Producers 1967 Quotes

As for LSD, I highly recommend it. We had a fine, wild weekend and no trouble at all. The feeling it produces is hard to describe. 'Intensity' is a fair word for it. Try half a cube at first, just sit in the living room and turn on the music - after the kids have gone to bed. But never take it in uncomfortable or socially tense situations. And don't have anybody around whom you don't like.

It is said that beauty is in the eye of the beholder. As a hypothesis about localization of function, the statement is not quite right – the brain and not the eye is surely the most important organ involved ... Whether it is beautiful or ugly or just conveniently at hand, the world of experience is produced by the man who experiences it (Neisser, 1967: 3).

Most of the population of the Strip is not originally from there, but rather from a swath of villages in the southern regions of Israel, whose inhabitants were driven or fled there during the fighting of 1948–49, and who were never allowed to return to their homes. The Gaza Strip is thus not only a victim of a forty-year occupation that started in June 1967. Most of its 1.5 million people constitute the single largest concentration of the refugees produced as a direct, inevitable result of creating a Jewish state in 1948 in a country with a nearly two-thirds Arab majority.

In 1967 Kilby and his team produced almost what Haggerty envisioned. It could do only four tasks (add, subtract, multiply, and divide) and was a bit heavy (more than two pounds) and not very cheap ($150).21 But it was a huge success. A new market had been created for a device people had not known they needed. And following the inevitable trajectory, it kept getting smaller, more powerful, and cheaper. By 1972 the price of a pocket calculator had dropped to $100, and 5 million units were sold. By 1975 the price was down to $25, and sales were doubling every year. In 2014 a Texas Instruments pocket calculator cost $3.62 at Walmart.

I was dissatisfied with my 1967 manuscript and decided to rewrite the book. It was the first of September, and I said to myself, “If I do not have the finished manuscript in Faber’s hands by September 10, I shall have to kill myself.” And under this threat, I started writing. Within a day or so, the feeling of threat had disappeared, and the joy of writing took over. I was no longer using drugs, but it was a time of extraordinary elation and energy. It seemed to me almost as though the book were being dictated, everything organizing itself swiftly and automatically. I would sleep for just a couple of hours a night. And a day ahead of schedule, on September 9, I took the book to Faber & Faber. Their offices were in Great Russell Street, near the British Museum, and after dropping off the manuscript, I walked over to the museum. Looking at artifacts there — pottery, sculptures, tools, and especially books and manuscripts, which had long outlived their creators — I had the feeling that I, too, had produced something. Something modest, perhaps, but with a reality and existence of its own, something that might live on after I was gone. I have never had such a strong feeling, a feeling of having made something real and of some value, as I did with that first book, which was written in the face of such threats from Friedman and, for that matter, from myself. Returning to New York, I felt a sense of joyousness and almost blessedness. I wanted to shout, “Hallelujah!” but I was too shy. Instead, I went to concerts every night — Mozart operas and Fischer-Dieskau singing Schubert — feeling exuberant and alive.

