Free Speech * De Gedachten zijn Vrij: Easy Rider (March 2, 3 & 4)

EASY RIDER: the soundtrack  and more * the Freedom dialogue * shooting of freedom  footage *Easy Rider (1969) is an ode to freedom. In the USA of 1969, this freedom was represented by two bikers  (Peter Fonda, Dennis Hopper) on the way to where the road takes them. They’re not true hippies, because they ride Harley Davidson bikes. They’re not  Hell’s Angels because they are entirely non-violent. They are on the road to freedom, carving that road and that freedom as they go along.

SCHEDULE:
Monday 16:00 – 20:00 hrs  (NEW SHOW) * Tuesday 12:00 noon  > 16:00 and 16:00 > 20:00 hrs * Wednesday 1200 > 16:00 hrs.

OVERVIEW * OVERZICHT 

NEW SHOW  = first hour **  NIEUW PROGRAMMA = eerste uur
Monday 1600 hrs * Tuesday 1200 and 1600 hrs * Wednesday 1200 hrs
Easy Rider

2 SECOND HOUR * TWEEDE UUR
Monday 1700 hrs * Tuesday 1300 and 1700 hrs * Wednesday 1300 hrs.
Eric Andersen: Beat Avenue  * Rod McKuen * Charles Ducal

3 DERDE UUR * THIRD HOUR
Monday 1800 hrs * Tuesday 1400 and 1800 hrs * Wednesday 1400 hrs.
STEMMEN ** VOIX ** VOICES: LAURENTIUS: OLLE TWOLVE (2014) ** ENRICO MACIAS: L’ORIENTAL** SLY & FAMILY STONE:  STAND!  (1969) ** ROY HARPER:  FOLKJOKEOPUS (1969) ** BRIGITTE FONTAINE: LIBIDO (2006) **

4 FOURTH HOUR * VIERDE UUR
Monday 1900 hrs * Tuesday 1500 and 1900 hrs * Wednesday 1500 hrs.
Robb Johnson: Bring Down the Moon ** Stijn Vranken **

 THE SHOW

FIRST HOUR (NEW) * EERSTE UUR (NIEUW)
Monday 1600 hrs * Tuesday 1200 and 1600 hrs * Wednesday 1200 hrs

EASY RIDER

RADIO 68 SAYS: Easy Rider (1969) is an ode to freedom. In the USA of 1969, this freedom was represented by two bikers  (Peter Fonda, Dennis Hopper) on the way to where the road takes them. They’re not true hippies, because they ride Harley Davidson bikes. They’re not  Hell’s Angels because they are entirely non-violent. They are on the road to freedom, carving that road and that freedom as they go along. A young lawyer (Jack Nicholson) accompanies them  for a time, serving as an echo of “straight” citizens, though he’s not very straight himself. True to the sign of the times, freedom is represented by expanding the mind through drugs, in this case innocent joints.
At the end of the film, both bikers are shot by white trash who are afraid of what these hippie bikers stand for: freedom. SEE VIDEO LINK below

RADIO 68 PLAYS
EASY RIDER:  1) the released original soundtrack with Roger McGuinn, Steppenwolf, The Holy Modal Rounders, Fraternity Of Man, Smith, JImi Hendrix, The Electric Prunes, The Byrds  2) + 2 songs from the movie not included on that soundtrack Little Eva (Let’s Turkey Trot), The Electric Flag (Flash, Bam, Pow  3) + movie dialogue on Freedom between Jack Nicholson, Peter Fonda & and Dennis Hopper4) soundtrack of end of film (shooting of the 2 bikers) 5) + Fairport Convention’s version of Ballad of The Easy Rider (Unhalfbricking, 1969)

RADIO 68 SHOWS
VIDEO: END OF “EASY RIDER” https://www.youtube.com/watch?v=hjYAEtO-Ohk

 RADIO 68 REMEMBERS: The “Freedom” dialogue of Easy Rider

George Hanson (Jack Nicholson): You know, this used to be a helluva good country. I can’t understand what’s gone wrong with it.

Billy (Dennis Hopper): Man, everybody got chicken, that’s what happened. Hey, we can’t even get into like, a second-rate hotel, I mean, a second-rate motel, you dig? They think we’re gonna cut their throat or somethin’. They’re scared, man.

George Hanson: They’re not scared of you. They’re scared of what you represent to ’em.

Billy: Hey, man. All we represent to them, man, is somebody who needs a haircut.

George Hanson: Oh, no. What you represent to them is freedom.

Billy: What the hell is wrong with freedom? That’s what it’s all about.

George Hanson: Oh, yeah, that’s right. That’s what’s it’s all about, all right. But talkin’ about it and bein’ it, that’s two different things. I mean, it’s real hard to be free when you are bought and sold in the marketplace. Of course, don’t ever tell anybody that they’re not free, ’cause then they’re gonna get real busy killin’ and maimin’ to prove to you that they are. Oh, yeah, they’re gonna talk to you, and talk to you, and talk to you about individual freedom. But they see a free individual, it’s gonna scare ’em.

