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- For information about the 1979 film of this musical, see Hair (film).
.^ Eventually, however, the music takes on a warm lyricism reminiscent of Italian progressive rock a few years earlier, though distinguished by Spanish vocals - both solo male and mixed ensemble in a post- Hair musical style - and some borrowings from South American popular musics.- New Gibraltar Encyclopedia of Progressive Rock TH-TI 23 September 2009 9:27 UTC www.gepr.net [Source type: General]
.^ Being against the Vietnam War I had contact with many anti-war Christians.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
.^ Sure, many Americans favor police action against drug use, but what is the nature of this "favor"?- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[1] The musical broke new ground in
musical theatre by defining the genre of "rock musical", using a racially integrated cast, and inviting the audience onstage for a "
Be-In" finale.
[2]
.^ [This passage has an interesting gathering of the players: it starts to tell a story of how the determinism of science is against the freedom of mysticism -- though historically, gnosticism was deterministic.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ Being against the Vietnam War I had contact with many anti-war Christians.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ He is thought to have lived a long life, dying during the reign of the Emperor Nerva (96-98).- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
Claude, his good friend Berger, their roommate Sheila and their friends struggle to balance their young lives, loves and the sexual revolution with their rebellion against the war and their conservative parents and society. Ultimately, Claude must decide whether to
resist the draft as his friends have done, or to compromise his
pacifistic principles and risk his life by serving in Vietnam.
After an
off-Broadway debut in October 1967 at
Joseph Papp's
Public Theater and a subsequent run in a
midtown discothèque space, the show opened on
Broadway in April 1968 and ran for 1,750 performances. Simultaneous productions in cities across the United States and Europe followed shortly thereafter, including a successful London production, which ran for 1,997 performances. Since then, numerous productions have been staged around the world, spawning dozens of recordings of the musical. Some of the songs from its score became
Top 10 hits, and a
feature film adaptation was released in 1979. A Broadway revival opened on March 31, 2009, earning strong reviews and winning the
Tony Award and
Drama Desk Award for best revival of a musical. In 2008,
Time magazine wrote, "
.^ Even when they weren't high, their experience, as they related it to me, was more intense, exciting, and real than anything they had seen in straight society.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[3]History
Hair was conceived by actors
James Rado and
Gerome Ragni.
.^ In addition, two other difficulties are presented by the surviving writings: the deliberately ambiguous language in which they are written and the problem of determining their authorship.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ The two groups of treatises seem never to have been brought together, and they followed different paths of transmission.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
Their close relationship, including its volatility, was reflected in the musical. Rado explained, "We were great friends. It was a passionate kind of relationship that we directed into creativity, into writing, into creating this piece. We put the drama between us on stage."
[7]
Rado described the inspiration for
Hair as "a combination of some characters we met in the streets, people we knew and our own imaginations.
.^ What the Church did care about was preserving people's belief that the Church was truly the arm of God and infallible like God and thus could dictate whether one were forgiven or not -- conditional upon how much material wealth one gave to the Church.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ I have written a lot about this at the site, for those who want to do the work to read my early attempts at explanation.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ How about a list of people who are not martyrs, but counterexamples disproving that drug use is destruction: .- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
We hung out with them and went to their
Be-Ins [and] let our hair grow."
[8] Many cast members (
Shelley Plimpton in particular) were recruited right off the street.
[2] Rado said, "It was very important historically, and if we hadn't written it, there'd not be any examples. You could read about it and see film clips, but you'd never
experience it. We thought, 'This is happening in the streets,' and we wanted to bring it to the stage."
[4]Rado and Ragni came from different artistic backgrounds. In college, Rado wrote musical
revues and aspired to be a Broadway composer in the
Rodgers and Hammerstein tradition. He went on to study acting with
Lee Strasberg.
.^ Plotinus can be seen as trying to carve out a middle path between the ruthless determinism of the Gnostics, on the one hand, and the radical voluntarism of the orthodox Christians, on the other .- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[9] He introduced Rado to the modern theatre styles and methods being developed at The Open Theater.
[10] .^ Being against the Vietnam War I had contact with many anti-war Christians.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
In addition to the war theme,
Viet Rock employed the improvisational exercises being used in the experimental theatre scene and later used in the development of
Hair.
[6][11]Rado and Ragni brought their drafts of the show to producer Eric Blau who, through common friend
Nat Shapiro, connected the two with Canadian composer Galt MacDermot.
[12] MacDermot had won a
Grammy Award in 1961 for his composition "African Waltz" (recorded by
Cannonball Adderley).
[13] The composer's lifestyle was in marked contrast to his co-creators: "I had short hair, a wife, and, at that point, four children, and I lived on
Staten Island."
[8] "I never even heard of a hippie when I met Rado and Ragni."
[4] But he shared their enthusiasm to do a rock and roll show.
[4] "We work independently," explained MacDermot in May 1968. "I prefer it that way. They hand me the material. I set it to music."
[14] MacDermot wrote the first score in three weeks,
[7] starting with the songs "I Got Life", "Ain't Got No", "Where Do I Go" and the title song.
[2] He first wrote "Aquarius" as an unconventional art piece, but later rewrote it into an uplifting anthem.
[7]Off-Broadway productions
The creators pitched the show to
Broadway producers and received many rejections. Eventually
Joe Papp, who ran the
New York Shakespeare Festival, decided he wanted
Hair to open the new
Public Theater (still under construction) in New York City's
East Village. The musical was Papp's first non-
Shakespeare offering.
[4] .^ If this process takes place in just the right fashion, the material going through it can break out of the cycle of death and rebirth and achieve immortality—it can become gold.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
The director,
Gerald Freedman, the theater's associate artistic director, withdrew in frustration during the final week of rehearsals and offered his resignation. Papp accepted it, and the choreographer
Anna Sokolow took over the show.... After a disastrous final dress rehearsal, Papp wired Mr. Freedman in Washington, where he'd fled: 'Please come back.' Mr. Freedman did."
[15]Hair premiered
off-Broadway at the Public on October 17, 1967 and ran for a limited engagement of six weeks. The lead roles were played by Walker Daniels as Claude, Ragni as Berger, Jill O'Hara as Sheila, Steve Dean as Woof,
Arnold Wilkerson as Hud,
Sally Eaton as Jeanie and Shelley Plimpton as Crissy.
[16] Set design was by
Ming Cho Lee, costume design by Theoni Aldredge, and although Anna Sokolow began rehearsals as choreographer, Freedman received choreographer credit.
[17] Although the production had a "tepid critical reception", it was popular with audiences.
[15]
Chicago businessman
Michael Butler was planning to run for the
U.S. Senate on an anti-war platform. After seeing an ad for
Hair in
The New York Times that led him to believe the show was about
Native Americans, he watched the Public's production several times and decided to purchase the rights and move it to Broadway.
[8] Papp and Butler first moved the show to
The Cheetah, a discothèque at 53rd Street and Broadway. It opened there on December 22, 1967
[18] and ran for 45 performances.
[2] There was no nudity in either the Public Theater or Cheetah production.
[1]Revision for Broadway
Before the move to Broadway, the creative team hired director
Tom O'Horgan, who had built a reputation directing experimental theater at the
La MaMa Experimental Theatre Club. He had been the authors' first choice to direct the Public Theater production, but he was in Europe at the time.
[19] Newsweek described O'Horgan's directing style as "sensual, savage, and thoroughly musical... [he] disintegrates verbal structure and often breaks up and distributes narrative and even character among different actors.... He enjoys sensory bombardment."
[20]Hair underwent a thorough overhaul between its closing at the Cheetah in January 1968 and its Broadway opening three months later. The Off-Broadway book, already light on plot, was loosened even further, and
13 new songs were added.
[21] The song "Let the Sun Shine In" was added so that the ending would be more uplifting.
[7] .^ They have tried to achieve wealth by using the techniques of alchemy (as well as they know them) without any of the theories that are indispensible for carrying out the work.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[22] O'Horgan and new choreographer Julie Arenal encouraged freedom and spontaneity in their actors, introducing "an organic, expansive style of staging" that had never been seen before on Broadway.
[4] .^ Lies told by prohibitionists of entheogens are certainly a major, central part of the Beast -- see booklet The War on Drugs and the Rise of Anti-Christ.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ Origen sought to merge ideas from these two camps into a single, simply unified system.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[4] O'Horgan had used nudity in many of the plays he directed, and he helped integrate the idea into the fabric of the show.
[2]
Papp declined to pursue a Broadway production, and so Butler produced the show himself. For a time it seemed that Butler would be unable to secure a Broadway theater, as the Shuberts, Nederlanders and other theater owners deemed the material too controversial. However, he pulled some political strings through family connections and convinced theater owner David Cogan to make the
Biltmore Theatre available.
[23]Synopsis
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- Act I
Claude, the nominal leader of the "tribe", sits center stage as the tribe mingles with the audience. Tribe members Sheila, a
New York University student who is a determined
political activist, and Berger, an irreverent free spirit, cut a lock of Claude's hair and burn it in a receptacle. After the tribe converges in slow-motion toward the stage, through the audience, they begin their celebration as children of the Age of Aquarius ("Aquarius"). Berger removes his trousers to reveal a loincloth. Interacting with the audience, he introduces himself as a "psychedelic teddy bear" and reveals that he is "looking for my Donna" ("Donna").
The tribe recites a list of pharmaceuticals, legal and illegal ("Hashish"). Woof, a gentle soul, extols several sexual practices ("Sodomy") and says, "I grow things." He loves plants, his family and the audience, telling the audience, "We are all one." Hud, a militant
African-American, is carried in upside down on a pole. He declares himself "president of the United States of love" ("Colored Spade").
.^ In that experience, the Kathopanishad saying, that the Atman is realized by him whom It chooses is clearly brought out.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
.^ The thing they needed to learn was that no one was ‘worthy’ nor could anyone be made worthy on the basis of their actions.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ In his 20's, Augustine says, he consulted "those imposters, the astrologers, because I argued that they offered no sacrifices and said no prayers to any spirit to aid their divination."- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
Four African-American tribe members recite street signs in symbolic sequence ("Dead End").
