Hair

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Hair
Book and Lyrics by Gerome Ragni and James Rado Music by Galt MacDermot Prologue The "year" is 1968. The "place" is a park in Greenwich Village, NYC. Claude is seated alone on center stage. An altar and a flame are set before him. The Tribe slowly congregates on stage. Berger and Sheila join Claude, cut a lock of his hair, and put it in the fire as the Tribe opens the show with "Aquarius." Act I Berger introduces himself, and sings about "Donna," his lost love. The Tribe follows this number with "Hashish," while Woof pays homage to all things sexual with "Sodomy." Hud enters, hanging upside down from a pole, and sings "Colored Spade." Finally, Claude introduces himself ("Manchester, England") and says, "I'm Aquarius--destined for greatness or madness." The Tribe follows with "I'm Black" and "Ain't Got No." They add to the list of their "can't do's" with "Dead End." Sheila, the politically active NYU student, is carried in to a fanfare while she sings, "I Believe in Love." She leads the Tribe in a peace rally ("Ain't Got No Grass," "Air"). Jeanie, who sings "Air" with friends Dionne and Crissy, reveals that she's pregnant (by some "speed freak") but she's in love with Claude. The Tribe sings "Initials." Berger then announces, "This, folks, is the psychedelic Stone Age." Claude is confronted by three sets of "parents" (played by the Tribe) who batter him with their Work Ethic, American Values, and tell him his Vietnam draft notice has come in the mail. A conflict between "1968 and 1948" ensues ("I Got Life," "Ain't Got No," reprise). Later, Berger tells the Tribe about Claude having to go before the draft board. Berger has also just been expelled from high school ("Goin' Down") and is attacked by three Hitler-esque "principals." Claude returns, having passed his Army physical. Berger, Woof, and Hud try to develop ideas for freeing him from service in Vietnam. Claude burns his draft card, but the Tribe discovers that in fact it's his library card. A woman and her husband (tourists in a land of hippies) talk to the group. Claude, Berger, and the rest of the Tribe sing "Hair" for them. The woman, impressed, responds with "My Conviction," and then reveals that she is not a "she" at all, but a transvestite! Sheila joins the group, and she's still "spreading the groovy revolution." She talks about how she lives with Claude and Berger, and takes out a yellow satin shirt she's brought for Berger. Berger begins to fool around--"slapping" her, stomping on the shirt, and yelling. Claude and Sheila try to quiet him by covering his head with the shirt when Berger snatches it away from them and rips

it. Sheila, upset by this, sings "Easy to Be Hard." Berger takes the shirt and leaves to sew it back together. Claude and Sheila talk, and he gets her to admit that she's "hung up" on Berger. Berger and Woof then give their musical salute to the American flag ("Don't Put it Down"). It's time for the Be-In! "Tourists . . . come to the orgy!" Jeanie tries to get together with Claude, but he rebuffs her. She is about to follow him to the Be-In when she spies Crissy. Crissy says that she's staying there, to wait for "Frank Mills." Back at the Be-In, the Tribe is singing "Hare Krishna" and getting high on love, life, and pot. Claude, about to burn his draft card, suddenly changes his mind ("Where Do I Go"). The police intervene and "arrest" the audience--signaling intermission. Act II Crissy tries to listen to a song on a Victrola, but it is drowned out by the "Electric Blues." The Tribe calls for "Oh Great God of Power," but all they get is Claude dressed up in a gorilla suit. He's just come from the induction center, and Berger and some Tribe members describe their version of the encounter. Three of the women in the Tribe sing the virtues of "Black Boys," and are countered by three blond-wigged Supreme-lookalikes with "White Boys". Berger really starts things rolling by passing out the joints, and soon the Tribe is "Walking in Space." The action then focuses in on Claude's trip. General Washington appears, at war with a group of Indians. They are joined by Abraham Lincoln ("Abie, Baby"), John Wilkes Booth, Ulysses S. Grant, Calvin Coolidge, and Scarlett O'Hara. Buddhist monks and Catholic nuns appear, and an all-out war ensues. This segues into "3-5-0-0," and the ugliness of war against the Viet Cong. The Tribe invokes the words of Shakespeare ("What a Piece of Work is Man") to try and rationalize this. Then, the trip ends ("How Dare They Try"), and the Tribe tries to call Claude back to reality, however he has some problems getting back into the present day. The Tribe divides into groups to sleep under the light of the moon, and Sheila sings, "Good Morning, Starshine." A mattress is brought out "The Bed" and the Tribe celebrates it (after all, "Never can you sin in bed"). They separate from Claude, and gather in a mass of Flower Power, banging sticks and pots and shouting anti-war chants. They call for Claude, but he's nowhere to be found. Claude appears in Army uniform, unseen by his friends, and explains, "I'm right here. Like it or not, they got me." ("The Flesh Failures"). Still unable to see him, the Tribe sings "Eyes, Look Your Last" in counterpoint with Claude's final "Manchester, England." Sheila reprises "The Flesh Failures," leading the Tribe into "Let the Sun Shine In." At the close, Claude is again lying alone center stage. With his sticks, Berger forms a cross and lays it on Claude's body.