Billy: Well, it don’t make ’em runnin’ scared.

George Hanson: No, it makes ’em dangerous. Buh, neh! Neh! Neh! Neh! Swamp!

A REVIEW

“This film should be shown in every American History class in the United States. It not only showed the beauty of the country of which we reside, but it also spoke about the people that reside in it. You know the old saying, ‘Guns don’t kill people, people kill people’, well after watching this film, it is a very true statement. We are afraid of what is different. We are a culture that is afraid of change, yet seek it so badly. We are a society of hypocrites, androids, and ignorants. We thrive on the fact that we are the best country in the world, yet somebody shows any disassociation of routine, we are the first to question and get angry. I would dare say that we have moved so far from the 60s that I cannot see why our parents do not cry every day. Their generations was a free-spirited, mind challenging culture that explored all possibilities no matter the cost. The experience was all they needed as a reward.

Source: http://www.imdb.com/title/tt0064276/reviews (2004)

2 SECOND HOUR * TWEEDE UUR
Monday 1700 hrs * Tuesday 1300 and 1700 hrs * Wednesday 1300 hrs.

ERIC ANDERSEN: BEAT AVENUE

“The 26-minute title track (Beat Avenue) is, in Eric’s words, “part of an ongoing personal ritual of trying to break and burst the borders of the usual safe singer-songwriting approaches.” The song, which Eric has worked on for the past fifteen years, is a hypnotic, cinematic account of a watershed day in world history – November 22, 1963. Combining spoken and half-sung vocals, programmed musical atmospherics, and real instruments, “Beat Avenue” recounts the day, night and immediate aftermath of President John F. Kennedy’s assassination as experienced by the then-20-year-old Andersen, who had hitchhiked to San Francisco to meet and mingle with his Beat Movement heroes.”
Source:  http://www.appleseedmusic.com/ericandersen/beatavenue.html

Lyrics  excerpt © Eric Andersen:

(…)
So I headed for the Haight
for a poetry read that night
went up with my singin poet friend
David Meltzer and his wife, Tina,
David was a moonlight City Light book clerk
and was heard to say-
the mystery is the ordinary
and the ordinary
is the mystery
and there ain’t no such thing
as ‘coolsville’
climbed those creaky stairs
and sat in blackened room
dull light strung over little stage
Allen Ginsberg just returned
from Buddha’s jukebox
Calcutta and Saigon
he’dd been diamond sutra’d
Banged and cocked
now he was on Columbus Ave.
swathed in smilin white
but tonight the air was sick and bruised
he was dressed in black (…)

WILY BO WALKER & DANY FLAM BIG BAND: “Appointment in Samarra”, after W.S. Maugham

Inspired by the short story ‘The Appointment in Samarra’ as retold by W. Somerset Maugham in 1933…
The speaker is Death
There was a merchant in Bagdad who sent his servant to market to buy provisions and in a little while the servant came back, white and trembling, and he said, “Master, just now when I was in the marketplace I was jostled by a woman in the crowd and when I turned I saw it was Death that jostled me. She looked at me and made a threatening gesture. Now, lend me your horse, and I will ride away from this city and avoid my fate.  I will go to Samarra and there Death will not find me”
The merchant lent him his horse, and the servant mounted it, and he dug his spurs in its flanks and as fast as the horse could gallop he went.
Then the merchant went down to the marketplace and he saw me standing in the crowd and he came to me and said, “Why did you make a threatening gesture to my servant when you saw him this morning?”
“That was not a threatening gesture” I said, “it was only a start of surprise.  I was astonished to see him in Bagdad, for I had an appointment with him tonight in Samarra”

3 DERDE UUR * THIRD HOUR
Monday 1800 hrs * Tuesday 1400 and 1800 hrs * Wednesday 1400 hrs. 

Freedom of speech is about what you say – content, subject matter. But there’s no freedom of content without the freedom of voices:  the way you say it, the form of expression. The best way to guarantee a wide variety of ideas, is to guarantee a wide variety of voices: prose and  poetry, film and print , the body and the tongue, music and speech. This implies the use of many languages.
The repression of languages is a sure sign of dictatorship. Upon arrival in America, African slaves who spoke the same language were separated on a linguistic basis and thus had no choice but to communicate in the voice of their rulers. Not one African language survived in the USA. Since rulers can only physically eradicate a small part of the population without endangering their own position, oppressors make a point of forbidding languages and imposing their own, knowing that one’s mother-tongue is the most perfect vehicle of expression, thought, knowledge and culture. Franco repressed the language of the Catalonians: it was not taught at school; books, lyrics, radio and tv were allowed, but censored. All education and schooling was in Spanish. In France, French was declared the only official language of the Republic and all others were eradicated, e;g. Flemish, Occitan, Basque and Breton. The English did the same with the Celtic languages of Scotland, Wales and Cornwall and Northern Ireland. Very soon, most languages of the Eskimo will have disappeared. The list is endless.
That is why Radio 68 broadcasts a wide variety of voices and languages.