Sheila is carried onstage ("I Believe in Love") and leads the tribe in a protest chant. The tribe reprises "Ain't Got No (Grass)". Jeanie, an eccentric young woman, appears wearing a gas mask, satirizing pollution ("Air"). She is pregnant and in love with Claude. Although she wishes it was Claude's baby, she was "knocked up by some crazy speed freak". The tribe link together LBJ (President
Lyndon B. Johnson), FBI (the
Federal Bureau of Investigation), CIA (the
Central Intelligence Agency) and
LSD ("Initials"). Six members of the tribe appear dressed as Claude's parents, berating him for his various transgressions – he doesn't have a job, and he collects "mountains of paper" clippings and notes.
.^ In that experience, the Kathopanishad saying, that the Atman is realized by him whom It chooses is clearly brought out.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ By leading a virtuous life—which they defined in almost Pythagorean terms: ascetic, temperate, contemplative—they would obtain the reward of communion with the heavens .- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ What a man taketh in does not cause him to sin; what comes out of a man is sin.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
After handing out imaginary pills to the tribe members, saying the pills are for high profile people such as
Richard Nixon,
the Pope, and "
Alabama Wallace", Berger relates how he was expelled from high school ("Goin' Down"). Claude returns from his
draft board physical, which he passed. He pretends to burn his Vietnam War draft card, which Berger reveals as a library card. Claude agonizes about what to do about being drafted.
.^ Two such works, one theoretical and one practical, provided later astrologers with precisely the justification they needed to study this art.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
.^ But you'll never be free, no no .- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ There is no need to pay anyone for religious or philosophical fulfillment, since the fulfilment is already freely available in the form of plants.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ When the truth as you stated dawns, the ego is also dissolved and, yes indeed the prakR^iti responds to the situation in demand as long as the play of prakR^iti is there.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
She observes that long hair is natural, like the "elegant plumage" of male birds ("My Conviction"). She opens her coat to reveal that she's a man in
drag. As the couple leaves, the tribe calls her
Margaret Mead.
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Sheila gives Berger a yellow shirt. He goofs around and ends up tearing it in two.
.^ For an academic, perhaps the best evidence of the power of this new industry is the number of his colleagues who seem to spend more time listening to hard rock and watching music videos than reading poetry .- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
Jeanie summarizes everyone's romantic entanglements: "I'm hung up on Claude, Sheila's hung up on Berger, Berger is hung up everywhere. Claude is hung up on a cross over Sheila and Berger." The tribe runs out to the audience with fliers inviting them to a
Be-In. Berger, Woof and another tribe member pay satiric tribute to the American flag as they fold it ("Don't Put it Down"). After young and innocent Crissy describes "Frank Mills", a boy she's looking for, the tribe participates in the "Be-In". The men of the tribe burn their draft cards. Claude puts his card in the fire, then changes his mind and pulls it out. He asks, "where is the something, where is the someone, that tells me why I live and die?" ("Where Do I Go"). The tribe emerges naked, intoning "beads, flowers, freedom, happiness."
- Act II
Four tribe members have the "Electric Blues". After a black-out, the tribe enters worshiping "Oh Great God of Power."
.^ The other theory of the origin of the name is based on the Egyptian word khime (or chem ), which meant "black," and was used to describe the land or people of Egypt, land of the black soil.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ He spoke out against the common practice of animal sacrifice, saying that if people were good the gods would favor them, but if they were not no amount of bribery in the form of animal sacrifices, gifts of jewels and the like would change the minds of the gods.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
Three white women of the tribe tell why they like "Black Boys" ("black boys are delicious..."), and three black women of the tribe, dressed like
The Supremes, explain why they like "White Boys" ("white boys are so pretty...").
Berger gives a joint to Claude that is laced with a
hallucinogen. Claude starts to trip as the tribe acts out his visions ("Walking in Space"). He hallucinates that he is skydiving from a plane into the jungles of Vietnam. Berger appears as General
George Washington and is told to retreat because of an Indian attack. The Indians shoot all of Washington's men. General
Ulysses S. Grant appears and begins a roll call:
Abraham Lincoln (played by a black female tribe member),
John Wilkes Booth,
Calvin Coolidge,
Clark Gable,
Scarlett O'Hara,
Aretha Franklin, Colonel
George Custer.
.^ This is because all this while Paul Brunton had been waging an inner battle, suddenly (what you have called as heart becoming pure), one by one he loses sense of his body, mind and the intellect.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ In fact many charge all determinism with such an implication of godlessness because, they say, it makes ethics meaningless.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ If one is insane, it is other people who will notice it, not you; If you are anxious, *you* will notice it, other people may or may not.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
Booth shoots Lincoln, but Lincoln says to him, "I ain't dying for no white man".
As the visions continue,
four Buddhist monks enter.
.^ And they are not alone, either: [Rom 14]:[2] For one believeth that he may eat all things: another, who is weak, eateth herbs.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
Three Catholic nuns strangle the
three remaining Buddhist monks.
Three astronauts shoot the nuns with
ray guns.
Three Chinese people stab the astronauts with knives.
Three Native Americans kill the Chinese with bows and tomahawks.
Three green berets kill the Native Americans with machine guns and then kill each other. A Sergeant and two parents appear holding up a suit on a hanger. The parents talk to the suit as if it is their son and they are very proud of him. The bodies rise and play like children. The play escalates to violence until they are all dead again.
.^ Given that we have two sets of Pauline writings - the first, authentic, mystic ones and the later, fake, literalist-Jesus ones (see The Jesus Mysteries) -- I might agree with this sequence of writing: .- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ They act infallible, but when the little lies about cannabis are exposed, so does their credibility for the *entire* set of laws about all recreational drugs.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
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After the trip, Claude says "I can't take this moment to moment living on the streets.... I know what I want to be... invisible". As they "look at the moon" Sheila and the others enjoy a light moment ("
Good Morning Starshine"). The tribe pays tribute to an old mattress ("The Bed"). Claude is left alone with his doubts. He leaves as the tribe enters wrapped in blankets in the midst of a snow storm. They start a protest chant and then wonder where Claude has gone. Berger calls out "Claude! Claude!"
.^ In his 20's, Augustine says, he consulted "those imposters, the astrologers, because I argued that they offered no sacrifices and said no prayers to any spirit to aid their divination."- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
Claude says, "like it or not, they got me."
Claude and everyone sing "Flesh Failures". The tribe moves in front of Claude as Sheila and Dionne take up the lyric. The whole tribe launches into "Let the Sun Shine In", and as they exit, they reveal Claude lying down center stage on a black cloth. During the curtain call, the tribe reprises "Let the Sun Shine In" and brings audience members up on stage to dance.
(Note: This plot summary is based on the original Broadway script. The script has varied in subsequent productions.)
Early productions
Broadway
Hair opened on Broadway at the
Biltmore Theatre on April 29, 1968. The production was directed by Tom O'Horgan and choreographed by Julie Arenal, with set design by
Robin Wagner, costume design by Nancy Potts, and lighting design by
Jules Fisher. The original Broadway "tribe" (i.e., cast) included authors Rado and Ragni, who played the lead roles of Claude and Berger, respectively, and Lynn Kellogg as Sheila, Lamont Washington as Hud, Sally Eaton and Shelley Plimpton reprising their off-Broadway roles as Jeanie and Crissy,
Melba Moore as Dionne, Steve Curry as Woof,
Ronnie Dyson (who sang "Aquarius"),
Paul Jabara and
Diane Keaton (both Moore and Keaton later played Sheila).
[24] Among the performers who appeared in
Hair during its original Broadway run were
Ben Vereen,
Keith Carradine,
Barry McGuire,
Ted Lange,
Meat Loaf, Kenny Seymour (of
Little Anthony and The Imperials),
Joe Butler (of the
Lovin' Spoonful), Peppy Castro (of the
Blues Magoos),
Robin McNamara, Heather MacRae (daughter of
Gordon MacRae),
Eddie Rambeau,
Vicki Sue Robinson,
Beverly Bremers and
Kim Milford.
[24]
The
Hair team soon became embroiled in a lawsuit with the organizers of the
Tony Awards.
.^ Michael Grant, The World of Rome (New York: Mentor Books, 1960), p.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[26] At the 1969 Tonys,
Hair was nominated for
Best Musical and
Best Director but lost out to
1776 in both categories.
[27] The production ran for four years and 1,750 performances, closing on July 1, 1972.
[24]Early regional productions
The
West Coast version played at the
Aquarius Theatre on
Sunset Boulevard in
Los Angeles beginning about six months after the Broadway opening and running for an unprecedented two years. The Los Angeles tribe included Rado, Ragni,
Robert Rothman, Ben Vereen (who replaced Ragni), Red Shepard,
Ted Neeley (who replaced Rado),
Meat Loaf,
Gloria Jones,
Táta Vega,
Jobriath,
Jennifer Warnes, and
Dobie Gray.
[5]There were soon nine simultaneous productions in U.S. cities, followed by national tours.
[5][28] Among the performers in these were
Joe Mantegna,
André DeShields, and
Alaina Reed (Chicago),
[29] David Lasley,
David Patrick Kelly and
Shaun Murphy (Detroit),
[30] Arnold McCuller (tour),
[31] Bob Bingham (Seattle)
[32] and
Philip Michael Thomas (San Francisco).
[33] .^ From 1969 to 1982, I worked as a probation officer in Los Angeles County, California.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ There were other canonical and non-canonical books as well, but all of these works have survived only in fragments, some of them quite long, though.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ But it is not only the initiation of the alchemist that was described in these early works, it is the initiation of matter itself.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
One notable addition to the team in Los Angeles was
Tom Smothers, who served as co-producer.
[34] Regional casts consisted mostly of local actors, although a few Broadway cast members reprised their roles in other cities.
[35] .^ Ostanes was mentioned along with Zoroaster in a number of texts from the Hellenistic world, and whether or not such a person really existed, the texts show the influence of Zoroastrian ideas.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[35]It was rare for so many productions to run simultaneously during an initial Broadway run.
.^ Being against the Vietnam War I had contact with many anti-war Christians.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[36]West End
Hair opened at the
Shaftesbury Theatre in London on September 27, 1968 with the same creative team as the Broadway production. The opening night was delayed until the abolition of
theatre censorship in England under the
Theatres Act 1968.
[37] As with other early productions, the London show added a sprinkling of local allusions and other minor departures from the Broadway version.
[38]
The original London tribe included
Sonja Kristina,
Paul Nicholas,
Richard O'Brien, Melba Moore,
Elaine Paige,
Paul Korda,
Marsha Hunt,
Floella Benjamin,
Alex Harvey ,
Oliver Tobias, J. Vincent Edwards and
Tim Curry. This was Curry's first full-time theatrical acting role, where he met future
Rocky Horror Show collaborator O'Brien.
