Woodstock Love Quotes

Ultraviolence" He used to call me DN That stood for deadly nightshade Cause I was filled with poison But blessed with beauty and rage Jim told me that He hit me and it felt like a kiss Jim brought me back Reminded me of when we were kids With his ultraviolence Ultraviolence Ultraviolence Ultraviolence I can hear sirens, sirens He hit me and it felt like a kiss I can hear violins, violins Give me all of that ultraviolence He used to call me poison Like I was poison ivy I could have died right there Cause he was right beside me Jim raised me up He hurt me but it felt like true love Jim taught me that Loving him was never enough With his ultraviolence Ultraviolence Ultraviolence Ultraviolence I can hear sirens, sirens He hit me and it felt like a kiss I can hear violins, violins Give me all of that ultraviolence We could go back to New York Loving you was really hard We could go back to Woodstock Where they don't know who we are Heaven is on earth I will do anything for you, babe Blessed is this, this union Crying tears of gold, like lemonade I love you the first time I love you the last time Yo soy la princesa, comprende mis white lines Cause I'm your jazz singer And you're my cult leader I love you forever, I love you forever With his ultraviolence (lay me down tonight) Ultraviolence (in my linen and curls) Ultraviolence (lay me down tonight) Ultraviolence (Riviera girls) I can hear sirens, sirens He hit me and it felt like a kiss I can hear violins, violins Give me all of that ultraviolence

They met at Woodstock, and their love lasted a lifetime. Heartbroken but determined he calls on his two best friends to help him return to where it all began. One last roadtrip. One last chance to say Good-bye, Emily

Instantly, the pair fell to groping one other as if each had puff the magic dragon at a rock concert in Woodstock.

You are the composer and conductor and thus decide what key of life to live. I choose major over minor whenever I can.

500,000 halos outshined the mud and history. We washed and drank in God's tears of joy, And for once…and for everyone…the truth was not a mystery. Love called to all…music is magic. As we passed over and beyond the walls of Nay, Hand in hand as we lived and made real the dreams of peaceful men— We came together…danced with the pearls of rainy weather, Riding the waves of music and space…music is magic…magic is life… Love as never loved before… Harmony to son and daughter…man and wife…

Fifteen years ago, the cultural critic Greil Marcus wrote of Jimi's performance of our national anthem as "his great NO to the war, to racism, to whatever you or he might think of and want gone. But then that discord shattered, and for more than four and a half long, complex minutes Hendrix pursued each invisible crack in a vessel that had once been whole, feeling out and exploring and testing himself and his music against anguish, rage, fear, hate, love offered, and love refused. When he finished, he had created an anthem that could never be summed up and that would never come to rest. In the end it was a great YES, both a threat and a beckoning, an invitation to America to match its danger, glamour, and freedom." ... In late 1969, Jimi Hendrix wrote a poem celebrating Woodstock, saying with words what his music had in August: "500,000 halos outshined the mud and history. We washed and drank in God's tears of joy. And for once, and for everyone, the truth was not still a mystery.

Even then, even though hippies were unaware, Peace, Love, and Music was a brand, preying on our nostalgia for an experience few who worship it ever had.

Twelve years later, when I finally met and became friends with Sara, we talked for hours about those days when the Original Vagabond was two-timing us. I told Sara that I’d never found Bob to be much at giving gifts, but that he had once bought me a green corduroy coat, and had told me to keep a lovely blue nightgown from the Woodstock house. “Oh!” said Sara, “that’s where it went!

The truth of Woodstock? The nonstop music was good but few bands played their best due to the confusion and pervasive drug ingestion. Yes it was peaceful, but after that first glorious day it was cold and wet, and we sat in the mud shivering, drenched, hungry, and thirsty. Huddled in the rain, a half million of us worked hard to relax, insistent in our success at finding freedom and joy outside the system. Peace, brother! In the downpour, over and over again we told ourselves that all we needed was love. We really had jumped outside the everyday world, but in our T-shirts, jeans, and little else, we were utterly unprepared as the relentless torrent hammered down. It was no contest as soft theory met bare-knuckled reality.