Aquarius When the moon is in the Seventh House and Jupiter aligns with Mars Then peace will guide the planets And love will steer the stars This is the dawning of the age of Aquarius The age of Aquarius Aquarius! Aquarius! Harmony and understanding Sympathy and trust abounding No more falsehoods or derisions Golden living dreams of visions Mystic crystal revelation And the mind's true liberation Aquarius! Aquarius! When the moon is in the Seventh House and Jupiter aligns with Mars Then peace will guide the planets And love will steer the stars This is the dawning of the age of Aquarius The age of Aquarius Aquarius! Aquarius! (extra verses from London 1993 production) As our hearts go beating through the night We dance unto the dawn of day To be the bearers of the water Our light will lead the way We are the spirit of the age of Aquarius The age of Aquarius Aquarius! Aquarius! Harmony and understanding Sympathy and trust abounding Angelic illumination Rising fiery constellation Travelling our starry courses Guided by the cosmic forces Oh, care for us; Aquarius

Donna Oh, once upon a looking-for-Donna-time There was a sixteen year old virgin Oh Donna, oh oh, Donna, oh oh oh Looking for my Donna. I just got back from looking for Donna San Francisco psychedelic urchin Oh Donna, oh oh, Donna, oh oh oh Looking for my Donna. Have you seen my sixteen year old tattooed woman? Heard a story She got busted for her beauty, oh oh oh Oh oh! Once upon a looking-for-Donna-time There was a sixteen year old virgin Oh Donna, oh oh, Donna, oh oh oh Looking for my Donna. I've been to India and saw the yogi light In South America the Indian smoke glows bright I'm reincarnated and so are we all And in this lifetime we'll rise Before we fall Before we fall... Once upon a looking-for-Donna-time There was a sixteen year old virgin Oh Donna, oh oh, Donna, oh oh oh Looking for my Donna. And I'm gonna show her life on earth can be sweet Gonna lay my mutated self at her feet And I'm gonna love her, make love to her till the sky turns brown; I'm evolving, I'm evolving Through the drugs That you put down (that you put down) Once upon a looking-for-Donna-time There was a sixteen year old virgin Oh Donna, oh oh, Donna, oh oh oh

Looking for my Donna. Looking for my Donna. Donna!! Hashish Hashish Cocaine Marijuana Opium LSD DMT STP, BLT A&P, IRT APC, Alcohol Cigarettes, shoe polish, cough syrup, peyote Equinol, dexamil, camposine, Chemadrine, Thorazine, trilophon, dexadrine, benzedrine, methedrine S-E-X and Y-O-U, Wow! Sodomy Sodomy... Fellatio... Cunnilingus... Pederasty. Father, why do these words sound so nasty? Masturbation can be fun Join the holy orgy Kama Sutra Everyone!! Colored Spade I'm a... Colored Spade, a nigger, a black nigger; A jungle bunny, jigaboo coon, pickaninny mau mau Uncle Tom, Aunt Jemima, Little Black Sambo Cotton pickin', swamp guinea, junk man, shoeshine boy Elevator operator, table cleaner at Horn and

Hardart, Slave voodoo, Zombie, Ubangi lipped Flat nose,tap dancin' Resident of Harlem And President of the United States of Love And President of the United States of Love Shit! (and if you ask him to dinner, you're gonna feed him:) Watermelon; Hominy grits An' shortnin' bread; Alligator ribs Some pig tails; some black eyed peas Some chili; some collard greens And if you don't watch out This boogie man will get you Booooooo! Booooooo! So You Say! Manchester England Manchester, England England Across the Atlantic Sea And I'm a genius, genius I believe in God And I believe that God Believes in Claude That's me... That's me! Claude Hooper Bukowski Finds that it's groovy to hide in a movie Pretends he's Fellini and Antonioni And also his countryman Roman Polanski All rolled into one One Claude Hooper Bukowski Now that I've dropped out Why is life dreary, dreary Answer my weary queary Timothy Leary, Dearie Manchester, England England Across the Atlantic Sea

And I'm a genius, genius I believe in God And I believe that God Believes in Claude That's me... (That's he!) That's me... (That's he!) That's me... Ain't Got No I'm black... I'm black; I'm pink... I'm pink; I'm Rinso White... I'm in-vi-si-ble... SOLO VOICE: Ain't Got No home Ain't Got No shoes Ain't Got No money Ain't Got No class Ain't Got No scarf Ain't Got No gloves Ain't Got No bed Ain't Got No pot Ain't Got No faith Ain't Got No mother Ain't Got No culture Ain't Got No friends Ain't Got No schoolin' Ain't Got No shine Ain't Got No underwear Ain't Got No soap Ain't Got No A-Train Ain't Got No mind Ain't Got No smokes Ain't Got No job Ain't Got No work Ain't Got No coins Ain't Got No pennies Ain't Got No girl/man Ain't Got No ticket Ain't Got No token Ain't Got No God RESPONSE: So Poor Honey Common Hot Cold Beat Busted Catholic Orphan Man Lucky Dumb Dull Bad Dirty Jump Lost it Shit Lazy Fine Broke Beg Horny Hustle Walk Good

(extra verse from London 1993) Ain't Got No father Ain't Got No Tee Vee Ain't Got No pizza Ain't Got No Gallo Ain't Got No sleep Ain't Got No rhythm Ain't Got No books Ain't Got No socks Ain't Got No sex Dead End Dead end Don't walk Keep out Red light Steep cliff Beware Mad dog Blind man Warning land mine High voltage line Don't make a pass Keep of the grass Detour Wet paint Hands off Dead end Sharp curve Steep hill Danger One-way Emergency Exit Only Only Dead Honest Starving Nervous High White Lovely Nasty Ugly

Warning markers hidden Loitering forbitten All trespassers will be shot Claude loves Sheila-- he better love her not Wet paint Hands off Keep out Dead end Men working Dead end No standing Dead end No parking Dead end No smoking Dead end No joking Dead end My friend Sheila Franklin/I Believe In Love It's Joan of Arc Sheila Franklin second semester NYU and she's a protester I believe in love I believe in love I believe in love I believe in love I believe that now is the time For all good men To believe in love I believe that now is the time For all good men to come to the aide of My country tis of thee Sweet land of liberty God saaaaave...