LAURENTIUS VAN ACKER zingt in het Oostends over Oostende.  Over de “maole (maalboot), de tijd van toen, de macht van het geld (alles is afgebroken),  maar ook over de liefde en de liefde voor zijn stad.
ENRICO MACIAS
Born Gaston Ghrenassia in  a Jewish family in Algeria in 1938, he fled to France with his family and embarked on a  successful career as a French ‘chansonnier’ in the early sixties, building a large following outside France as well.  Never one to protest in the streets and wear long hair or adapt hippie attitudes, Enrico Macias nevertheless made love and brotherhood one of his main themes. ‘Enfants de tous pays’ (Children of all countries) or ‘Mon ami, mon frère’ (My friend, my brother) need no further explanation.
SLY AND THE FAMILY STONE
There is a clear message on their the album “Stand!’ from 1969: Sly Stone wanted all discrimination and racism to stop. He played multiracial music with a multiracial band, blowing up borders between various genres and creating funk along the way.  He sings both ‘Don’t Call Me Nigger, Whitey’ and ‘Don’t Call Me Whitey, Nigger’. He wants people to stand proud, be themselves and act.  (www.allmusic.com)

Stand!”

Stand
In the end you’ll still be you
One that’s done all the things you set out to do
Stand
There’s a cross for you to bear
Things to go through if you’re going anywhere
Stand
For the things you know are right
It s the truth that the truth makes them so uptight
Stand
All the things you want are real
You have you to complete and there is no deal
Stand. stand, stand
Stand. stand, stand
Stand
You’ve been sitting much too long

There’s a permanent crease in your right and wrong
Stand
There’s a midget standing tall
And the giant beside him about to fall
Stand. stand, stand
Stand. stand, stand
Stand
They will try to make you crawl
And they know what you’re saying makes sense and all
Stand
Don’t you know that you are free
Well at least in your mind if you want to be

Everybody
Stand, stand, stand

BRIGITTE FONTAINE

« Un disque de Brigitte Fontaine ne ressemble à rien d’autre… qu’à un disque de Brigitte Fontaine. Dissonant, étonnant, provocant. Et inégal. Preuve encore avec celui-ci, qui recèle des instants rares de force et d’audace, mais aussi des morceaux franchement lourdauds. Côté réussites : La Viande, sorte d’inventaire à la Prévert de la bidoche dans tous ses états, qui nous ramène à notre état primal d’animal ; Château intérieur, aux méandres labyrinthiques ; Ex Paradis, où la poétesse parvient à toucher l’essentiel par le pouvoir d’évocation des images qui jaillissent de sa plume. Son verbe chahuté devient alors d’autant plus puissant qu’il s’épanouit sur de douces mélodies, de soyeux tapis de cordes tissés par le très fidèle Areski « . www.telerama.fr

4 FOURTH HOUR * VIERDE UUR
Monday 1900 hrs * Tuesday 1500 and 1900 hrs * Wednesday 1500 hrs.

Robb Johnson: Bring Down the Moon ** Stijn Vranken **

ROBB JOHNSON: Bring Down The Moon ** Stijn Vranken: exclusief gesprek en exclusieve voorleessessie uit “Maak plaats van mij”

Johnson zingt over verzet en uitbuiting, maar moed, doorzettingsvermogen en hoop op beterschap markeren evengoed zijn boodschap. Om het met het grafschrift van Herbert Marcuse te zeggen: Weiter machen!
De cd begint en eindigt met nummers die hoop uitstralen. Het titel- én openingslied “Bring Down the Moon” suggereert om de maan uit de hemel te plukken en ze in onze woonkamer te plaatsen. De maan staat hier natuurlijk symbool voor dromerij en liefde – bij verliefde koppels hoort maneschijn… En zie, daar verschijnen de magiërs, de reizigers, de reuzen, windmolens en Spaanse kastelen zelfs, een overduidelijke verwijzing naar Don Quixote, alweer een man met “Weiter machen” als devies. De plaat eindigt met “Call Me Tonight” en de filosofische bedenking “Sometimes the universe delivers”. Soms komt universum komt zijn belofte na, dit wil zeggen: er is een zin. Nu en dan valt alles netjes in de plooi, ja, zelfs de zeemzoete happy ends van de tv-film zijn acceptabel. Soms moet je de dingen gewoon op hun beloop laten, de zingeving volgt wel.  Met de nadruk op soms, want de dingen op hun beloop laten, dat is niet bepaalde de forte van Johnson en daar handelt de rest van de cd dus net niet over! (EB)
http://www.robbjohnson.co.uk
Mijn blog over deze plaat op De Wereld Morgen: http://community.dewereldmorgen.be/blog/eddybonte/2015/02/09/afrikaanse-rozen

END OF SHOW  SHOW LASTS FOUR HOURS * EINDE VAN DE UITZENDING + DE UITZENDING DUURT VIER UUR