It was the uniform of a time and place, of a nearly extinct species—the belligerent middle-American redneck who had fought in Korea, come back with his faith unshaken, and then watched the 1960s unfold the way he might watch his house burn down. There had never been any Summer of Love for Arthur Schuler. He had no interest in Civil Rights, hippies or liberals—or Democrats for that matter. I heard him say once that it might have worked out very well if we had indeed brought all the planes back from Vietnam, just in time to napalm the Woodstock festival.      But the man had lived. He had been an orphan of the Great Depression and seen the country and the world. He had made his way, been a barroom fighter and—he hinted—a womanizer at some distant point in the twentieth century, and had come away with an instinct for life, for the things that people do and their base and predictable motivations.  We

The summer of 2006 was Germany’s Summer of Love, our generation’s Woodstock.

Many people back then watched the news in abject horror. Hippies, militant black power groups, killer cults that brainwashed suburban kids to drop acid and rise up and kill their parents, young men (the sons of veterans) burning their draft cards or fleeing to Canada, your children calling your policemen pigs, violent street crime, the emergence of the serial killer phenomenon, drug culture, free love, the nudity, violence, and the profanity of the films of New Hollywood, Woodstock, Altamont, Stonewall, Cielo Drive. To many Americans it was a mosaic that scared the shit out of them

Many people back then watched the news in abject horror. Hippies, militant black power groups, killer cults that brainwashed suburban kids to drop acid and rise up and kill their parents, young men (the sons of veterans) burning their draft cards or fleeing to Canada, your children calling your policemen pigs, violent street crime, the emergence of the serial killer phenomenon, drug culture, free love, the nudity, violence, and the profanity of the films of New Hollywood, Woodstock, Altamont, Stonewall, Cielo Drive.

After devouring Steal This Book, I'd undertaken a frantic search for more Abbie material, eventually acquiring a near-complete collection: Revolution for the Hell of It, Woodstock Nation, To america With Love, VOTE! I'd begun to understand

Woodstock, summer of 1969, was the turning point of rock festivals. Time magazine described this happening as “one of the most significant political and sociological events of the age.” One half-million American youth assembled for a three-day rock concert. They were non-violent, fun-loving hippies who resembled the large followings of Mahatma Gandhi in India and Rev. Martin Luther King in the USA, both strong advocates of non-violence. Both assassinated. It is important to understand the kinds of drugs and chemical agents available to stifle dissent, the mentality of people hell-bent on changing the course of history, to comprehend that cultures and tastes can be moved in directions according to game plans in the hands of a few people. Adolf Hitler’s first targets in Nazi Germany were Gypsies and the students. LSD was a youth-oriented drug perfected in the laboratory. When it was combined with other chemicals and given wide distribution, all that remained were marching orders to go to war.

Somehow this redneck town allows the possibility of a middle-aged New York City woman bouncing round a house alone more generously than Woodstock or East Hampton. It's a community of exiles anyway. No one asks me any questions 'cause there's no frame of reference to put the answers in.

he asked them. “Too long. Don’t be such a stranger. Stop by if you’re in our neighborhood. We would love to sit and chat. We can talk about the good old days and we got lots of pictures and stories from Tuscany.” “Will do. Enjoy the evening.” Jack turned and was face to face with their daughter, Patti. “Hi, Jack,” she whispered. “Great to see you again,” she said and kissed him on the cheek. “It was so good to talk with you the other day. It meant a lot to see you.” He watched her as she started to walk away and turned to him and say, “I wanted to let you know that after we talked I gave my husband a phone call. Eric and I decided to get back together. We’ve shared a lot of history, and we’re at least going to give it one last try to see if we can make it work. Thanks for everything, Jack. Bye.” She kissed him on the cheek. Jack saw Hope walking across the floor. “She’s pretty. Who was that?” glancing at Patti walk away. “An old and dear friend. Both Charley and I had a crush on her when we were younger. I’ll introduce you to her and her mom and dad later. You’ll like her.” More people filed inside to an already full hall. Soon it was standing room only. Jack turned to Hope and whispered, “I can’t believe this. We’ve had over twenty businesses make donations to the veterans’ fund to help support job training and for overseas servicemen’s wives and families. We also got money from the Yankee Bookshop, the Woodstock Inn, the Billings Farm Museum, the bank, and Bentleys Restaurant. They all donated money.” “That’s great,” she said excitedly. “And we’ve received over thirty new membership requests for the Veterans Post and that’s just yesterday. This is better than I ever expected. And four companies have committed to hiring more vets locally, including King Arthur Flour Company. They’re planning to build a new distribution center just west of town. I can’t believe all of this is happening.” “You should,” Hope said. “I remember you sat down right over there at that table and laid out what you wanted to see happen and you kept working on it until it did. I’m so proud of you.” He hugged her close and kissed her. He never wanted to let her go. The distinct fragrance of fresh balsam, pine, and holly filled