[39] Hair's engagement in London surpassed the Broadway production, running for 1,997 performances
[38] until its closure was forced by the roof of the theatre collapsing in July 1973.
[40]Early international productions
The job of leading the foreign language productions of
Hair was given to
Bertrand Castelli, Butler's partner and executive producer of the Broadway show.
[41] Castelli was a writer/producer who traveled in Paris art circles and rubbed elbows with
Pablo Picasso and
Jean Cocteau. Butler described him as a "crazy showman... the guy with the business suit and beads".
[42] Castelli made the decision to do the show in the local language of each country at a time when Broadway shows were always done in English.
[41] The translations followed the original script closely, and the Broadway stagings were used. Each script contained various local references, such as street names and the names or depictions of local politicians and celebrities. Castelli produced companies in France, Germany, Mexico and other countries, sometimes also directing the productions.
[41]A German production, directed by Castelli,
[41] opened in 1968 in
Munich;
[43] the tribe included
Donna Summer and
Liz Mitchell (of
Boney M). A successful
Parisian production of
Hair opened on June 1, 1969.
[44] The original
Australian production premiered in
Sydney on 6 June 1969. It was produced by
Harry M. Miller and directed by
Jim Sharman, who also designed the production. The tribe included Keith Glass and then
Reg Livermore as Berger,
John Waters as Claude and
Sharon Redd as The Magician. Redd was one of six African-Americans brought to Australia to provide a racially-integrated tribe.
[45][46] The production broke local box-office records and ran for two years, but because of some of the language in the show, the cast album was banned in
Queensland and New Zealand. It transferred to
Melbourne in 1971 and then had a national tour. The production also marked the stage debut of
Boston-born Australian vocalist
Marcia Hines.
[46]Another notable production was in the former
Yugoslavia (
Belgrade), the first
Hair to be produced in a communist country.
[47] .^ The earliest Christian missionaries in the Roman Empire spoke primarily to the poor and middle-class city dwellers, but very few of the well educated were drawn to Christianity at first.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[41]By 1970,
Hair was a huge financial success, and nineteen productions had been staged outside of North America, including productions in
Sweden,
Brazil,
Argentina,
Finland,
Italy,
Israel,
Japan,
Denmark,
Norway,
Canada, the
Netherlands,
Switzerland and
Austria.
[28] .^ In this novel he describes various kinds of magic performed by female and male magicians and describes a number of charlatans as well.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ Early in Mesopotamian history, the planets were identified with the chief deities of the religion, each planet being given the name of the deity most related to it .- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[49]Themes
Hair explores many of the themes of the hippie movement of the '60s. Theatre writer Scott Miller described these themes in terms of the hippies' goals, targets and beliefs, as follows:
[T]he youth of
.^ While their influence is diffused through all things, each star or planet also has particular species especially under its influence."- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ This allows humans not only to have images of things they desire, but also to judge the goodness and wickedness of their desire, and to reject those that are wicked.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ And they are not alone, either: [Rom 14]:[2] For one believeth that he may eat all things: another, who is weak, eateth herbs.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
.^ They described the souls of all humans as the "suffering Jesus," but saw the historical Jesus as only one case of the passion and redemption that everyone must suffer.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ Merkur traces a long line of historical figures who knew of manna's secret but dared only make cryptic references to it for fear of persecution.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ Although the Greeks, and many later partisans of astrology, thought that the observations were of great antiquity, they began only in the eighth century bce , in the Assyrian Empire.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[Long] hair was the hippies' flag – their... symbol not only of rebellion but also of new possibilities, a symbol of the rejection of discrimination and restrictive gender roles (a philosophy celebrated in the song "My Conviction"). It symbolized equality between men and women. In addition... the hippies' chosen clothing also made statements. Drab work clothes (jeans, work shirts, pea coats) were a rejection of materialism. Clothing from other cultures, particularly the Third World and native Americans, represented their awareness of the global community and their rejection of U.S. imperialism and selfishness. Simple cotton dresses and other natural fabrics were a rejection of synthetics, a return to natural things and simpler times. Some hippies wore old World War II or Civil War jackets as way of co-opting the symbols of war into their newfound philosophy of nonviolence.
[50]
Race and the tribe
Extending the precedents set by
Show Boat (1927) and
Porgy and Bess (1935),
Hair opened the Broadway musical to racial integration; fully one-third of the cast was African American.
[51] Except for satirically in skits, the roles for the black members of the tribe portrayed them as equals, breaking away from the traditional roles for blacks in entertainment as slaves or servants.
[52] An
Ebony magazine article declared that the show was the biggest outlet for black actors in the history of the U.S. stage.
[51]Several songs and scenes from the show address racial issues.
[50] "Colored Spade", which introduces the character Hud, a militant black male, is a long list of racial slurs ("jungle bunny... little black sambo") topped off with the declaration that Hud is the "president of the United States of love".
[53] At the end of his song, he tells the tribe that the "boogie man" will get them, as the tribe pretends to be frightened.
[52] "Dead End", sung by black tribe members, is a list of street signs that symbolize black frustration and alienation ("keep out... mad dog... hands off").
.^ One of the most paradoxical things about entheogens is that they provide real religion and cast doubt upon organized dogmatic wishful-thinking religion.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
To bomb, lynch and segregate!"
[52] "Black Boys/White Boys" is an exuberant acknowledgement of
miscegenation;
[54] the U.S. Supreme Court had struck down laws against the practice in 1967.
[55] Another of the tribe's protest chants is "Black, white, yellow, red. Copulate in a king-sized bed."
[52]"Abie Baby" is part of the Act 2 "trip" sequence: four African witch doctors, who have just killed various American historical, cultural and fictional characters, sing the praises of Abraham Lincoln, portrayed by a black female tribe member, whom they decide not to kill.
[56] .^ First mentioned in the early eighth century, it was most likely a part of the earlier Hellenistic writings.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
pluckin' y'all's chickens, fryin' mothers oats and grease" and "I's free now thanks to y'all Master Lincoln". The Lincoln character then recites a modernized version of the
Gettysburg Address, while a white female tribe member polishes Lincoln's shoes with her blond hair.
[52].^ Sure, many Americans favor police action against drug use, but what is the nature of this "favor"?- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
The characters in the show are referred to as the "tribe", borrowing the term for Native American communities.
[50] The cast of each production chooses a tribal name: "The practice is not just cosmetic ... the entire cast must work together, must like each other, and often within the show, must work as a single organism. All the sense of family, of belonging, of responsibility and loyalty inherent in the word "tribe" has to be felt by the cast."
[50] To enhance this feeling, O'Horgan put the cast through sensitivity exercises based on trust, touching, listening and intensive examination that broke down barriers between the cast and crew and encouraged bonding. These exercises were based on techniques developed at the
Esalen Institute and Polish Lab Theater.
[22] The idea of Claude, Berger and Sheila living together is another facet of the '60s concept of
tribe.
[57]
Nudity, sexual freedom and drug use
The brief nude scene at the end of Act I was a subject of controversy and notoriety.
[1][58] .^ Like most spiritual theorists, he doesn't have the guts or honesty to deal with the free will question and admit that most mystics, with the Greeks, honor Fate and reject free will.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ He lied to us about the nature of sin, salvation, freedom, moral afterlife...- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
The naked body was beautiful, something to be celebrated and appreciated, not scorned and hidden. They saw their bodies and their sexuality as gifts, not as 'dirty' things."
[50]Hair glorifies sexual freedom in a variety of ways. In addition to acceptance of miscegenation, mentioned above, the characters' lifestyle acts as a sexually and politically-charged updating of
La bohème; as Rado explained, "The love element of the peace movement was palpable."
[4] In the song "Sodomy", Woof exhorts everyone to "join the holy orgy
Kama Sutra".
[59] Toward the end of Act 2, the tribe members reveal their
free love tendencies when they banter back and forth about who will sleep with whom that night. As
Clive Barnes wrote in his original
New York Times review of
Hair, "homosexuality is not frowned upon."
[60] Woof has a crush on Mick Jagger, and a three-way embrace between Claude, Berger and Sheila turns into a Claude-Berger kiss.
[52]
.^ Of course* most Americans favor police action against drug users -- that is what they are trained to think by the establishment media.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[50] The song "Walking in Space" starts off the sequence, and the lyrics celebrate the experience declaring "how dare they try to end this beauty ... in this dive we rediscover sensation ... our eyes are open, wide, wide, wide". Similarly, in the song "Donna", Berger sings that "I'm evolving through the drugs that you put down."
[61] .^ Well, as Britannica.com says in the drug cult article, "Amanita Muscaria (fly agaric) is another mushroom having hallucinogenic properties that has not been thoroughly studied.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
For example, Jeanie, after revealing that she is pregnant by a "
speed freak", says that "
methedrine is a bad scene".
[52] The song "Hashish" provides a list of pharmaceuticals, both illegal and legal, including
cocaine, alcohol, LSD, cough syrup,
opium and
Thorazine, which is used as an
antipsychotic.
[62]
Pacifism and environmentalism
The theme of opposition to the war that pervades the show is unified by the plot thread that progresses through the book – Claude's
moral dilemma over whether to
burn his draft card.
[50] Pacifisim is explored throughout the extended trip sequence in Act 2. The lyrics to "
Three-Five-Zero-Zero", which is sung during that sequence, evoke the horrors of war ("ripped open by metal explosion").
[63] The song is based on
Allen Ginsberg's 1966 poem, "
Wichita Vortex Sutra". In the poem, General Maxwell Taylor proudly reports to the press the number of enemy soldiers killed in one month, repeating it digit by digit, for effect: "Three-Five-Zero-Zero." The song begins with images of death and dying and turns into a manic dance number, echoing Maxwell's glee at reporting the enemy casualties, as the tribe chants "Take weapons up and begin to kill".
[50] The song also includes the repeated phrase "Prisoners in niggertown/ It's a dirty little war".
[52].^ I've stated this as emphatically as possible at VPL. I am a dogmatic entheogenist and I reject the apologists for meditation who put down entheogens.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ It's true that some people who don't stand to profit believe that drug use really is evil and that it is evil to not believe in the authoritarian religions.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[64] "Be In (Hare Krishna)" praises the peace movement and events like the
San Francisco and
Central Park Be-Ins.
[65] Throughout the show, the tribe chants popular protest slogans like "What do we want? Peace – When do we want it? Now!" and "Do not enter the induction center".
