PORTABLE Freedom To Love 1969 Download

Austrian director Sebastian Meise co-wrote Great Freedom's screenplay with Thomas Reider and filmed it in one of the former East Germany's many abandoned gaols. He became aware of the injustices inflicted by Clause 175 through reading about its appalling history. Between 1945 and 1969, about 100,000 gay men were indicted under it and about 50,000 were imprisoned. Among the worst affected were men who had been held in custody by the Nazis and were then immediately re-incarcerated by the allies.

Previously published as several booklets entitled: Five Conversations, Eight Conversations, Meditations 1969, Inward Flowering and A Dialogue With Oneself, these selections from Krishnamurti's writings and talks have been chosen for their particular intensity and clarity.

Freedom To Love 1969 Download

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The essence of love consists in this, that consciousness surrenders itself, forgets itself in another self, and nevertheless, through this very surrender and forgetfulness of self, attains for the first time to the full passion of self. This mediation of the spirit with itself and the development thereof leads to a complete totality in the absolute.16

Mountain played heavy Blues Rock, mainly influenced by the well-known band Cream. Woodstock was only their fourth gig[1] but they played in front of 500,000 people. It was Saturday, August the 16th, 1969, the second day of Woodstock, and about 9:00 pm.

Then he belted out "Freedom," and his electric ad-lib performance set the tone for the next three days. "The word 'freedom' came out of my mouth because this was our real particular freedom," he tells Cox. "We'd finally made it to above ground."

During Passover 1969, Jews and African Americans came together on the first anniversary of Martin Luther King, Jr.'s assassination to remember him. A seder with new readings that connected the Jewish exodus from Egypt with the struggle for Civil Rights in America and Social Justice around the world seemed the perfect way to commemorate, celebrate, and call to action. The text below is a short excerpt from that seder. In an inverted dayenu, the list of God's "gifts" to the Jewish people and the refrain of "it would have been sufficient" found in the original text of dayenu (traditionally sung or recited at the Passover seder) are changed to a list of contemporary injustices and a refrain of "it would not be sufficient."

So the struggles for freedom that remain will be more dark and difficult than any we have met so far. For we must struggle for a freedom that enfolds stern justice, stern bravery, and stern love. Blessed art thou, O Lord our God! who hast confronted us with the necessity of choice and of creating our own book of thy Law. How many and how hard are the choices and the tasks the Almighty has set before us!

How much then are we in duty bound to struggle, work, share, give, think, plan, feel, organize, sit-in, speak out, hope, and be on behalf of Mankind! For we must end the genocide [in Vietnam], stop the bloody wars that are killing men and women as we sit here, disarm the nations of the deadly weapons that threaten to destroy us all, end the brutality with which the police beat minorities in many countries, make sure that no one starves, free the poets from their jails, educate us all to understand their poetry, allow us all to explore our inner ecstasies, and encourage and aid us to love one another and share in the human fraternity. All these!

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Hair tells the story of the "tribe", a group of politically active, long-haired hippies of the "Age of Aquarius" living a bohemian life in New York City and fighting against conscription into the Vietnam War. Claude, his good friend Berger, their roommate Sheila and their friends struggle to balance their young lives, loves and the sexual revolution, with their rebellion against the war and their conservative parents and society. Ultimately, Claude must decide whether to resist the draft as his friends have done, or to serve in Vietnam, compromising his pacifist principles and risking his life.

Before the move to Broadway, the creative team hired director Tom O'Horgan, who had built a reputation directing experimental theater at the La MaMa Experimental Theatre Club. He had been the authors' first choice to direct the Public Theater production, but he was in Europe at the time.[25] Newsweek described O'Horgan's directing style as "sensual, savage, and thoroughly musical ... [he] disintegrates verbal structure and often breaks up and distributes narrative and even character among different actors. ... He enjoys sensory bombardment."[26] In rehearsals, O'Horgan used techniques passed down by Viola Spolin and Paul Sills involving role playing and improvisational "games". Many of the improvisations tried during this process were incorporated into the Broadway script.[27] O'Horgan and new choreographer Julie Arenal encouraged freedom and spontaneity in their actors, introducing "an organic, expansive style of staging" that had never been seen before on Broadway.[4] The inspiration to include nudity came when the authors saw an anti-war demonstration in Central Park where two men stripped naked as an expression of defiance and freedom, and they decided to incorporate the idea into the show.[4] O'Horgan had used nudity in many of the plays he directed, and he helped integrate the idea into the fabric of the show.[2]