Ten shockingly arty events What arty types like to call a ‘creative tension’ exists in art and music, about working right at the limits of public taste. Plus, there’s money to be made there. Here’s ten examples reflecting both motivations. Painting: Manet’s Breakfast on the Lawn, featuring a group of sophisticated French aristocrats picnicking outside, shocked the art world back in 1862 because one of the young lady guests is stark naked! Painting: Balthus’s Guitar Lesson (1934), depicting a teacher fondling the private parts of a nude pupil, caused predictable uproar. The artist claimed this was part of his strategy to ‘make people more aware’. Music: Jump to 1969 when Jimi Hendrix performed his own interpretation of the American National Anthem at the hippy festival Woodstock, shocking the mainstream US. Film: In 1974 censors deemed Night Porter, a film about a love affair between an ex-Nazi SS commander and his beautiful young prisoner (featuring flashbacks to concentration camp romps and lots of sexy scenes in bed with Nazi apparel), out of bounds. Installation: In December 1993 the 50-metre-high obelisk in the Place Concorde in the centre of Paris was covered in a giant fluorescent red condom by a group called ActUp. Publishing: In 1989 Salman Rushdie’s novel Satanic Verses outraged Islamic authorities for its irreverent treatment of Islam. In 2005 cartoons making political points about Islam featuring the prophet Mohammed likewise resulted in riots in many Muslim cities around the world, with several people killed. Installation: In 1992 the soon-to-be extremely rich English artist Damien Hirst exhibited a 7-metre-long shark in a giant box of formaldehyde in a London art gallery – the first of a series of dead things in preservative. Sculpture: In 1999 Sotheby’s in London sold a urinoir or toilet-bowl-thing by Marcel Duchamp as art for more than a million pounds ($1,762,000) to a Greek collector. He must have lost his marbles! Painting: Also in 1999 The Holy Virgin Mary, a painting by Chris Ofili representing the Christian icon as a rather crude figure constructed out of elephant dung, caused a storm. Curiously, it was banned in Australia because (like Damien Hirst’s shark) the artist was being funded by people (the Saatchis) who stood to benefit financially from controversy. Sculpture: In 2008 Gunther von Hagens, also known as Dr Death, exhibited in several European cities a collection of skinned corpses mounted in grotesque postures that he insists should count as art.

We were ready to rock out and we waited and waited and finally it was our turn ... there were a half million people asleep. These people were out. It was sort of like a painting of a Dante scene, just bodies from hell, all intertwined and asleep, covered with mud. And this is the moment I will never forget as long as I live: A quarter mile away in the darkness, on the other edge of this bowl, there was some guy flicking his Bic, and in the night I hear, "Don't worry about it, John. We're with you." I played the rest of the show for that guy. —John Fogerty recalling Creedence Clearwater Revival's 3:30 a.m. start time at Woodstock.

Неземните ултратънки лазерни лъчи разсичат въздуха, докато трае шоуто на Джими с лъка, а Плант вкарва откъси от "Woodstock". Представлението завършва със "Stairway to Heaven", последвана от бисовете "Whole Lotta Love" и "Black Dog". И така - пет поредни вечери.