[52] The upbeat song, "Let the Sun Shine In", is a call to action, to reject the darkness of war and change the world for the better.
[50]
Hair also aims its satire at the pollution caused by our civilization.
[50] Jeanie appears from a trap door in the stage wearing a gas mask and then sings the song "Air": "Welcome, sulfur dioxide. Hello carbon monoxide. The air ... is everywhere".
[66] She suggests that pollution will eventually kill her, "vapor and fume at the stone of my tomb, breathing like a sullen perfume".
[52] In a comic, pro-green vein, when Woof introduces himself, he explains that he "grows things" like "beets, and corn ... and sweet peas" and that he "loves the flowers and the fuzz and the trees".
[52]
Religion and astrology
.^ The concept of initiation is one that often appears in the early writings of the alchemists, and was probably drawn from the practices of the mystery religions .- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[50] Berger sings of looking for "my Donna", which takes on the double meaning of the woman he's searching for and the
Madonna.
[67] .^ To live outside that framework and to have religious or philosophical experiencing outside that framework was to break the law, which the church liked because then they could gain all your possessions and money.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[67] Before the song, Woof recites a modified
rosary. In Act II, when Berger gives imaginary pills to various famous figures, he offers "a pill for the Pope".
[52] In "Going Down", after being kicked out of school, Berger compares himself to
Lucifer: "Just like the angel that fell / Banished forever to hell / Today have I been expelled / From high school heaven."
[68] Claude becomes a classic
Christ figure at various points in the script.
[69] In Act I, Claude enters, saying, "I am the Son of God. I shall vanish and be forgotten," then gives benediction to the tribe and the audience.
.^ But---there were many many others who did not give in.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ This may be part of the reason there is no "cure" for drug abuse, other than a life with depth.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[69] Berger can be seen as a
John the Baptist figure, preparing the way for Claude.
[50]
|
Excerpt from "Aquarius"
Harmony and understanding
Sympathy and trust abounding.
.^ Determinism--more and more abandoned by its old friends the physicists--is no longer the chief enemy to such a spiritual interpretation of life as is required by the experience of the mystics .- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
Aquarius
|
Songs like "Good Morning, Starshine" and "
Aquarius" reflect the '60s cultural interest in astrological and cosmic concepts.
[70] "Aquarius" was the result of Rado's research into
his own astrological sign.
[71] The company's astrologer, Maria Crummere, was consulted about casting:
[72] Sheila was usually played by a
Libra or
Capricorn and Berger by a
Leo,
[71] although Ragni, the original Berger, was a
Virgo.
[73] Crummere was also consulted when deciding when the show would open on Broadway and in other cities.
[74] The 1971 Broadway
Playbill reported that she chose April 29, 1968 for the Broadway premiere. "The 29th was auspicious ... because the moon was high, indicating that people would attend in masses. The position of the 'history makers' (
Pluto,
Uranus,
Jupiter) in the 10th house made the show unique, powerful and a money-maker. And the fact that
Neptune was on the ascendancy foretold that
Hair would develop a reputation involving sex."
[75].^ If the government is shown to be fallible about cannabis, then their whole WOD comes crashing down just as the Catholic Church did at the Protestant Reformation.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[74] She was not pleased with the date of the
Boston opening (where the producers were sued over the show's content)
[76][77] saying, "Jupiter will be in opposition to naughty
Saturn, and the show opens the very day of the sun's
eclipse. Terrible."
.^ There's no time for metaphysical freedom.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[78]
Literary themes and symbolism
Hair makes many references to
Shakespeare's plays, especially
Romeo and Juliet and
Hamlet, and, at times, takes lyrical material directly from Shakespeare.
[50] For example, the lyrics to the song "What a Piece of Work Is Man" is from
Hamlet (II: scene 2) and portions of "Flesh Failures" ("the rest is silence") are from Hamlet's final lines. In "Flesh Failures/Let The Sun Shine In", the lyrics "Eyes, look your last!/ Arms, take your last embrace! And lips, O you/ The doors of breath, seal with a righteous kiss" are from
Romeo and Juliet (V: iii, 111–14).
[79] According to Miller, the
Romeo suicide imagery makes the point that, with our complicity in war, we are killing ourselves.
[50]
Symbolically, the running plot of Claude's indecision, especially his resistance to burning his draft card, which ultimately causes his demise, has been seen as a parallel to
Hamlet: "the melancholy hippie".
[80] The symbolism is carried into the last scene, where Claude appears as a ghostly spirit among his friends wearing an army uniform in an ironic echo of an earlier scene, where he says, "I know what I want to be ... invisible".
.^ It wasn’t that they believed that only Jews could possibly have a place in the world to come, that only Jews could be ‘saved’.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
.^ Women and men contain both light and darkness and have the desire to procreate, thus producing many more human beings containing particles of light imprisoned in darkness.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ They were able to see patterns in the stars that resembled the figures in their mythology, which could profoundly affect the human world from their heavenly locations.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ Gnostic dualism both despises the material creation and sees it as decisive in forming the character and conduct of human beings: the evil that men do is not attributable to the sinful will of the individual; it is rather an intrinsic and hence inevitable result of physical existence.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
In the end, unable to effectively combat the evil around them, they tragically succumb."
[81]Other literary references include the song "Three-Five-Zero-Zero", based on Ginsberg's poem "Wichita Vortex Sutra",
[82] and, in the psychedelic drug trip sequence, the portrayal of
Scarlett O'Hara, from
Gone with the Wind, and activist African-American poet
LeRoi Jones.
[52]Dramatics
In his introduction to the published script of
Viet Rock,
Richard Schechner says, "performance, action, and event are the key terms of our theatre – and these terms are not literary."
[83] In the 1950s, Off-off Broadway theaters began experimenting with non-traditional theater roles, blurring the lines between playwright, director, and actor. The playwright's job was not just to put words on a page, but to create a theatrical experience based around a central idea.
.^ If twins can have such different destinies, is it not likely that factors other than celestial influences affect our lives?- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[84]Viet Rock and Hair
Megan Terry's
Viet Rock was created this way.
[84] .^ The metal had to be "tortured," or acted upon in such a way as to produce its "death," before it could be "reborn" and go through the process of transmutation again, until it reached perfection.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[84] Actors were asked to switch roles in the middle of a show, and frequently in mid-scene. In her stage directions for a Senate hearing scene in
Viet Rock, Terry wrote, "The actors should take turns being senators and witnesses; the transformations should be abrupt and total. When the actor is finished with one character he becomes another, or just an actor."
[84]Hair was designed in much the same way. Tom O'Horgan, the show's Broadway director, was intimately involved in the experimental theatre movement.
[50] In the transition to Broadway, O'Horgan and the writers rearranged scenes to increase the experimental aspects of the show.
[84] .^ It has reappeared in slightly different forms several times during the course of Western religious history.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
Both
Hair and
Viet Rock include rock music, borrowed heavily from mass media, and frequently break down the invisible "
fourth wall" to interact with the audience.
.^ The number of stages in this initiation process of minerals is usually given as seven, showing the relationship to astrology with its seven planets.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[84]
Production design
In the original Broadway production, the stage was completely open, with no curtain and the fly area and grid exposed to the audience. The proscenium arch was outlined with climb-ready scaffolding. Wagner's spare set was painted in shades of grey with street
graffiti stenciled on the stage. The stage was raked, and a tower of abstract scaffolding upstage at the rear merged a Native American totem pole and a modern sculpture of a
crucifix-shaped tree. This scaffolding was decorated with found objects that the cast had gathered from the streets of New York. These included a life-size
papier-mâché bus driver, the head of Jesus, and a neon marquee of the Waverly movie theater in Greenwich Village.
[85] Potts' costumes were based on hippie street clothes, made more theatrical with enhanced color and texture. Some of these included mixed parts of military uniforms, bell bottom jeans with Ukrainian embroidery, tie dyed t-shirts and a red white and blue fringed coat.
[85] Early productions were primarily reproductions of this basic design.
Nude scene
"Much has been written about that scene... most of it silly," wrote Gene Lees in
High Fidelity.
[86] Inspired by two men who took off their clothes to antagonize the police during an informal anti-war gathering,
[7] during "Where Do I Go?", the stage was covered in a giant
scrim, beneath which those choosing to participate in the scene removed their clothes. At the musical cue, "they [stood] naked and motionless, their bodies bathed in Fisher's light projection of floral patterns. They chant[ed] of 'beads, flowers, freedom, and happiness.'"
[87] It lasted only twenty seconds.
[88] Indeed, the scene happened so quickly and was so dimly lit that it prompted
Jack Benny, during the
interval at a London preview, to quip, "Did you happen to notice if any of them were Jewish?"
[89]The nudity was optional for the performers. The French cast was "the nudest of the foreign groups".
[48] In some early performances, the Germans played their scene behind a big sheet labeled "CENSORED". The London cast "found the nudity the hardest to achieve."
[48] Original Broadway cast member Natalie Mosco said, "I was dead set against the nude scene at first, but I remembered my acting teacher having said that part of acting is being private in public. So I did it."
[90] According to Melba Moore, "It doesn't mean anything except what you want it to mean. We put so much value on clothing our bodies, but it doesn't mean a damn thing.
.^ What the Church did care about was preserving people's belief that the Church was truly the arm of God and infallible like God and thus could dictate whether one were forgiven or not -- conditional upon how much material wealth one gave to the Church.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
Sure, I was scared the first time. I thought 'Everybody's looking at me. I've got no protection.'
.^ Now there are two kinds of determinism.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[91] Donna Summer, who was in the German production, said that "it was not meant to be sexual in any way.
.^ Even when they weren't high, their experience, as they related it to me, was more intense, exciting, and real than anything they had seen in straight society.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ There's a deep human hunger for such depth and intensity, more than ever in our overorganized, overroutinized spectator society.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
.^ That the average Goy who knew anything about Judaism had such negative presuppositions and deeply ingrained immorality makes the events of the second half of the first century more understandable.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ Third, history and experience teach that determinists appear to take ethics far more seriously than those who emphasize free will.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ People think it is about belief and doctrines at bottom, but as far as the power brokers in the top of the Church hierarchy is concerned, it is purely about worldly money and the power of money and the power to accumulate more money.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[7] .^ In the peak, you undergo control instability and face the profound falsity and impossibility of being a self-originating controller and origin of your control-thoughts.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
Not only the soul but the whole body was being exposed. It was very apt, very honest and almost necessary."