The Arab world has done nothing to help the Palestinian refugees they created when they attacked Israel in 1948. It’s called the ‘Palestinian refugee problem.’ This is one of the best tricks that the Arabs have played on the world, and they have used it to their great advantage when fighting Israel in the forum of public opinion. This lie was pulled off masterfully, and everyone has been falling for it ever since. First you tell people to leave their homes and villages because you are going to come in and kick out the Jews the day after the UN grants Israel its nationhood. You fail in your military objective, the Jews are still alive and have more land now than before, and you have thousands of upset, displaced refugees living in your country because they believed in you. So you and the UN build refugee camps that are designed to last only five years and crowd the people in, instead of integrating them into your society and giving them citizenship. After a few years of overcrowding and deteriorating living conditions, you get the media to visit and publish a lot of pictures of these poor people living in the hopeless, wretched squalor you have left them in. In 1967 you get all your cronies together with their guns and tanks and planes and start beating the war drums. Again the same old story: you really are going to kill all the Jews this time or drive them into the sea, and everyone will be able to go back home, take over what the Jews have developed, and live in a Jew-free Middle East. Again you fail and now there are even more refugees living in your countries, and Israel is even larger, with Jerusalem as its capital. Time for more pictures of more camps and suffering children. What is to be done about these poor refugees (that not even the Arabs want)? Then start Middle Eastern student organizations on U.S. college campuses and find some young, idealistic American college kids who have no idea of what has been described here so far, and have them take up the cause. Now enter some power-hungry type like Yasser Arafat who begins to blackmail you and your Arab friends, who created the mess, for guns and bombs and money to fight the Israelis. Then Arafat creates hell for the world starting in the 1970s with his terrorism, and the “Palestinian refugee problem” becomes a worldwide issue and galvanizes all your citizens and the world against Israel. Along come the suicide bombers, so to keep the pot boiling you finance the show by paying every bomber’s family twenty-five thousand dollars. This encourages more crazies to go blow themselves up, killing civilians and children riding buses to school. Saudi Arabia held telethons to raise thousands of dollars to the families of suicide bombers. What a perfect way to turn years of military failure into a public-opinion-campaign success. The perpetuation of lies and uncritical thinking, combined with repetitious anti-Jewish and anti-American diatribes, has produced a generation of Arab youth incapable of thinking in a civilized manner. This government-nurtured rage toward the West and the infidels continues today, perpetuating their economic failure and deflecting frustration away from the dictators and regimes that oppress them. This refusal by the Arab regimes to take an honest look at themselves has created a culture of scapegoating that blames western civilization for misery and failure in every aspect of Arab life. So far it seems that Arab leaders don’t mind their people lagging behind, save for King Abdullah’s recent evidence of concern. (The depth of his sincerity remains to be seen.)

24. The Rutles, “Cheese and Onions” (1978) A legend to last a lunchtime. The Rutles were the perfect Beatle parody, starring Monty Python’s Eric Idle and the Bonzos’ Neil Innes in their classic mock-doc All You Need Is Cash, with scene-stealing turns by George Harrison, Mick Jagger, and Paul Simon. (Interviewer: “Did the Rutles influence you at all?” Simon: “No.” Interviewer: “Did they influence Art Garfunkel?” Simon: “Who?”) “Cheese and Onions” is a psychedelic ersatz Lennon piano ballad so gorgeous, it eventually got bootlegged as a purported Beatle rarity. Innes captures that tone of benignly befuddled pomposity—“I have always thought in the back of my mind / Cheese and onions”—along with the boyish vulnerability that makes it moving. Hell, he even chews gum exactly like John. The Beatles’ psychedelic phase has always been ripe for parody. Witness the 1967 single “The L.S. Bumble Bee,” by the genius Brit comedy duo Peter Cook and Dudley Moore, from Beyond the Fringe and the BBC series Not Only . . . ​But Also, starring John Lennon in a cameo as a men’s room attendant. “The L.S. Bumble Bee” sounds like the ultimate Pepper parody—“Freak out, baby, the Bee is coming!”—but it came out months before Pepper, as if the comedy team was reeling from Pet Sounds and wondering how the Beatles might respond. Cook and Moore are a secret presence in Pepper—when the audience laughs in the theme song, it’s taken from a live recording of Beyond the Fringe, produced by George Martin.

FACT 3 – In 1969, the combined agencies of the CIA, Army and FBI were put into full operational use. The Sharon Tate-La Bianca murders were committed in August 1969. The Altamont violence occurred four months later. CIA The CIA prepared for defense against domestic unrest in 1965, coinciding with Camelot and Politica. The CIA joined forces with the FBI and the Army. By August 1967, a special operations group went after the youth. By July 1968, Operation Chaos, identical to the Chilean “Chaos,” clamped down on “restless youth.” This wasn’t a study. It was an attack. Mid-summer of 1969, one month before the Manson Family massacres, Operation Chaos entered a phase of tight security. From 1956-63, the Agency had produced enough LSD to incite every violent act associated with the chaos in Los Angeles or at Altamont. It was identical to handing out poison candy at Halloween. LSD was the moving force, the cause for the Sharon Tate-La Bianca slaughters. It was a steady diet at the Spahn ranch. LSD was the catalyst of the Altamont killing. Thousands of tablets were distributed to the Hell’s Angels, who then went totally berserk and started cracking skulls. FBI May 1964, after the JFK assassination, the FBI instituted COINTELPRO. July 1968, explicit orders went out to proceed, accompanied with instructions, to neutralize segments of American society, including those “restless youth.” By 1969, the Special Services Staff (SSS) of the FBI teamed up with the Justice Department and the CIA’s Operation Chaos.