I believe in love... I believe in love I believe in love Don't you believe in love I believe that now is the time For all good men To come to the aide of love I believe in love....Yeah! Ain't Got No (Reprise) What do we want? Peace And when do we want it? Now What do we want? Freedom And when do we want it? Now Peace now freedom now Peace now freedom now Black, white, yellow, red Copulate in a king size bed Black, white, yellow, red Copulate in a king size bed Hell no we won't go Hell no we won't go Peace now, freedom now Peace now, freedom now Peace now, freedom now Peace now, freedom now Peace now, freedom now Peace now, freedom now

Ain't got no grass Ain't got no acid Ain't got no clothes Ain't got no pad Ain't got no apples Ain't got no knife Ain't got no guns Ain't got no garbage Ain't got no draft card Can't take no trip Can't blow my mind You're full of puss You're full of piss We got balls Can't cut you up We got bananas White trash Burned it burned it burned it Ain't got no earth Ain't got no fun Ain't got no bike Ain't got no pimples Ain't got no trees Ain't got no air Ain't got no water City banjo toothpicks shoelaces teachers football telephone records doctor brother sister uniforms machine guns airplanes germs M-1 (bang bang bang) M-2 (bang bang bang) A bombs H bombs

P bombs Q bombs Chinese checks Hindus Bindus Italianos Polacks Germans Youse Jews Ups and downs Vietnam, Johnson, high school, sex, coffee, books, food, scissors, magazines, news, cigarettes, Hollywood, Tuesday Weld, Burton-Taylor, pop art, pop off, popcorn, popsicle, Andy Warpop, pop paper, pop up, Popeye, poppers,England, outer space, astronauts, Jesus, air, air, air, air, air, air, air... Air Welcome! Sulphur dioxide Hello! Carbon monoxide The air, the air is everywhere Breathe deep, while you sleep, Breathe deep! Bless you, alcohol bloodstream Save me, nicotine lung-steam Incense, incense is in the air Breathe deep, while you sleep, Breathe deep! Cat-o-clysmic ectoplasm Fallout, atomic orgasm Vapor and fume At the stone of my tomb Breathing like a sullen perfume Eating at the stone of my tomb. Welcome! Sulphur dioxide Hello! Carbon monoxide The air, the air is everywhere

Breathe deep, while you sleep, Breathe deep! Deep, deep, d-deep-deep, (cough cough) Initials LBJ took the IRT down to 4th street USA When he got there, what did he see? The youth of America on LSD. LBJ, IRTC USA, LSD LSD, LBJ FBI, CIAG, F-B-I-C-I-A L-S-D; Eh-eh-el...Be...Jay I Got Life This is 1968, dearies, not 1948; 1968! What have ya got, 1968? May I ask? What the hell you got, 1968, that makes you so superior? Maaaan gives me such a headache! Well, if you really wanna know, 1948... I Got Life, mother; I got laughs, sister; I got freedom, brother; I got good times, man. I got crazy ways, daughter I got million-dollar charm, cousin I got headaches and toothaches and bad times, too Like you! I got my hair; I got my head I got my brains; I got my ears I got my eyes; I got my nose I got my mouth I got my teeth!

I got my tongue; I got my chin I got my neck; I got my tits I got my heart; I got my soul I got my back I got my ass! I got my arms, I got my hands, I got my fingers, I got my legs; I got my feet, I got my toes I got my liver... Got my blood. I got my guts (I got my guts) I got my muscles (muscles) I Got Life! (Life!) Life! (Life!) Life! (Life!) Life!! Going Down Me and Lucifer; Lucifer and me Like the angel that fell Banished forever to Hell Today have I been expelled From high school heaven Elevator Going Down Going Down; Going Down Everybody Going Down; Going Down; Going Down "High school dropouts, don't give up! Dial oh-R-7 7-3-9-oh for our free booklet... Telling how you can get it at home..." This is my doom, my humiliation October, not June And it's summer vacation Such a disgrace How can I face the nation? Why should this pain Bring me such strange e-la-tion?

Ev'rybody Going Down Going Down; Going Down Everybody Going Down; Going Down; Going Down Emancipation proclamation Oh, Dr. Lincoln My head needs shrinkin' Lu lu lu lu lu lu lu Lucifer and me Doomed from here To e-ter-ni-ty! Ev'rybody Going Down Down, Down; Going Down Everybody Going Down; Down, Down; Going Down Down, Everybody Going Down Down, Everybody Going Down Forgive me if I don't cry It's like the Fourth of July Thank god that angels can fly Down, Down, down Going Down, Down, down Going Down, Down, down Going Down! Hair She asks me why...I'm just a hairy guy I'm hairy noon and night; Hair that's a fright. I'm hairy high and low, Don't ask me why; don't know! It's not for lack of bread Like the Grateful Dead; darling Gimme a head with hair, long beautiful hair Shining, gleaming, steaming, flaxen, waxen Give me down to there, hair! Shoulder length, longer (hair!) Here baby, there mama, Everywhere daddy daddy

CHORUS: Hair! (hair, hair, hair, hair, hair, hair) Flow it, Show it; Long as God can grow it, My Hair! Let it fly in the breeze and get caught in the trees Give a home to the fleas in my hair A home for fleas, a hive for bees A nest for birds, there ain't no words For the beauty, the splendor, the wonder of my CHORUS: Hair! (hair, hair, hair, hair, hair, hair) Flow it, Show it; Long as God can grow it, My Hair I want it long, straight, curly, fuzzy Snaggy, shaggy, ratty, matty Oily, greasy, fleecy, shining Gleaming, steaming, flaxen, waxen Knotted, polka-dotted; Twisted, beaded, braided Powdered, flowered, and confettied Bangled, tangled, spangled and spaghettied! O-oh, Say can you see; my eyes if you can, Then my hair's too short! Down to here, down to there, Down to where, down to there; It stops by itself! doo doo doo doo doot-doot doo doo doot They'll be ga-ga at the go-go when they see me in my toga My toga made of blond, brilliantined, Biblical hair My hair like Jesus wore it Hallelujah I adore it Hallelujah Mary loved her son Why don't my Mother love me? My Conviction You know, kids; I wish every mom and dad would make a speech to their teenagers and say "Kids, be free, be whatever you are, do whatever you want to do, just so long as you don't hurt anybody. And remember kids, I am your friend."