[7]Music
In these two measures of "What a Piece of Work Is Man", the red notes indicate a weak syllable on a strong beat.
After studying the music of the
Bantu at
Cape Town University,
[50] McDermot incorporated African rhythms into the score of
Hair.
[9] He listened to "what [the Bantu] called quaylas... [which have a] very characteristic beat, very similar to rock. Much deeper though....
Hair is very African – a lot of [the] rhythms, not the tunes so much."
[9] Quaylas stress beats on unexpected syllables, and this influence can be heard in songs like "What a Piece of Work Is Man" and "Ain't Got No Grass".
[92] MacDermot said, "My idea was to make a total funk show. They said they wanted rock & roll – but to me that translated to 'funk.'"
[93] That
funk is evident throughout the score, notably in songs like "Colored Spade" and "Walking in Space".
[93]MacDermot has claimed that the songs "can't all be the same. You've got to get different styles....
.^ To live outside that framework and to have religious or philosophical experiencing outside that framework was to break the law, which the church liked because then they could gain all your possessions and money.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ They act infallible, but when the little lies about cannabis are exposed, so does their credibility for the *entire* set of laws about all recreational drugs.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ It seems like all the latest researchers are telling a largely convergent story: John and Mary are associated with entheogenic knowledge and mythic, not magical, thinking.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[4] .^ Dionysian principle or two reading the poetry in acid-rock lyrics such as the album Ride the Lightning - mh] .- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
were determined to create art of the people and their chosen art form, rock/folk music was by its definition, populist. ...[T]he hippies' music was often very angry, its anger directed at those who would prostitute the Constitution, who would sell America out, who would betray what America stood for; in other words, directed at their parents and the government."
[50] Theatre historian
John Kenrick explains the application of rock music to the medium of the stage:
The same hard rock sound that had conquered the world of popular music made its way to the musical stage with two simultaneous hits –
Your Own Thing [and]
Hair.... This explosion of revolutionary proclamations, profanity and hard rock shook the musical theatre to its roots....
.^ Even when they weren't high, their experience, as they related it to me, was more intense, exciting, and real than anything they had seen in straight society.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ People need philosophy and theory more directly than they need scholarship.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
Tony voters tried to ignore
Hair's importance, shutting it out from any honors.
.^ However, now God seemed to be indicating that He was going to spare some of these Goyim as well as some of the Jewish people.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
New York Times critic
Clive Barnes gushed that Hair was "the first Broadway musical in some time to have the authentic voice of today rather than the day before yesterday."
[95]
The music did not resonate with everyone.
Leonard Bernstein remarked "the songs are just laundry lists"
[96] and walked out of the production.
[97] Richard Rodgers could only hear the beat and called it "one-third music".
[96] John Fogerty said, "
Hair is such a watered down version of what is really going on that I can’t get behind it at all."
[98] Gene Lees, writing for
High Fidelity, claimed that
John Lennon found it "dull", and he wrote, "I do not know any musician who thinks it's good."
[86]Songs
The score had many more songs than were typical of Broadway shows of the day.
[5] Most Broadway shows had about
six to ten songs per act;
Hair's total is in the thirties.
[99] This list reflects the most common Broadway lineup.
[100]
- Act I
- Aquarius – Tribe and soloist (often Dionne)
- Donna – Berger and Tribe
- Hashish – Tribe
- Sodomy – Woof and Tribe
- I'm Black/Colored Spade – Hud, Woof, Berger, Claude and Tribe
- Manchester England – Claude and Tribe
- Ain't Got No – Woof, Hud, Dionne and Tribe
- I Believe in Love – Sheila and Tribe trio
- Air – Jeanie, Crissy and Dionne
- Initials (L.B.J.) – Tribe
- I Got Life – Claude and Tribe
- Going Down – Berger and Tribe
- Hair – Claude, Berger, and Tribe
- My Conviction – Margaret Mead (tourist lady)
- Easy to Be Hard – Sheila
- Don't Put It Down – Berger, Woof and male Tribe member
- Frank Mills – Crissy
- Be-In (Hare Krishna) – Tribe
- Where Do I Go? – Claude and Tribe
|
- Act II
- Electric Blues – Tribe quartet
- Black Boys – Tribe sextet (three male, three female)
- White Boys – Tribe Supremes trio
- Walking in Space – Tribe
- Yes, I's Finished/Abie Baby – Abraham Lincoln and Tribe trio (Hud and two men)
- Three-Five-Zero-Zero – Tribe
- What a Piece of Work Is Man – Tribe duo
- Good Morning Starshine – Sheila and Tribe
- The Bed – Tribe
- Aquarius (reprise) – Tribe
- Manchester England (Reprise) – Claude and Tribe
- Eyes Look Your Last – Claude and Tribe
- The Flesh Failures (Let the Sun Shine In) – Claude, Sheila, Dionne and Tribe
|
The show was under almost perpetual re-write. Thirteen songs were added between the production at the Public Theater and Broadway, including "I Believe in Love".
[100] "The Climax" and "Dead End" were cut between the productions, and "Exanaplanetooch" and "You Are Standing on My Bed" were present in previews but cut before Broadway. The Shakespearean speech "
What a piece of work is a man" was originally spoken by Claude and musicalized by MacDermot for Broadway, and "Hashish" was formed from an early speech of Berger's.
[100] .^ The stoning of St. Stephen was familiar to me from early childhood religious training, & I especially liked the Grateful Dead _Live / Dead_ album, which included the song "St.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[101] The current Broadway revival includes the ten-second "Sheila Franklin" and "O Great God of Power",
[102] two songs that were cut from the original production.
Recordings
The first recording of
Hair was made in 1967 featuring the off-Broadway cast. The original 1968 Broadway cast recording (RCA LSO-1150) received a Grammy Award in 1968 for
Best Score from an Original Cast Show Album[28] and sold nearly 3 million copies in the U.S. by December 1969.
[74] The New York Times noted in 2007 that "The cast album of
Hair was... a must-have for the middle classes. Its exotic orange-and-green cover art imprinted itself instantly and indelibly on the psyche.... [It] became a pop-rock classic that, like all good pop, has an appeal that transcends particular tastes for genre or period."
[15] The 1993 London revival cast album contains new music that has been incorporated into the standard rental version.
[50]RCA also released
DisinHAIRited (RCA LSO-1163): an album of songs that had been written for the show, but saw varying amounts of stage time. Some of the songs were cut between the Public and Broadway, some had been left off the original cast album due to space, and a few were never performed onstage.
[100]
- The Thousand-Year-Old Man
- So Sing the Children of the Avenue
- Manhattan Beggar
- Sheila Franklin/Reading the Writing
- Washing the World
- Exanaplanetooch
- Hello There
- Mr. Berger
- I'm Hung
- The Climax
|
- Electric Blues
- I Dig
- Going Down
- You Are Standing on My Bed
- The Bed
- Mess O' Dirt
- Dead End
- Oh Great God of Power
- Eyes Look Your Last/Sentimental Ending
|
The 5th Dimension, "Aquarius"
Songs from
Hair have been recorded by numerous artists,
[103] including
Shirley Bassey,
Barbra Streisand and
Diana Ross.
[104] "Good Morning Starshine" was sung on a 1969 episode of
Sesame Street by cast member
Bob McGrath,
[105] and versions by artists such as
Sarah Brightman,
Petula Clark, and
Strawberry Alarm Clock have been recorded.
[106] Artists as varied as
Liza Minnelli and
The Lemonheads have recorded "Frank Mills",
[107] and
Andrea McArdle,
Jennifer Warnes, and
Sérgio Mendes have each contributed versions of "Easy to be Hard".
[108] Hair also helped launch recording careers for performers Meat Loaf, Dobie Gray, Jennifer Warnes, Jobriath,
Bert Sommer, Ronnie Dyson and Melba Moore, among others.
[49]The score of
Hair saw chart successes, as well.
The 5th Dimension released "
Aquarius/Let the Sunshine In" in 1969, which won
Record of the Year[109] and
topped the charts for six weeks.
.^ After a decade or so (too much wasted time), I figured out that fear ain't a good foundation for religion or for one's life.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[113] .^ Not only was it a more widespread belief than alchemy or magic, it was thought to be the source of the effectiveness of these other sciences.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[114]Productions in England, Germany, France, Sweden, Japan, Israel, Holland, Australia and elsewhere released cast albums,
[115] and over 1,000 vocal and/or instrumental performances of individual songs from
Hair have been recorded.
[28] Such broad attention was paid to the recordings of
Hair that, after an unprecedented bidding war,
ABC Records was willing to pay a record amount for MacDermot's next Broadway adaptation
Two Gentlemen of Verona.
[116] The 2009 revival recording, released on June 23, debuted at #1 on
Billboard's "Top Cast Album" chart and at #63 in the
Top 200, qualifying it as the highest debuting album in
Ghostlight Records history.
[117]Critical reception
Reception to
Hair upon its Broadway premiere was, with exceptions, overwhelmingly positive.
.^ At about the same time (in the middle of the second century) some Hellenistic philosophers began to notice this new religion and launched attacks on its superstitions and anti-intellectualism.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
I think it is simply that it is so likable. So new, so fresh, and so unassuming, even in its pretensions."
[60] John J. O'Connor of
The Wall Street Journal said the show was "exuberantly defiant and the production explodes into every nook and cranny of the Biltmore Theater".
[118] Richard Watts Jr. of the
New York Post wrote that "it has a surprising if perhaps unintentional charm, its high spirits are contagious, and its young zestfulness makes it difficult to resist."
[119]Television reviews were even more enthusiastic. Allan Jeffreys of
ABC said the actors were "the most talented hippies you'll ever see... directed in a wonderfully wild fashion by Tom O'Horgan."
[120] .^ In other words, John's concept of determinism seems to be so different from Paul's that the two cannot be brought together without some type of biblical-theological presupposition.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ Not only was it a more widespread belief than alchemy or magic, it was thought to be the source of the effectiveness of these other sciences.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ For an academic, perhaps the best evidence of the power of this new industry is the number of his colleagues who seem to spend more time listening to hard rock and watching music videos than reading poetry .- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
it's that sloppy, vulgar, terrific tribal love rock musical
Hair."
[123]A reviewer from
Variety, on the other hand, called the show "loony" and "without a story, form, music, dancing, beauty or artistry.... It's impossible to tell whether [the cast has] talent. Maybe talent is irrelevant in this new kind of show business."