During the early days of Franco's tenure with Harry Alan Towers (1967-1969) there was an occasion, oft remarked upon, when one film (The Girl From Rio) finished shooting a week early, and rather than send the crew home Towers and Franco hastily wrote a new script over the weekend (99 Women), and began shooting it on the Monday. In this case the arrangement was made with the full cooperation of the producer. But did the experience suggest to Franco a possible way of working in the future? After all, 99 Women, conceived in a rush and made without deliberation, went on to become one of Franco's biggest grossing films of all time, spending weeks in the upper reaches of the Variety chart.

Then the center of influence shifted to London, with the Beatles and the Rolling Stones, Cream, the Who, the Kinks, and all the bands that orbited them. San Francisco, with the Grateful Dead, Jefferson Airplane, and Santana, had its moment in a psychedelic spotlight around the Summer of Love and the Monterey Pop Festival in 1967, but as the 1960s gave way to the '70s, the center of the musical universe shifted unmistakably to Los Angeles. "It was incredibly vital," said Jonathan Taplin, who first came to LA as the tour manager for Bob Dylan and the Band and later relocated there to produce Martin Scorsese's breakthrough movie, Mean Streets. "The nexus of the music business had really moved from New York to Los Angeles. That had been a profound shift . . . It was very clear that something big had changed."'' For a breathtaking few years, the stars aligned to glittering effect in Los Angeles. The city attracted brilliant artists; skilled session musicians; soulful songwriters; shrewd managers, agents, and record executives; and buzz-building clubs. From this dense constellation of talent, a shimmering new sound emerged, a smooth blend of rock and folk with country influences. Talented young people from all over the country began descending on Los Angeles with their guitar cases or dreams of becoming the next Geffen. Irving Azoff, a hyper-ambitious young agent and manager who arrived in Los Angeles in 1972, remembered, "It was like the gold rush. You've never seen anything like it in the entertainment business. The place was exploding. I was here—right place, right time. I tell everybody, `If you're really good in this business, you only have to be right once,' so you kind of make your own luck, but it is luck, too. It was hard to be in LA in that time and have any talent whatsoever in the music business—whether you were a manager, an agent, an artist, a producer, or writer—[and] not to make it, because it was boom times. It was the gold rush, and it was fucking fun.

Sony’s expertise wasn’t in designing chips but devising consumer products and customizing the electronics they needed. Calculators were another consumer device transformed by Japanese firms. Pat Haggerty, the TI Chairman, had asked Jack Kilby to build a handheld, semiconductor-powered calculator in 1967. However, TI’s marketing department didn’t think there’d be a market for a cheap, handheld calculator, so the project stagnated. Japan’s Sharp Electronics disagreed, putting California-produced chips in a calculator that was far simpler and cheaper than anyone had thought possible.