I would just like to say that it is my conviction That longer hair and other flamboyant affectations of appearance are nothing more than the male's emergence from his drab camouflage into the gaudy plumage which is the birthright of his sex. There is a peculiar notion that elegant plumage And fine feathers are not proper for the male When ac--- tually; That is the way things are in most species. Easy To Be Hard How can people be so heartless How can people be so cruel Easy To Be Hard; Easy to be cold Oh, how can people have no feelings How can they ignore their friends Easy to be proud; Easy to say no And especially people who care about strangers Who care about evil and social injustice Do you only care about the bleeding crowd? How about a needing friend? I need a friend... How can people be so heartless You know I'm hung up on you Easy to give in; Easy to help out Oh, and especially people who care about strangers Who care about evil and social injustice Do you only care about the bleeding crowd? How about a needing friend? I need a friend... How can people have no feelings How can they ignore their friends Easy to be hard; Easy to be cold Easy to be proud; Easy to say no.

Don't Put It Down Om mane padme om; Om mane padme on; Folding the flag is taking care of the nation; Folding the flag is putting it to bed for the night; I fell through a hole in the flag, I'm falling through a hole in the flag; Help! Don't Put It Down Best one around! Crazy for the red, blue and white Crazy for the red, blue and white You look at me; What do you see? Crazy for the white, red and blue Crazy for the white, red and blue Cause I look different; You think I'm subversive Crazy for the blue, white and red Crazy for the blue, white and red My heart beats true; for the red, white and blue! Crazy for the blue, white and red Crazy for the blue, white and red and yellow... fringe... Crazy for the blue, white, red and yellow! Frank Mills I met a boy named Frank Mills on September twelfth right here In front of the Waverly But unfortunately; I lost his address He was last seen with his friend A drummer, he resembles George Harrison of the Beatles But he wears his hair Tied in a small bow at the back I love him, but it embarrasses me To walk down the street with him; He lives in Brooklyn...somewhere... and wears this white crash helmet. He has golden chains on his leather jacket and on the back are written the names Mary... and Mom... and Hell's Angels.

I would gratefully appreciate it if you see him,tell him I'm in the park with my girlfriend... and please Tell him Angela and I, don't want the two dollars back; Just him! Hare Krishna/Be-In Hare Krishna Hare Krishna Krishna Krishna Hare Hare Hare Rama Hare Rame Rama Rama Hare Hare Hare Krishna Hare Krishna Krishna Krishna Hare Hare Hare Rama Hare Rame Rama Rama Hare Hare Hare Krishna Hare Krishna Krishna Krishna Hare Hare Hare Rama Hare Rame Rama Rama Hare Hare Love love Love love Love love Love Love Drop out Drop out Drop out Drop out Be in Be in Be in Be in Take trips get high Laugh joke and good bye Beat drum and old tin pot I'm high on you know what Take trips get high Laugh joke and good bye Beat drum and old tin pot I'm high on you know what Take trips get high Laugh joke and good bye Beat drum and old tin pot I'm high on you know what

Marijuana marijuana Juana juana mari mari Marijuana marijuana Juana juana mari mari Beads, flowers, freedom, happiness Beads, flowers, freedom, happiness Beads, flowers, freedom, happiness Beads, flowers, freedom, happiness Burn it Burn it Burn it Burn it Burn it Burn it Burn it Burn it Burn it Burn it Burn it Burn it Burn it Burn it Burn it Burn it Burn it Burn Burn Burn it Burn it Burn Burn Burn it Burn it Burn Burn Burn it Burn it Burn Burn Burn it Aquarius, Aquarius, Aquarius, Aquarius Aquarius, Aquarius, Aquarius, Aquarius Aquarius, Aquarius, Aquarius, Aquarius Where Do I Go? Where Do I Go?; Follow the river Where Do I Go?; Follow the gulls Where is the something Where is the someone That tells me why I live and die? Where Do I Go?; Follow the children Where Do I Go?; Follow their smiles Is there an answer In their sweet faces That tells me why I live and die? Follow the wind song, follow the thunder Follow the neon in young lovers' eyes Down to the gutter, up to the glitter Into the city, where the truth lies.

Where Do I Go?; Follow the children Where Do I Go?; Follow their smiles Is there an answer In their sweet faces That tells me why I live and die? Follow the wind song, follow the thunder Follow the neon in young lovers' eyes Down to the gutter, up to the glitter Into the city, where the truth lies. Where Do I Go?; Follow my heartbeat Where Do I Go?; Follow my hand Where will they lead me? And will I ever Discover why I live and die? ............ I live and die? Why do I live? Why do I die? Tell me why... Tell me where do I go? Tell me why... Tell me where... Tell me why... Tell me where... Tell me why! Electric Blues Tell me who do you love man? Tell me what man? Tell me what's it you love man? An old fashioned melody Tell me what's it that moves you? Tell me what's it that grooves you? An old fashioned melody But old songs leave you dead We sell our souls for bread We're all encased in sonic armor Beltin' it out through chrome grenades Miles and miles of medusan chord The electronic sonic boom

It's what's happening baby it's where it's at daddy They chain ya and brainwash ya When you least suspect it They feed ya mass media The age is electric I got the electric blues I got the electric blues Thwump... rackety... whomp Rock... folk rock... rhythm and blues Electronics explodin'... rackety-clack Thwump... rackety... whomp Plugged in... turned on We're all encased in sonic armor Beltin' it out through chrome grenades Miles and miles of medusan chord The electronic sonic boom It's what's happening baby it's where it's at daddy They chain ya and brainwash ya When you least suspect it They feed ya mass media The age is electric I got the electric blues I got the electric blues Oh Great God of Power/Manchester England (Reprise) Oh great god of power Oh great god of light Oh great god of gas Oh god, Oh god

Where has all the power fled? Where has all the power fled? He is light He is sin He is bone He is air He is He is aquarius He is aquarius Appear, Appear, Appear Manchester England England Across the Atlantic Sea And I'm a genius genius I believe in God And I believe that God Believes in Claude That's he Black Boys Black boys are delicious Chocolate flavored love Licorice lips like candy Keep my cocoa handy I have such a sweet tooth When it comes to love Once I tried a diet of quiet, rest, no sweets But I went nearly crazy And I went clearly crazy Because I really craved for chocolate flavored treats Black boys nutritious Black boys fill me up; Black boys are so damn yummy They satisfy my tummy; I have such a sweet tooth When it comes to love Black, black, black, black, black, black, black, black Black boys!