[124] Reviews in the news weeklies were mixed; Jack Kroll in
Newsweek wrote, "There is no denying the sheer kinetic drive of this new
Hair... there is something hard, grabby, slightly corrupt about O'Horgan's virtuosity, like Busby Berkeley gone bitchy."
[125] But a reviewer from
Time wrote that although the show "thrums with vitality [it is] crippled by being a bookless musical and, like a boneless fish, it drifts when it should swim."
[126]Reviews were mixed when
Hair opened in London. Irving Wardle in
The Times wrote, "Its honesty and passion give it the quality of a true theatrical celebration – the joyous sound of a group of people telling the world exactly what they feel." In
The Financial Times, B. A. Young agreed that
Hair was "not only a wildly enjoyable evening, but a thoroughly moral one." However, in his final review before retiring after 48 years, 78-year-old W. A. Darlington of
The Daily Telegraph wrote that he had "tried hard", but found the evening "a complete bore – noisy, ugly and quite desperately funny."
[127]Acknowledging the show's critics, Scott Miller wrote in 2001 that "some people can't see past the appearance of chaos and randomness to the brilliant construction and sophisticated imagery underneath."
[50] .^ If the government is shown to be fallible about cannabis, then their whole WOD comes crashing down just as the Catholic Church did at the Protestant Reformation.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ The head temple's calls for me to stop wore down my remaining desire to continue the research, and I ended it several months after moving to Canada.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ We know the titles of many treatises that have not survived or have survived only in the quotations of the Christian refutations of them.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
The show rejected every convention of Broadway, of traditional theatre in general, and of the American musical in specific. And it was brilliant."
[50]Social change
|
Excerpts from "Hair"
I 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 Hair....
Flow it, show it, long as God can grow it, my hair....
.^ See my Christ-myth page for required reading - the 6 or so books all say the same thing and The Jesus Mysteries is the most enjoyable.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
If you can
Then my hair's too short.... 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....
|
Hair challenged many of the
norms held by Western society in 1968. The name itself, inspired by the name of a
Jim Dine painting depicting a comb and a few strands of hair,
[5][128] was a reaction to the restrictions of civilization and consumerism and a preference for naturalism.
[129] Rado remembers that long hair "was a visible form of awareness in the consciousness expansion. The longer the hair got, the more expansive the mind was. Long hair was shocking, and it was a revolutionary act to grow long hair. It was kind of a flag, really."
[128]
The musical caused controversy when it was first staged. The Act I finale was the first time a Broadway show had seen totally naked actors and actresses,
[1] and the show was charged with the desecration of the American flag and the use of
obscene language.
[8][130] .^ Being against the Vietnam War I had contact with many anti-war Christians.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
Two cases eventually reached the
U.S. Supreme Court.
Legal challenges and violent reactions
The touring company of
Hair met with resistance throughout the United States. In
South Bend,
Indiana, the Morris Civic Auditorium refused booking,
[131] and in
Evansville, Indiana, the production was picketed by several church groups.
[132] In
Indianapolis, Indiana, the producers had difficulty securing a theater, and city authorities suggested that the cast wear body stockings as a compromise to the city's ordinance prohibiting publicly displayed nudity.
[131] Productions were frequently confronted with the closure of theaters by the
fire marshal, as in
Gladewater,
Texas.
[133] Chattanooga's 1972 refusal to allow the play to be shown at the city-owned
Memorial Auditorium[134][135] was later found by the U.S. Supreme Court to be an unlawful
prior restraint.
[136]The legal challenges against the Boston production were appealed to the U.S. Supreme Court. The Chief of the Licensing Bureau took exception to the portrayal of the American flag in the piece,
[137] saying, "anyone who desecrates the flag should be whipped on
Boston Common."
[76] Although the scene was removed before opening, the
District Attorney's office began plans to stop the show, claiming that "lewd and lascivious" actions were taking place onstage. The
Hair legal team obtained an
injunction against criminal prosecution from the Superior Court,
[138] and the D.A. appealed to the
Massachusetts Supreme Judicial Court. At the request of both parties, several of the justices viewed the production and handed down a ruling that "each member of the cast [must] be clothed to a reasonable extent."
.^ Anyway, my tripping mind filtered whatever she said into: all but one of us gods would die that night & the surviving god would rule the cosmos.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[76] The next day, April 10, 1970, the production closed, and movie houses, fearing the ruling on nudity, began excising scenes from films in their exhibition. After the Federal
appellate bench reversed the Massachusetts court's ruling, the D.A. appealed the case to the U.S. Supreme Court. In a 4–4 decision, the Court upheld the lower court's decision, allowing
Hair to re-open on May 22.
[77]In April 1971, a bomb was thrown at the exterior of a theater in
Cleveland,
Ohio that had been housing a production, bouncing off the marquee and shattering windows in the building and in nearby storefronts.
[139] That same month, the families of cast member Jonathan Johnson and stage manager Rusty Carlson died in a fire in the Cleveland hotel where 33 members of the show's troupe had been staying.
[140][141] The Sydney, Australia production's opening night was interrupted by a bomb scare in June 1969.
[142]Worldwide reactions
Local reactions to the controversial material varied greatly. San Francisco's large hippie population considered the show an extension of the street activities there, often blurring the barrier between art and life by meditating with the cast and frequently finding themselves onstage during the show.
[35] An 18-year-old
Princess Anne was seen dancing onstage in London,
[143] and in Washington DC,
Henry Kissinger attended. In
St. Paul,
Minnesota, a protesting clergyman released 18 white mice into the lobby hoping to frighten the audience.
[35] Capt. Jim Lovell and
Jack Swigert, after dubbing
Apollo 13's
lunar module "Aquarius" after the song, walked out of the production at the Biltmore in protest of perceived anti-Americanism and disrespect of the flag.
[144]A Mexican production of
Hair, directed by Castelli,
[41] opened in 1969 for one performance. The show, whose theater was located across the street from a popular local bordello, was shut down by the government, which said the production was "detrimental to the morals of youth."
[75] The cast members were forced to leave Mexico to avoid arrest.
[145]Hair effectively marked the end of stage
censorship in the
United Kingdom.
[127] London's stage censor, the
Lord Chamberlain, originally refused to license the musical, and the opening was delayed until Parliament passed a bill stripping him of his licensing power.
[127] In Munich, authorities threatened to close the production if the nude scene remained; however, after a local
Hair spokesman declared that his relatives had been marched nude into
Auschwitz, the authorities relented.
[41] In
Stockholm,
Sweden, where the show opened in 1968, choreographer Julie Arenal found the cast very reluctant to shed their clothes for the nude scene. In
Bergen,
Norway, local citizens formed a human barricade to try to prevent the performance.
[41]
Conversely, in
Copenhagen, the Danish cast thought the nudity too tame and decided to walk naked up and down the aisle during the show's prelude.
[41] The Parisian production encountered little controversy, and the cast disrobed for the nude scene "almost religiously" according to Castelli, nudity being common on stage in Paris.
[146] Even in Paris there was nevertheless occasional opposition, such as when a member of the local
Salvation Army used a portable loud speaker to exhort the audience to halt the presentation.
[41][147]Beyond the '60s
1970s
A Broadway revival of
Hair opened in 1977 for a run of 43 performances. It was produced by Butler, directed by O'Horgan and performed in the Biltmore Theater, where the original Broadway production had played. The cast included
Ellen Foley and
Annie Golden.
[148] Reviews were generally negative, and critics accused the production of "showing its gray".
[149] Few major revivals of
Hair followed until the early 1990s.
.^ Michael Grant, The World of Rome (New York: Mentor Books, 1960), p.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[151] Several of the songs were deleted, and the film's storyline departs significantly from the musical. The character of Claude is rewritten as an innocent draftee from
Oklahoma, newly arrived in New York to join the military, and Sheila is a high-society
debutante who catches his eye. In perhaps the greatest diversion from the stage version, a mistake leads Berger to go to Vietnam in Claude's place, where he is killed.
[152]
Rado and Ragni were unhappy with the film, feeling that Forman portrayed the hippies as "oddballs" and "some sort of aberration" without any connection to the peace movement, failing to capture the essence of the original stage production.
[153] .^ Demons taught some humans how to read these signs, but fortunately they were so difficult to interpret that astrologers were more often wrong than right.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ The other theory of the origin of the name is based on the Egyptian word khime (or chem ), which meant "black," and was used to describe the land or people of Egypt, land of the black soil.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[153] In their view, the screen version of
Hair has not yet been produced.
[153]However, the film received generally favorable reviews.
[154] Writing in
The New York Times,
Vincent Canby called it "a rollicking musical memoir.... Weller's inventions make this
Hair seem much funnier than I remember the show's having been.
.^ Those who practiced acts of magic deceived themselves into believing that it was their power or knowledge that was responsible, when in fact they were being ensnared by Satan.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[T]he entire cast is superb.... Mostly... the film is a delight."
[155]1980s and 1990s
A 20th anniversary concert event was held in May 1988 at the
United Nations General Assembly to benefit children with
AIDS.
[156] The event was sponsored by
First Lady Nancy Reagan with
Barbara Walters giving the night's opening introduction.
[157] Rado, Ragni and MacDermot reunited to write nine new songs for the concert. The cast of 163 actors included former stars from various productions around the globe: Melba Moore, Ben Vereen, Treat Williams and Donna Summer, as well as guest performers
Bea Arthur,
Frank Stallone and
Dr. Ruth Westheimer. Ticket prices ranged from $250 to $5,000 and the proceeds went to the United States Committee for
UNICEF and the Creo Society's Fund for Children with AIDS.
[157]A 1985 production of
Hair mounted in Montreal was reportedly the 70th professional production of the musical.
[28] In November 1988, Michael Butler produced
Hair at Chicago's
Vic Theater to celebrate the shows' 20th anniversary. The production was well-received and ran until February 1989.
[157] From 1990 to 1991, Pink Lace Productions ran a U.S. national tour of
Hair that included stops in
South Carolina,
Georgia,
Tennessee and
Kentucky.
[157] After Ragni died in 1991, MacDermot and Rado continued to write new songs for revivals through the 1990s.
Hair Sarajevo, AD 1992 was staged during the
Siege of Sarajevo as an appeal for peace.
[28] Rado directed a $1 million, 11 city national tour in 1994 that featured actors
Luther Creek, Kent Dalian, Sean Jenness and Catrice Joseph. With MacDermot returning to oversee the music, Rado's tour celebrated the show's 25th anniversary.