The tribe recites a list of pharmaceuticals, legal and illegal ("Hashish"). Woof, a gentle soul, extols several sexual practices ("Sodomy") and says, "I grow things." He loves plants, his family and the audience, telling the audience, "We are all one." Hud, a militant African-American, is carried in upside down on a pole. He declares himself "president of the United States of Love" ("Colored Spade"). In a fake English accent, Claude says that he is "the most beautiful beast in the forest" from "Manchester, England". A tribe member reminds him that he's really from Flushing, New York ("Manchester England"). Hud, Woof and Berger declare what color they are ("I'm Black"), while Claude says that he's "invisible". The tribe recites a list of things they lack ("Ain't Got No"). Four African-American tribe members recite street signs in symbolic sequence ("Dead End").

Sheila gives Berger a yellow shirt. He goofs around and ends up tearing it in two. Sheila voices her distress that Berger seems to care more about the "bleeding crowd" than about her ("Easy to Be Hard"). Jeanie summarizes everyone's romantic entanglements: "I'm hung up on Claude, Sheila's hung up on Berger, Berger is hung up everywhere. Claude is hung up on a cross over Sheila and Berger." Berger, Woof and another tribe member pay satiric tribute to the American flag as they fold it ("Don't Put it Down"). The tribe runs out to the audience, inviting them to a Be-In. After young and innocent Crissy describes "Frank Mills", a boy she's looking for, the tribe participates in the "Be-In". The men of the tribe burn their draft cards. Claude puts his card in the fire, then changes his mind and pulls it out. He asks, "where is the something, where is the someone, that tells me why I live and die?" ("Where Do I Go"). The tribe emerges naked, intoning "beads, flowers, freedom, happiness."

The Hair team soon became embroiled in a lawsuit with the organizers of the Tony Awards. After assuring producer Michael Butler that commencing previews by April 3, 1968, would assure eligibility for consideration for the 1968 Tonys, the New York Theatre League ruled Hair ineligible, moving the cutoff date to March 19. The producers brought suit[31] but were unable to force the League to reconsider.[32] At the 1969 Tonys, Hair was nominated for Best Musical and Best Director but lost out to 1776 in both categories.[33] The production ran for four years and 1,750 performances, closing on July 1, 1972.[29]

The job of leading the foreign language productions of Hair was given to Bertrand Castelli, Butler's partner and executive producer of the Broadway show.[47] Castelli was a writer/producer who traveled in Paris art circles and rubbed elbows with Pablo Picasso and Jean Cocteau. Butler described him as a "crazy showman ... the guy with the business suit and beads".[48] Castelli decided to do the show in the local language of each country at a time when Broadway shows were always done in English.[47] The translations followed the original script closely, and the Broadway stagings were used. Each script contained local references, such as street names and the names or depictions of local politicians and celebrities. Castelli produced companies in France, Germany, Mexico and other countries, sometimes also directing the productions.[47] The first European production opened in Stockholm, Sweden, on September 20, 1968, with a cast including Ulf Brunnberg and Bill hrstrm,[49] produced and directed by Pierre Frnckel[50] and choreographed by Julie Arenal,[51] and ran for 134 performances until March 1969.[52]

A German production, directed by Castelli,[47] opened a month later in Munich;[53] the tribe included Donna Summer, Liz Mitchell and Donna Wyant. A successful Parisian production of Hair opened on June 1, 1969.[54] The original Australian production premiered in Sydney on June 6, 1969, produced by Harry M. Miller and directed by Jim Sharman, who also designed the production. The tribe included Keith Glass and then Reg Livermore as Berger, John Waters as Claude and Sharon Redd as The Magician. Redd was one of six African-Americans brought to Australia to provide a racially integrated tribe.[55][56] The production broke local box-office records and ran for two years, but because of some of the language in the show, the cast album was banned in Queensland and New Zealand. The production transferred to Melbourne in 1971 and then had a national tour. It marked the stage debut of Boston-born Australian vocalist Marcia Hines.[56] In Mexico the production was banned by the government after one night in Acapulco.[57] An 18-year-old Snia Braga appeared in the 1969 Brazilian production.[58] e24fc04721