White Boys White boys are so pretty Skin as smooth as milk White boys are so pretty Hair like Chinese silk. I tell ya, yer White boys give me goose bumps White boys give me chills and when they touch my shoulder That's the touch that kills Well, my momma calls'em lilies But I call'em 'Piccadillies' My daddy told me "Stay Away!" But I say "Come on out & Play!" White boys are so groovy White boys are so tough Every time that they're near me I just can't get enough. White boys are pretty White boys are so sweet White boys drive me crazy Drive me indiscreet White boys are so sexy Legs so long and lean I love those sprayed-on trousers Love the love machine My brother calls'em 'rubble' That's my kind of trouble! My daddy warns me 'No, No, No!" But I say "White boys Go, Go, Go!" White boys are so lovely Beautiful as girls I love to run my fingers And toes through all their curls

Give me a tall a lean, a sexy a sweet, a pretty, a juicy White Boy! Black boys! White boys! Black boys! White boys! Mixed Media! Walking In Space Doors locked (doors locked) Blinds pulled (blinds pulled) Lights low (lights low) Flames high (flames high) My body, (My body), My body My body, (My body), My body My body is Walking In Space My soul is in orbit with God face to face Floating, flipping; Flying, tripping Tripping from Potsville to Starlight Tripping from Starlight to Moonville On a rocket to the Fourth Dimension Total self-awareness, the intention My mind is as clear as country air I feel my flesh, all colors mesh Red, black; Blue, brown Yellow, crimson; Green, orange Purple, pink; Violet, white White, white; white, white White, white... All the clouds are cumuloft, Walking In Space Oh my God, your skin is soft, I love your face How dare they try to end this beauty? How dare they try to end this beauty? To keep us under foot, they bury us in soot Pretending it's a chore, to ship us off to war In this dive we rediscover sensation In this dive we rediscover sensation

Walking In Space, we find the purpose of peace The beauty of life, you can no longer hide Our eyes are open, our eyes are open Our eyes are open, our eyes are open Wide! Wide! Wide! ("Potsville to Starlight" lyric from London 1993 production; Starlight replaces the word "Mainline" in both places, presumably eliminating any connection between marijuana and heroin as well as the inference of marijuana as a gateway to narcotics use. Starlight is also a stronger psychedelic image, thus insinuating hallucinogenic experience instead of the narcotic. The song is, after all, about Claude's acid trip.) Yes I's Finished On Y'All's Farmland Yes, I's finished on y'all's farm land With yo' boll weevils and all, and pluckin' y'all's chickens, fryin' mother's oats in grease. I'sfree now, thanks to yo', Massa Lincoln, emancipator of the slaves. Yes, I's finished on y'all's farm land with yo' boll weevils and all, and pluckin' y'all's chickens, fryin' mother's oats in grease. I's free now, thanks to yo', Massa Lincoln, emancipator of the slaves. Yeah, yeah, yeah, emanci-mother-fuckin-pator of the slaves. Yeah, yeah, yeah, emanci-mother-fuckin-pator of the slaves. Abie Baby Yes; I's finished on y'all Farmland with yo' Boll Weevils and all and pluckin' y'all's chickens, fryin' Mother's oats in grease; I's free now thanks to yo' Massa Lincoln emancipator of the slaves

Yes; I's finished on y'all Farmland with yo' Boll Weevils and all and pluckin' y'all's chickens, fryin' Mother's oats in grease; I's free now thanks to yo' Massa Lincoln emancipator of the slaves Yeah Yeah Yeah Emanci-muthafuckin-pator of the slaves Yeah Yeah Yeah Emanci-muthafuckin-pator of the slaves Slaves? Slaves? Ooh-be-do, whoa, whoa, whoa Four score, I said Four score and seven years ago "Oh, Sock it to'em baby, You're soundin' better all the time!" Our forefathers, I mean ALL our forefathers Brought forth upon this here continent a NEW nation "Oh, come on, Rock me Stokely" Conceived, Conceived like we all was; in liberty, and dedicated-to the-one I-love I mean dedicated to the proposition that ALL men Honey, I tell you ALL men, are created equal. Ooh-be-do, whoa, whoa, whoa Happy Birthday, Abie Baby Happy Birthday to you, Yeah! Happy Bithday, Abie Baby Happy Birthday to you, BANG! Bang? Aww shit, I'm not dyin' for no white man! (Tell it like it is, baby!)

Give Up All Desires/Hail Mary/Roll Call Hello Claude You have bad trip? All you have to do Is give up all desires All you have to do Is say Om Stay home Say Om Nice, very nice And eat lots of fruit and be cute Be happy go lucky Everyone should be Buddha We are all one No more war toys Use high octane And feel the tiger in your tank Hustling is an honest profession Hail Mary full of grace the Lord is with thee Blessed art thou amongst women And blessed is the fruit of the loom Holy Mary Mother of God, pray for us sinners Now and at the hour of our death Three-Five-Zero-Zero Ripped open by metal explosion Caught in barbed wire; fireball, bullet shock Bayonet, electricity, shrapnel, throbbing meat Electronic data processing Black uniforms, bare feet, carbines Mail order rifles shoot the muscles 256 Viet Cong captured... 256 Viet Cong captured...

