the sun, already high in the heavens, was fast absorbing the dew from the ramparts of the castle of Blois a little cavalcade, composed of three men and two pages, re-entered the city by the bridge, without producing any other effect upon the passengers of the quay beyond a first movement of the hand to the head, as a salute, and a second movement of the tongue to express, in the purest French then spoken in France: "There is Monsieur returning from hunting. " And that was all. |
Haiti: One Year Later – Where Did All The Donations Go?
One year ago, on the night of January 12th 2010, an earthquake struck the island nation of Haiti. Suddenly, millions became homeless, which sparked the people in Port-au-Prince to begin pitching tents on any open piece of land that could be secured. They used bed sheets to shelter themselves, while sleeping outdoors.
Flash forward to present day. The streets of Haiti are still overcrowded with a million homeless people, filthy streets, and now contaminated with Cholera outbreaks. The tent cities that once sprawled with bed sheets have mostly been replaced with waterproof tarps and tents, showcasing the names of the organizations that "donated" them, such as Unicef, Oxfam, and Samaritan's Purse.
There are also a lot of tents with gray and black stripes that don't say anything on them. Those are from the American Red Cross, and you most likely would not know that by looking at them, unless an insider. Why no branding? Well, the American Red Cross decided to save money by not stamping their logo on the tents, even though they raised 500 million dollars specifically for the Haiti relief efforts.
"People were incredibly generous," says American Red Cross spokeswoman Julie Sells, "We raised more than 32 million dollars just from text messaging alone, 10 dollars at a time. It was a phenomenal response."
Yes it was, Julie! But, now we are one full-year later in wake of that disaster, yet Americans and others throughout the world are still to this day, seeing images and video of Haitians living in tents on the streets, sick and dying, while wondering, "Where did all the donations go?"
The donors want to know! And according to Ben Smilowitz from The Disaster Accountability Project, donors should ask where their donations went.
Smilowitz's watchdog group did that, while asking some 200 aid organizations operating throughout Haiti to offer details on how much money they raised, and how and where they are spending it. Of the 200 organizations, only 38 offered a response to the survey. Of those 38 organizations, they collectively raised $1.4 billion and said they have spent about $700 million of it, so far.
Smilowitz says that many of the organizations had refused to state clear goals and provide a breakdown of how they are spending the donation money. He says transparency among aid groups is key to evaluating success of relief efforts in Haiti, but realizes it could also point out some flaws.
"Flaws could lead to less donations. Do we want honesty and a more effective relief effort? Or do we want groups to amass just huge sums of money and not spend half of it?"
Although, that $10 text donation may have helped to pay for those branded and unbranded tents for the homeless, is that ALL that the $1.4 billion and more in donations went to, a $10 waterproof tarp, most likely made in China for $1.25? Let's say it did cost $10 per tarp/tent and there are one million (still) homeless people on the streets of Haiti. Well, isn't the costing for all of those tents $10 million? Yes, it is. So, where is the other $1.39 billion and change in donations?
In 365 days, you have managed to raise over $1.4 billion, spend $700 million, and only were able to offer waterproof tents, while over one million Haitians are still homeless, and Cholera still grows amongst the homeless living on the streets. Really?!
In response, Aid groups say that Haitian laws often impede spending their donations directly on the Haitian people. Land ownership was hard to prove before the earthquake, and now that so many deeds and documents were destroyed in the collapse of government buildings, it's even harder.
"We as the Red Cross can not just march in and say ‘we're going to build here," says, Julie Sells, "We have to respect the laws of the country and property ownership." The Global Red Cross network has "plans" to build 30,000 wooden, semi-permanent houses, and at least 300 are already built. It just needs a place to put the rest.
Semi-permanent wooden houses could last up to 10 years. The most vulnerable Haitians receive them first, and they can choose the color.
Okay, semi-permanent "wooden homes" that "could" last up to 10 years? Is that a viable solution to withstand the high winds of a Hurricane, Gail force winds, another earthquake? Most likely not, but would be a complete waste of money.
And over the course of one year, only 300 houses have been built? Even if that can help let's say, 2,000 people, what are the other one million people going to do? At the current pace, they'll need to wait a couple of decades to have a home once again.
High taxes also seem to be a hindrance to the helping hands on the ground. Haiti tacks a 40 percent import tax on everything that crosses the country's border, from eggs to automobiles. That tax often forces aid groups to make the hard decision between importing much needed medicine and the means with which to deliver it.
So, basically they're saying that the $1.4 billion and more in donations is NOT enough to cover needed medicine and the means to distribute it? Is this because over $700 million was spent on plastic tents and 30 wooden houses?
Adam Marlatt of Global DIRT (Disaster Immediate Response Team) says that he has seen brand-new, fully donated pick-up trucks designated for the aid groups, just sitting idle at the airport for so long, that weeds grew up to the windows. The aid groups that the trucks were sent for, can't afford, or choose not to spend, the thousands of dollars they would have to pay the Haitian government to use them. It's like winning a free car, but you can't afford to pay the taxes on it.
Aid groups are eligible for a tax exemption, but obtaining the exemption is a long and lengthy process. A year later, few who were not operating in Haiti before the quake are eligible for the tax break.
Ben Smilowitz says that paying what it takes to operate – and accounting for it - will make a difference. "If these organizations don't spend the money they have, then what kind of urgency is it for countries to give more?"
Would these taxes cost 100, 200, 500 million dollars to pay off the government to operate there? Even if so, there would still be hundreds of millions of dollars to spend on the people. Where is Obama and other world leaders leaning on their, what seems corrupt government to allow the means necessary to be enacted to help their nation recover and prosper?
If the aid groups knew of the ramifications going into this debacle with the Haitian government, would it have been more effective to literally buy an island and move those people willing to start over again?
$1.4 billion could most likely be more than enough to move 500,000 or more people to safety and opportunity, or enough to buy off the Haitian government's absurd tax on the relief efforts that America and other citizens of the world have offered in kind donations.
Answers, people! We want answers! Standing by…
About the Author
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