[158] A small 1990 "bus and truck" production of
Hair toured Europe for over 3 years,
[158] and Rado directed various European productions from 1995 to 1999.
[101]A production opened in Australia in 1992
[159] and a short-lived London revival starring
John Barrowman and Paul Hipp opened at the
Old Vic in London in 1993, directed by
Michael Bogdanov.
[160][161] .^ Nine of the 10 who got the drug, and one of the 10 who didn't, said that's what they had.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ I was the one who got the drug and said, "No, I didn't have a mystical experience ."- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ Perhaps that's the real reason why at Amazon I recommended The Jesus Mysteries over the other seemingly similar books.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[163] In 1996, Butler brought a month-long production to Chicago, employing the Pacific Musical Theater, a professional troupe in residence at
California State University, Fullerton. Butler ran the show concurrently with the
1996 Democratic National Convention, echoing the last time the DNC was in Chicago:
1968.
[164]2000s
In 2001, the Reprise! theatre company in Los Angeles performed
Hair at the Wadsworth Theatre, starring
Steven Weber as Berger,
Sam Harris as Claude and Jennifer Leigh Warren as Sheila.
[165] That same year,
Encores! Great American Musicals in Concert ended its 2001
City Center season with a production of
Hair starring Luther Creek,
Idina Menzel, Jessica-Snow Wilson and
Tom Plotkin, and featuring
Hair composer Galt MacDermot on stage playing the keyboards.
[166] .^ Michael Grant, The World of Rome (New York: Mentor Books, 1960), p.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[167]In 2005, a London production opened at the Gate Theatre, directed by Daniel Kramer. James Rado approved an updating of the musical's script to place it in the context of the
2003 Gulf War instead of the Vietnam War.
[168] Kramer's modernized interpretation included "Aquarius" sung over a megaphone in Times Square, and nudity that called to mind images from
Abu Ghraib.
[169] In March 2006, Rado collaborated with director Robert Prior for a
CanStage production of
Hair in Toronto,
[170] and a revival produced by
Pieter Toerien toured South Africa in 2007. Directed by Paul Warwick Griffin, with choreography by Timothy Le Roux, the show ran at the Montecasino Theatre in Johannesburg and at Theatre on the Bay in Cape Town.
[171] .^ So there are two or three transformative elements that run through the phenomenon in a sort of overall direction.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[172]Michael Butler produced
Hair at the MET Theatre in Los Angeles from September 14 through December 30, 2007. The show was directed and choreographed by Bo Crowell, with musical direction from Christian Nesmith (son of
Michael Nesmith). The Tribe featured James Barry, Lee Ferris, Johanna Unger, Dawn Worrall and Trance Thompson.
[173][174] Butler's production of
Hair won the
LA Weekly Theater Award for Musical of the Year.
[175]
It was a show about now when we did it. Now it's a show about then – but it's still about now.
For three nights in September 2007,
Joe's Pub and the Public Theatre presented a 40th anniversary production of
Hair at the
Delacorte Theater in Central Park. This concert version, directed by
Diane Paulus, featured
Jonathan Groff as Claude and Galt MacDermot on stage on the keyboards. The cast also included
Karen Olivo as Sheila,
Will Swenson as Berger, Darius Nichols as Hud and Megan Lawrence.
[176] Actors from the original Broadway production joined the cast on stage during the encore of "Let the Sun Shine In." Demand for the show was overwhelming, as long lines and overnight waits for tickets far exceeded that for other Delacorte productions such as
Mother Courage and Her Children toplined by
Meryl Streep and
Kevin Kline.
[177] Nine months later, The Public Theater presented a fully-staged production of
Hair at the Delacorte in a limited run from July 22, 2008 to September 14, 2008.
[178] Paulus again directed, with choreography by
Karole Armitage. Groff and Swenson returned as Claude and Berger, together with others from the concert cast.
[179] .^ For an academic, perhaps the best evidence of the power of this new industry is the number of his colleagues who seem to spend more time listening to hard rock and watching music videos than reading poetry .- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ Far more important to Plotinus than these two groups, however, were the positions on freedom laid out by Plato and by Aristotle.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
Hair, it seems, has deeper roots than anyone remembered".
[181] Time magazine wrote, "
Hair... has been reinvigorated and reclaimed as one of the great milestones in musical-theatre history....
.^ Even when they weren't high, their experience, as they related it to me, was more intense, exciting, and real than anything they had seen in straight society.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[3]
2009 Broadway Revival poster
2009 Broadway revival
The Public Theater production transferred to Broadway at the
Al Hirschfeld Theatre, beginning previews on March 6, 2009, with an official opening on March 31, 2009. Paulus and Armitage again directed and choreographed and most of the cast returned from the production in the park. A pre-performance ticket lottery is held each night for $25 box-seat tickets.
[182] The cast includes
Gavin Creel as Claude, Swenson as Berger,
Caissie Levy as Sheila, Allison Case as Crissy, Darius Nichols as Hud, Bryce Ryness as Woof, Kacie Sheik as Jeanie, Megan Lawrence as Mom, Andrew Kober as Dad and Margaret Mead, and
Sasha Allen as Dionne.
[183] Designers included
Scott Pask (sets), Michael McDonald (costumes) and
Kevin Adams (lighting).
[184]Critical response to the revival has been almost uniformly positive.
[185] .^ Rather, the horoscope reveals to you a new dignity: it shows how intimately you are related to the entire universe.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ Face your fear, and the fear will flee, flee your fear and it will chase you..- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ In the peak, you undergo control instability and face the profound falsity and impossibility of being a self-originating controller and origin of your control-thoughts.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
braiding your tresses."
[186] The
New York Post wrote that the production "has emerged triumphant.... These days, the nation is fixated less on war and more on the economy. As a result, the scenes that resonate most are the ones in which the kids exultantly reject the rat race."
[187] Variety enthused, "Director Diane Paulus and her prodigiously talented cast connect with the material in ways that cut right to the 1967 rock musical's heart, generating tremendous energy that radiates to the rafters.... What could have been mere nostalgia instead becomes a full-immersion happening....
.^ You may also purchase it from the publisher www.innertraditions.com , your local bookstore, or the usual internet sources."- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ If you adopt a worldview which doesn't willingly send your flow of wealth in the direction of the authorities, then they take your wealth against your will, by force and by fiat.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[188] The Boston Globe dissented, saying that the production "felt canned" and "overblown" and that the revival "feels unbearably naive and unforgivably glib".
[189] Ben Brantley, writing for
The New York Times, reflected the majority, however, delivering a glowing review:
Having moved indoors to Broadway from the Delacorte Theater... the young cast members... show no signs of becoming domesticated. On the contrary, they’re tearing down the house.... This emotionally rich revival... delivers what Broadway otherwise hasn't felt this season: the intense, unadulterated joy and anguish of that bi-polar state called youth.... Karole Armitage's happy hippie choreography, with its group gropes and mass writhing, looks as if it's being invented on the spot. But there's intelligent form within the seeming formlessness.... [Paulus finds] depths of character and feeling in [the
.^ Looking over the literature to see "how come I didn't hear about Amanita in regards to Bible-religion much earlier?"- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
Every single ensemble member emerges as an individual.... After the show I couldn’t stop thinking about what would happen to [the characters]. Mr. MacDermot's music, which always had more pop than acid, holds up beautifully, given infectious life by the onstage band and the flavorfully blended voices of the cast.
[190]
| Problems listening to this file? See media help. |
The Public Theatre encountered some difficulty in raising the $5.5 million budgeted for the Broadway transfer, because of severity of the
economic recession in late 2008, but it reached its goal by adding new producing partners. In addition, director Diane Paulus helped keep costs low by using an inexpensive set. After opening to very favorable reviews, the show grossed a healthy $822,889 in its second week.
[191][192] On April 30, 2009 on the
Late Show with David Letterman, the cast recreated a performance on the same stage at the
Ed Sullivan Theater by the original tribe.
[193] The production won the
Tony Award for Best Revival of a Musical,
[194] the
Drama Desk Award for Outstanding Revival of a Musical[195] and the
Drama League Award for Distinguished Revival of a Musical.
[196] By August 7, 2009 the revival had recouped its entire $5,760,000 investment, becoming one of the fastest-recouping musicals in Broadway history.
[197]With the Broadway cast temporarily transferring to London for the 2010 revival there, a mostly new tribe was announced to take over on March 9, 2010, which is scheduled to include
American Idol alumni
Ace Young as Berger and
Diana DeGarmo as Sheila. Also,
Kyle Riabko will assume the role of Claude, and
Annaleigh Ashford will play Jeanie.
[198]2010 West End revival
The production is scheduled to be repeated at the
Gielgud Theatre in London's
West End in 2010, with previews beginning April 1 and an official opening on April 14. The producers are the Public Theatre, together with
Cameron Mackintosh and
Broadway Across America. The entire New York cast is expected to relocate to London.
[161][199] According to the producers, this is the first time in recent memory that an entire cast has made the trip across the Atlantic.
[199] The original Broadway cast is committed to the West End production through October 2, 2010.
[200]International success
Hair has been performed in most of the countries of the world. Rado wrote in 2003 that the only places where the show hadn't been performed were "
China,
India, Vietnam, the Arctic and Antarctic continents as well as most African countries."
[163]
After the
Berlin Wall fell, the show traveled for the first time to Poland, Lebanon, the Czech Republic, and Sarajevo (featured on ABC's
Nightline with
Ted Koppel, when
Phil Alden Robinson visited that city and discovered a production of
Hair there in the midst of the war).
[163] In 1999, Michael Butler and director Bo Crowell helped produce
Hair in Russia at the
Stas Namin Theatre located in Moscow's
Gorky Park. The Moscow production caused a similar reaction as the original did 30 years earlier because Russian soldiers were fighting in Chechnya at the time.
[201][202]Cultural impact
Popular culture
.^ This last figure has two correlations: it is one hundred times the number of days in the Egyptian calendar year, and it is twenty-five times 1461, the number of years in the Sothic period of that calendar.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
^ The use of psychoactives in different societies and religions, including shamanism, New Age movements and Rave Culture.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[15]
Butler (front) and Rado (behind Butler, in black t-shirt and cap) with a 2006
Hair cast in
Red Bank, New Jersey
Because of the universality of its pacifist theme,
Hair continues to be a popular choice for high-school and university productions.
[28] Amateur productions of
Hair are also popular worldwide.