(first time whispered) Prisoners in Niggertown It's a dirty little war Three-five-zero-zero Take weapons up and begin to kill Watch the long long armies drifting home (sing out!) Oh, Prisoners in Niggertown It's a dirty little war Three-five-zero-zero Take weapons up and begin to kill Watch the long long armies drifting home (let'er rip!) Oh, Prisoners in Niggertown It's a dirty little war Three-five-zero-zero Take weapons up and begin to kill Watch the long long armies drifting home Ripped open by metal explosion Caught in barbed wire; fireball, bullet shock Bayonet, electricity, shrapnel, throbbing meat Electronic data What A Piece Of Work Is Man What A Piece Of Work Is Man How noble in reason How infinite in faculties In form and moving How express and admirable. In action, how like an angel In apprehension how like a god The beauty of the world The paragon of animals

I have of late but wherefore I know not lost all my mirth. This goodly frame The earth seems to me a sterile promontory This most excellent canopy The air-- Look you! This brave o'erhanging firmament This majestical roof Fretted with golden fire. Why it appears no other thing to me Than a foul and pestilent congregation of vapors. What A Piece Of Work Is Man How noble in reason Good Morning Starshine Good Morning Starshine The earth says "hello" You twinkle above us We twinkle below. Good Morning Starshine You lead us along My love and me as we sing Our early morning singin' song Gliddy glub gloopy; Nibby nabby noopy La la la lo lo... Sabba sibby sabba; Nooby abba nabba Le le lo lo... Tooby ooby walla; Nooby abba nabba Early morning singin' song. Good Morning Starshine The earth says "hello" You twinkle above us We twinkle below.

Good Morning Starshine You lead us along My love and me as we sing Our early morning singin' song Gliddy glub gloopy; Nibby nabby noopy La la la lo lo... Sabba sibby sabba; Nooby abba nabba Le le lo lo... Tooby ooby walla; Nooby abba nabba Early morning singin' song. Singin' a song, humming a song Singing a song... Loving a song, laughing a song Singing a song... Sing the song; Song the sing Song song song sing Sing sing sing sing song Song song song sing Sing sing sing sing song (extra verses, London 1993) Good Morning Starshine The universe rings With Milky Way music Our blue planet sings. Good Morning Starshine And someday so strong They'll hear the song we sang Our early morning singin' song

Aquarius Goodnights/Ain't Got No/Yip Up the Sun Aquarius Aquarius Aquarius Aquarius I'm human being number 1,005,963,297 Ain't got no Ain't got no Ain't got no Ain't got no (bang) Ain't got no (bang) Ain't got no (bang) Ain't got no (bang) Ain't got no (bang) Ain't got no Boom Boom Beep Beep Boom Gowa Flowa Powa Boom Boom Beep Beep Boom Gowa Flowa Powa Hell no we won't go Hell no we won't go Do not enter induction center Do not enter induction center Yip Yip Yip Yip Yip Yip Yip Yip Yip Yip Yip Yip Yip Yip Yip Yip What are the hell are we fighting for? Make love not war Black, white, yellow, red Copulate in a king size bed Yip Yip Yip Yip Yip Yip Yip Yippie Yip Yip Yip Yip Yip Yip Yip Yippie Claude? Claude? CLAUDE? I'm right here, like it or not they got me.

The Bed Oh the bed Oooh the bed Ahhh the bed Oh the bed Mmmm the bed I love the bed You can lie in bed You can lay in bed You can die in bed You can pray in bed You can live in bed You can laugh in bed You can give your heart Or break your heart in half in bed You can tease in bed You can please in bed You can squeeze in bed You can freeze in bed You can sneeze in bed Catch the fleas in bed All of these Plus eat crackers and cheese in bed Oh the bed is a thing Of feather and spring Of wire and wood Invention so good Oh the bed comes complete With pillow and sheet With blanket electric And breath antiseptic Let there be sheets Let there be beds Foam rubber pillows Under our heads Let there be sighs Filling the room Scanty pajamas By Fruit of the Loom

You can eat in bed You can beat in bed Be in heat in bed Have a treat in bed You can rock in bed You can roll in bed Find your cock in bed Lose your soul in bed You can lose in bed You can win in bed But never never never never Never never never never Never never never Never can you sin in bed! The Flesh Failures/Let The Sunshine In We starve; look; at one another, short of breath walking proudly in our winter coats Wearing smells from laboratories Facing a dying nation Of moving paper fantasy Listening for the new told lies With supreme visions of lonely tunes Somewhere inside something there is a rush of greatness Who knows what stands in front of Our lives I fashion my future on films in space Silence tells me secretly Everything; Everything... Manchester England, England Manchester England, England Across the Atlantic Sea... And I'm a genius genius, I believe in God And I believe that God Believes in Claude That's me, that's me... that's me... ..The rest is silence...the rest is silence..

We starve; look; at one another, short of breath walking proudly in our winter coats Wearing smells from laboratories Facing a dying nation Of moving paper fantasy Listening for the new told lies With supreme visions of lonely tunes Singing; our space songs on a spider web sitar Life is around you and in you Answer for Timothy Leary, Dearie Let the sunshine Let the sunshine in The sunshine in...