the California case, the rhythms of tax reduction are strong indicators of structural change and, as table 3 demonstrates, show how the Keynesian state’s delegitimation accumulated in waves, culminating, rather than originating, in Tom Bradley’s 1982 and 1986 gubernatorial defeats. The first wave, or capital’s wave, is indicated by the 50 percent decline in the ratio of bank and corporation taxes to personal income taxes between 1967 and 1986 (California State Public Works Board 1987). Starting as early as 1968, voters had agitated for tax relief commensurate with the relief capital had won after putting Ronald Reagan in the governor’s mansion (Mike Davis 1990). But Sacramento’s efforts were continually disappointing under both Republican and Democratic administrations (Kirlin and Chapman 1994). This set in motion the second, or labor’s, wave, in which actual (and aspiring) homeowner-voters reduced their own taxes via Proposition 13 (1978).25 The third, or federal wave, indicates the devolution of responsibility from the federal government onto the state and local levels, as evidenced by declines of 12.5 percent (state) to 60 percent (local) in revenues derived from federal aid. The third wave can be traced to several deep tax cuts the Reagan presidential administration conferred on capital and the wealthiest of workers in 1982 and again in 1986 (David Gordon 1996; Krugman 1994). The sum of these waves produced state and local fiscal crises following in the path of federal crisis that James O’Connor ([1973] 2000) had analyzed early in the period under review when he advanced the “welfare-warfare” concept. As late as 1977–78, California state and local coffers were full (CDF-CEI 1978; Gramlich 1991). By 1983, Sacramento was borrowing to meet its budgetary goals, while county and city governments reached crisis at different times, depending on how replete their reserves had been prior to Proposition 13. Voters wanted services and infrastructure at lowered costs; and when they paid, they tried not to share. Indeed, voters were quite willing to pay for amenities that would stick in place, and between 1977–78 and 1988–89, they actually increased property-based taxes going to special assessment districts by 45 percent (Chapman 1991: 19).

Any organization that designs a system (defined broadly) will produce a design whose structure is a copy of the organization's communication structure. -- Melvyn Conway, 1967

Ethnomethodology, a small but influential subfield of sociology founded by Harold Garfinkel (1967), took as its project the description of how people produce orderly social conduct. Ethnomethodologists argue that orderliness is enacted as people draw on resources in their environments, resources with which to improvise meaningful action. Action is not preordered by anything that can be reduced to theoretical principles; rather, the analyst considers specific instances of organized action, and describes those. An

As Tyson went on its buying spree, the company shaped the modern chicken industry into what it is today: a highly concentrated business controlled by four companies. By the mid-1990s, Tyson controlled about 25 percent of the U.S. chicken market and competed against just a handful of giant companies that controlled the rest. The top four chicken producers controlled over half the U.S. poultry business, supplying massive volumes of meat to the biggest national grocery chains and restaurants, like Wal-Mart and McDonald’s. The remainder of the market was controlled by smaller versions of Tyson, vertically integrated companies that were still enormous by historical standards. By 1992, 88 percent of all chicken in the United States was produced in the kind of large, heavily mechanized slaughterhouse that Don Tyson built in Springdale. In 1967, by contrast, just 29 percent of chickens came from big processing plants.

As the Senate’s Church Committee would note: “In 1967 alone, the CIA published or subsidized over 200 books, ranging from books on African safaris . . . to a competitor to Mao’s little red book, which was entitled Quotations from Chairman Liu.” One such book, produced by the Domestic Operations division—the one that was monitoring Oswald—told the story of “a young student from a developing country who had studied in a communist country.” According to the CIA, that book “had a high impact in the United States.

But that’s shortsighted. Such stories ignore the pollution produced as a side effect and the wear and tear it put on the engine. It ignores what happens when that initial anger runs out—and how now more and more must be generated to keep the machine going (until, eventually, the only source left is anger at oneself). “Hate is too great a burden to bear,” Martin Luther King Jr. warned his fellow civil rights leaders in 1967, even though they had every reason to respond to hate with hate.

I am tired, I am weary. I could sleep for a thousand years, a thousand dreams that would awake me. Different colors made of tears. The Velvet Underground, from “Venus In Furs," The Velvet Underground & Nico. Produced by Andy Warhol (Verve, 1967)

Self-perception theory (Bem, 1967, 1972) argues that dissonance effects were not the result of motivation to reduce the psychological discomfort produced by cognitive dissonance but were due to a nonmotivational process whereby persons merely inferred their attitudes from their behavior and the circumstances under which the behavior occurred.