How HAIR Came to Broadway HAIR was created by James Rado and Gerome Ragni, two out-of-work actors who, according to Rado, "were aware of the traditional Broadway format, but we wanted to create something new, something different, something that translated to the stage the wonderful excitement we felt in the streets." This "excitement" was that of the long-haired, peace-loving, freewheeling hippies of New York's East Village. According to Rado, "[We] intended HAIR for Broadway. [We] knew that's where it belonged and offered it to many of the established uptown producers. It was rejected again and again." Naturally they were delighted when producer Joseph Papp approached them and proposed that HAIR become the very first production at the under-construction New York Shakespeare Festival Public Theater for a limited run of six weeks. Papp had liked HAIR's premise, and suggested that Rado and Ragni develop a score. This led to the entrance of Galt MacDermot, who familiarized himself with the hippie culture and music in order to compose the score for the show. HAIR opened at the Public Theater on October 17, 1967. However, that run soon came to an end, with no new venue in sight. That's when Michael Butler entered the picture. He had seen HAIR at the Shakespeare Public Theater and loved it. He decided to become involved in the production; jointly he and Papp moved HAIR to a disco, Cheetah. Geographically, HAIR had reached Broadway -- Cheetah was located in the spot where the Roundabout Theater is today, on Broadway between 45th and 46th Streets. Because Cheetah was still a working disco, HAIR had to start performances early in the night (7 pm curtain, with no intermission) to clear the floor in time for the dance crowd. Eventually, due to financial troubles, HAIR had to close. However, the production staff still wanted to see their show succeed on Broadway. To keep HAIR alive, Butler first tried working in concert with Papp: "Papp and I discusseed a first class coproduction. We made a deal and then Papp changed the terms. He did not believe in its future. So I went it alone." In the meantime, the authors had revised HAIR's book and music. They said, "We want to shut down, go into rehearsal again with the new script and new songs and with a new director." After negotiations between the authors and Butler, final changes were agreed upon. Tom O'Horgan agreed to become the new director. Butler also insisted James Rado take over the role of "Claude." O'Horgan took three months to recast and rework the show. HAIR rehearsals took place at the Ukranian Hall in the East Village, yet no performace space was to be had. Finally, Butler was able to strike a deal with the owner of the Biltmore Theater, located on 47th Street. HAIR moved into its new home. The show opened on Broadway at the Biltmore Theater on April 29, 1968. It closed on July 1, 1972 after 1,742 performances.

There was an unsuccessful revival of HAIR in October 1977 which closed after 43 shows. Today, HAIR is performed all over the world -- which demonstrates that peace, love, freedom, and happiness are never out-of-date! Court Battles Surrounding HAIR HAIR's "controversial" subject matter and presentation made it vulnerable to attempts to censor performances across the country. Two prominent cases of such took place in Boston, Massachusetts in 1970 and Chattanooga, Tennesee in 1975. Boston: The trouble in Boston began when District Attorney Garret Byrne tried to shut down the production of HAIR for questionable content, claiming that HAIR desecrated the American Flag and was a "lewd and lascivious" show. HAIR was due to open at the Wilbur Theater on February 20, 1970, but the DA's office meant to have it cancelled. Gerald Berlin, one of the lawyers for HAIR's producers, went to the State Supreme Court to allow the production to open in the midst of the court proceedings. This case went to the Supreme Judicial Court of Massachusetts. The Court found that the show, "constitutes ... an obscure form of protest protected under the First Amendment." The court ruled that the Boston performances should be allowed to continue if the following conditions were met: 1. "To have each member of the cast clothed to a reasonable extent at all times, and 2. To eliminate completely all simulation of sexual intercourse or deviation." The Court made no ruling on the "misuse of the national flag" issue. Unwilling to alter the content of the show, the cast of HAIR closed down the show on April 10, 1970, in protest of the ruling. The cast faced arrest if they appeared on stage nude. Berlin said about the closing, "I didn't want to advise them to go on with the show and risk jail. It's a serious offense if the convictions were to hold up." A note of support from the Actors' Equity Association was sent to the cast of HAIR in Boston on April 14, 1970: "The Council of Actors' Equity Association representing all 17,000 performers in the field of theatre throughout the United States and Canada wishes to express to you its profound shock and dismay over the repressive and capricious action by local and state authorities in closing down the Boston production of "Hair." Censorship is to us an abomination; closing a play for its content, for its ideas, for its setting (even if that setting displays an American flag - since when was there a valid degree as to who would be allowed to display it?) - all this is directly contrary to freedom of expression, freedom of speech, freedom of the arts to flourish. We say: beware; when men can do as they have done in Boston then bookburning cannot be far behind.

THEODORE BIKEL Presiding Officer" The Massachusetts State Supreme Court's decision was appealed to the U.S. Supreme Court; however, that court did not clear the way for HAIR to reopen (without threat of criminal action) until May 22, 1970. The vote to reopen HAIR was a 4-4 tie. Chattanooga: When Southeastern Promotions, Ltd., tried to produce HAIR in Chattanooga, they were met with opposition from the managing board of the municipal city theater. The board rejected the proposal on the grounds that it would not be, "in the best interest of the community." The company stated that this was a violation of their First Amendment rights to free speech. The board stated they did not feel the musical's producers were entitled to First Amendment protection due to the fact that the show contained "obscene" content. This case went to the U.S. Supreme Court. The Court refused to weigh the matter on whether or not the show was obscene but rather, considered only the procedures used by the board to reject the show as well as the subsequent actions. The Public's Backlash against HAIR Jacob Bush American Musical Theatre John Bush Jones December 4, 1995 The introduction of the musical HAIR to the American public caused quite a stir. The use of rock music in a musical quite went against the traditional showtunes that Americans were used to. This, coupled with open nudity and desecration of the American flag on-stage served to anger many, and made HAIR a battle-cry for proponents of the First Amendment of the Constitution of the United States. First, one must understand the history of HAIR before it was brought on the road and served up to the American public, as opposed to simply being a NYC phenomenon. HAIR first opened on December 2, 1967, at the Shakespeare Public Theatre, an off-Broadway theatre in downtown New York City (141; The Age of HAIR; Horn, Barbara Lee). Despite back-stage bickering among the writers and producers during the Public run, HAIR got mixed reviews. Some critics balked at the use of nudity and topics of "Sodomy" (one of the songs from the Public performance, as well as claims of unpatriotism and flag desecration in a theatrical setting. After an eight-week run at the Public, the production was moved to The Cheetah, what amounted to a disco club on Forty-Fifth and Broadway (p. 38, Horn). HAIR found itself moving both physically and mentally closer to Broadway. The produces hoped that the style of HAIR, one of social rebellion, would click with those frequenting the Cheetah. The Cheetah also held 700 people, as opposed to the Public's 300 (p. 38). The added ticket sales and exposure were hoped -by the producers and directors -- to boost the show. "As a temporary way-station, the Cheetah served its purpose, but as the show's permanent abode, it left much to be desired." (p. 38, Horn)

Unfortunately, the simplicity of the on-stage dance steps compared to the new disco steps being done on the dance floor, coupled with horrendous acoustics in the Cheetah, served to make it a poor run. It soon became apparent that a decision had to be made: whether to drop HAIR and not attempt to bring it to the limelight on Broadway, or to make the jump to that famed street. The appearance on the scene of Michael Butler decided the question for those involved; HAIR was going to Broadway. Michael Butler came from the well-established Butler family of Chicago. He had delved into the world of politics, working for such people as JFK and one-time IL governor Otto Kerner. However, "as a producer, Michael Butler is best known as the force who brought HAIR from the Shakespeare Free Theatre to Broadway." "He (Butler) had seen HAIR at the Shakespeare Public Theatre and loved it. He decided to produce the show, and brought in a new director, Tom O'Horgan." This new director tore HAIR apart, and took three months to redo and rework the play in order for it to be ready for Broadway. Finally, HAIR appeared with nineteen songs in the first act, as opposed to nine in the Public production. The order of songs had been changed, as well; the new production had "Aquarius" as the opening number, using it to introduce all of the characters. HAIR was seen by some, including its second director, O'Horgan, to be a revival of Broadway, which he viewed to be theatrically dead. "It's almost an attempt to give Broadway mouth-tomouth resuscitation," O'Horgan is quoted as saying in souvenir program from the Biltmore, HAIR's on-Broadway home following the Cheetah run. (p. 52, Horn) HAIR did very well in certain locales in the United States, including Chicago, Los Angeles, and San Francisco. However, when it tried to run in places like Boston; Chattanooga, TN; Washington, D.C.; and St. Paul, MN, there was an outcry against it. Citizens protested productions of the musical in St. Paul, but they were unable to shut down productions of it. "On opening night, a frustrated clergyman released eighteen white mice into the lobby, hoping to frighten the audience. His actions went unnoticed, and the show enjoyed a warm reception in Minnesota." (101, Horn) Several different groups turned out in Washington, including the Smite Smut League, the Gay Liberation Front, and political organizations. (p. 101, Horn) However, the appearance of such people as Henry Kissinger at the Washington performances showed a brighter side to Washington's initial disgust with the musical. "Congress shall make no law... abridging the freedom of speech." This is what the First Amendment explicitly says. However, some felt it necessary to supersede that guaranteed freedom by prohibiting HAIR from being performed in various places throughout the country. Boston was by far one of the worst hit by anti-HAIR furor. Ticket sales exceeded $600,000 in advance, but a district attorney in Boston saw a preview and decided that it was unfit to play in Boston. He had seven judges of the Massachusetts Supreme Court watch a preview performance, and these seven agreed with him, issuing a restraining order against the cast and crew of HAIR. The company was ultimately ordered to revise the show to put clothes on the nude scene and doing away with the skit entailing desecration of the American flag. Michael Butler, the producer of the show, refused to change anything, and brought the case before the United States Supreme Court. The majority opinion in the case stated that such restrictions would have "a chilling effect on the right of free expression." (102, Horn) Authorities in Chattanooga, TN, seemed even more hell-bent on preventing HAIR from appearing in their fair city; not even previews were allowed to occur in Chattanooga. This ban

was based solely on the musical's reputation, and not on anything that anyone had seen firsthand. (102, Horn) The US Supreme Court again saw the tribe of HAIR among them, and this time ruled that although HAIR may have broken Chattanooga's anti-obscenity laws, the authorities had exercised "unlawful prior restraint" in their handling of the case. (103. Horn) The cases in Boston and Chattanooga, and their subsequent appearances before the United States Supreme Court, were very strong cases for proponents of the First Amendment. The highest court in the land had upheld the American public's right to freedom of speech, and perhaps more importantly, the right to exercise that freedom in a forum as public as the theatre. In Chattanooga, the company of HAIR wanted to perform at a municipal theatre known as Chattanooga Memorial Auditorium. As a municipal theatre, this was supposedly a forum open to anyone who wanted to use the facilities. "Shortly after receiving Southeastern's application, the directors met, and, after a brief discussion, voted to reject it. None of them had seen the play or read the script, but they understood from outside reports that the musical, as produced elsewhere, involved nudity and obscenity on stage." This was according to US Supreme Court documents on the case of "Southeastern Promotions, Ltd. V. Conrad et al," Southeastern's case against the directors of the Memorial Theatre. The evidence used against HAIR was damning in terms of obscenity law. The biography for one actress stated in the program from the Biltmore "Hobbies are picking my nose, fucking, smoking dope, astro (astral) projection. All that I am or ever hope to be, I owe to my mother." The defense also cited a passage from a song in the score. "Sodomy, fellatio, cunnilungus, pederasty - father, why do these words sound so nasty? Masturbation can be fun. Join the holy orgy, kama sutra, everyone." Fortunately for the plaintiff, the case was not about obscenity. The company of HAIR could have very easily lost the fight if they were contending that their show did not violate anti-obscenity laws. However, this was not the fight. Southeastern Promotions was fighting for its freedom of speech and for the freedom of speech of the performers, all of which was granted in the Constitution. On these grounds, the US Supreme Court ruled that the production could be staged. Despite, or perhaps because of, the stir that HAIR created when it swept the country, it had a lasting impact on American Musical Theatre as a whole, ushering in thetimes for later rock operas such as Godspell and Jesus Christ, Superstar. These further works could not have been possible without HAIR's trailblazing efforts on the paths of freedom of speech and rock operas. http://www.geocities.com/hairpages/hairhistory.html

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