[212] In 2002,
Peter Jennings featured a
Boulder,
Colorado high school production of
Hair for his ABC documentary series "In Search of America".
[213] A September 2006 community theater production at the 2,000-seat Count Basie Theater in
Red Bank,
New Jersey, was praised by original producer Michael Butler, who said it was "one of the best
Hairs I have seen in a long time."
[214] Another example of a recent large-scale amateur production is the Mountain Play production at the 4,000-seat Cushing Memorial Amphitheatre in
Mount Tamalpais State Park in
Mill Valley,
California in the spring of 2007.
[215]Legacy
.^ Whether out of curiosity, a need for development or a deep longing for something greater than themselves, they have always searched the realms beyond the here and now.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[216] MacDermot followed
Hair with three successive rock scores:
Two Gentlemen of Verona (1971);
Dude (1972), a second collaboration with Ragni; and
Via Galactica (1972). While
Two Gentlemen of Verona found receptive audiences and a Tony for Best Musical,
Dude failed after just sixteen performances, and
Via Galactica flopped after a month.
[217] .^ First we said in the 60s "we have this new technology of consciousness", but then we focussed on how old such technologies were, and now we are back to today: however old these may be, what matters for me is what to do with these phenomena today, and how to bring them fully to others today.- The Christianity Gap in Entheogen Religion Scholarship 23 September 2009 9:27 UTC www.egodeath.com [Source type: Original source]
[217] Jesus Christ Superstar (1970) and
Godspell (1971) were two religiously-themed successes of the genre.
Grease (1975) reverted to the rock sounds of the Fifties, and black-themed musicals like
The Wiz (1975) were heavily influenced by gospel,
R&B and
soul music. By the late 1970s, the genre had played itself out.
[217]
Except for a few outposts of rock, like
Dreamgirls (1981) and
Little Shop of Horrors (1982), audience tastes in the 1980s turned to
megamusicals with pop scores, like
Les Misérables (1985) and
The Phantom of the Opera (1986).
[218] Some later rock musicals, such as
Rent (1996) and
Spring Awakening (2006), as well as
jukebox musicals featuring rock music, like
We Will Rock You and
Rock of Ages, have found success. But the rock musical did not come to dominate the musical theatre stage after
Hair. Critic
Clive Barnes commented, "There really weren't any rock musicals. No major rock musician ever did a rock score for Broadway.... You might think of the musical
Tommy, but it was never conceived as a Broadway show.... And one can see why. There's so much more money in records and rock concerts. I mean, why bother going through the pain of a musical which may close in Philadelphia?
[217]On the other hand,
Hair had a profound effect not only on what was acceptable on Broadway, but as part of the very social movements that it celebrated. As
Ellen Stewart, La MaMa's founder, noted:
Hair came with blue jeans, comfortable clothing, colors, beautiful colors, sounds, movement.... And you can go to AT&T and see a secretary today, and she's got on blue jeans.... You can go anywhere you want, and what
Hair did, it is still doing
twenty years later.... A kind of emancipation, a spiritual emancipation that came from [O'Horgan's] staging....
Hair until this date has influenced every single thing that you see on Broadway, off-Broadway, off-off-Broadway, anywhere in the world, you will see elements of the experimental techniques that
Hair brought not just to Broadway, but to the entire world.
[219]
Notes
- ^ a b c d Horn, pp. 87–88
- ^ a b c d e f Pacheco, Patrick (June 17, 2001). "Peace, Love and Freedom Party; Cast and crew knew Hair wasn't just exhilarating, it was groundbreaking", Los Angeles Times, p. 1. Retrieved on June 10, 2008
- ^ a b Zoglin, Richard. "A New Dawn for Hair", Time magazine, July 31, 2008 (in August 11, 2008 issue, pp. 61–63)
- ^ a b c d e f g h i Haun, Harry. "Age of Aquarius", Playbill, April 2009, from Hair at the Al Hirschfeld Theatre, p. 7
- ^ a b c d e Rado, James (February 14, 2003). "Hairstory - The Story Behind the Story", hairthemusical.com. Retrieved on April 11, 2008.
- ^ a b "Viet Rock". Lortel Archives: The Internet Off-Broadway Database. Retrieved on April 11, 2008.
- ^ a b c d e f g "40 years of 'Hair'". Newark Star-Ledger (July 19, 2008). Retrieved on July 26, 2008.
- ^ a b c d Taylor, Kate (September 14, 2007). "The Beat Goes On". The New York Sun. The New York Sun, One, SL, LLC. Retrieved on May 27, 2008.
- ^ a b c Miller, pp. 54–56
- ^ Horn, p. 23
- ^ Horn, pp. 18–19
- ^ Horn, p. 27
- ^ "Galt MacDermot Biography". musiciansguide.com. Retrieved on April 11, 2008.
- ^ Whittaker, Herbert (May 1968). "Hair: The Musical That Spells Good-bye Dolly!". The Canadian Composer. Retrieved on April 18, 2008.
- ^ a b c d Isherwood, Charles (September 16, 2007). "The Aging of Aquarius". The New York Times. Retrieved on May 25, 2008.
- ^ Horn, p. 34
- ^ Horn, pp. 32-33
- ^ Zolotow, Sam (January 23, 1968). "Hair Closes Sunday" The New York Times, reproduced at michaelbutler.com. Retrieved on May 23, 2009
- ^ Horn, p. 29
- ^ Junker, Howard (June 3, 1968). "Director of the Year". Newsweek, orlok.com. Retrieved on April 11, 2008.
- ^ Horn, pp. 39–40
- ^ a b Horn, p. 53
- ^ Horn, p. 42
- ^ a b c "Hair". Internet Broadway Database. Retrieved on April 11, 2008.
- ^ "Producer Sues N.Y. Theatre League On Hair Exclusion as Tony Entry". Variety, michaelbutler.com (March 10, 1968). Retrieved on April 11, 2008.
- ^ Zoltrow, Sam (March 22, 1968). "Happy Time Gets 10 Mentions Among Tony Award Candidates". New York Times, p. 59. Retrieved on April 11, 2008.
- ^ "Past Winners, 1969". tonyawards.com. Retrieved on April 11, 2008
- ^ a b c d e f g King, Betty Nygaard. "Hair". Encyclopedia of Music in Canada. Historica Foundation of Canada. Retrieved on May 31, 2008.
- ^ Johnson, p. 87
- ^ Hair program, Detroit, 1970
- ^ Johnson, p. 134
- ^ Biographical notes in the Jesus Christ Superstar film souvenir booklet (1973)
- ^ Johnson, p. 82
- ^ Johnson, pp. 33, 81, 87–88
- ^ a b c d Horn, pp. 100–01
- ^ Butler, Michael. "How and Why I Got Into Hair". Pages from Michael Butler's Journal. michaelbutler.com. Retrieved on April 11, 2008.
- ^ Lewis, Anthony. "Londoners Cool To Hair's Nudity: Four Letter Words Shock Few at Musical's Debut", The New York Times, September 29, 1968
- ^ a b Horn, p. 105
- ^ "Tim Curry – Actor". Edited Guide Entry. bbc.uk.co (January 2, 2007). Retrieved on April 11, 2008.
- ^ "Shaftesbury Theatre, London". thisistheatre.com. Retrieved on April 17, 2008.
- ^ a b c d e f g h i j Horn, pp. 103–10
- ^ Horn, p. 37
- ^ Blumenthal, Ralph (October 26, 1968). "Munich Audience Welcomes Hair; Applause and Foot Stamping Follow Musical Numbers". New York Times, p. 27. Retrieved on April 11, 2008.
- ^ "Translated Hair Cheered in Paris; Title Lends Itself to Jest at Candidate's Expense". New York Times (June 2, 1969), p. 53. Retrieved on June 7, 2008.
- ^ "Hair Reaches Australia", The New York Times (June 7, 1969), p. 26, reproduced at the Hair Online Archives. Retrieved on April 29, 2009.
- ^ a b Hair: Original Australian production, MILESAGO: Australasian Music & Popular Culture 1964-1975, accessed April 29, 2009.
- ^ "Hair Around the World". Newsweek, michaelbutler.com (July 7, 1969). Retrieved on April 11, 2008.
- ^ a b c Lemon, Richard. "Here, There, Everywhere Hair", Performing Arts Magazine, October 1969. Retrieved on July 28, 2008.
- ^ a b Gross, Mike (June 27, 1970). "Hair Is Doing Runaway Business as Score & Play". Billboard (michaelbutler.com). http://www.michaelbutler.com/hair/holding/articles/HairArticles/Billboard6-27-70.html. Retrieved 2008-04-18.
- ^ a b c d e f g h i j k l m n o p q r s t Miller, Scott (2001). "HAIR – An analysis by Scott Miller"; excerpt from Rebels with applause: Broadway's groundbreaking musicals. Portsmouth, NH: Heinemann. ISBN 0-325-00357-2
- ^ a b Horn, p. 134
- ^ a b c d e f g h i j k l m n Rado, James; Gerome Ragni [1966, 1969]. Hair, Original Script, Tams Whitmark.
- ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Lamont Washington (Vocalist). (1968). Hair [Audio Recording]. RCA Victor. Event occurs at Track 5, "Colored Spade".
- ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Diane Keaton, Suzannah Norstrand, Natalie Mosco, Melba Moore, Lorrie Davis, and Emmaretta Marks (Vocalists). (1968). Hair [Audio Recording]. RCA Victor. Event occurs at Track 25, "White Boys".
- ^ Loving v. Virginia, 388 U.S. 1; 87 S. Ct. 1817; 18 L. Ed. 2d 1010; 1967 U.S. LEXIS 1082
- ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Lorrie Davis, Lamont Washington, Ronald Dyson, and Donnie Burks (Vocalists). (1968). Hair [Audio Recording]. RCA Victor. Event occurs at Track 27, "Abie Baby".
- ^ The 1960s concept of a menage-a-trois as a tribe is illustrated by the cover of the book The Love Tribe, Mathewson, Joseph (1968). Signet. Retrieved on April 18, 2008.
- ^ "Musical Hair opens as censors withdraw". On this Day. bbc.co.uk (November 27, 1968). Retrieved on April 11, 2008.
- ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Steve Curry (Vocalist). (1968) Hair [Audio Recording]. RCA Victor. Event occurs at Track 4, "Sodomy".
- ^ a b Barnes, Clive (April 30, 1968). "Theater: Hair – It's Fresh and Frank; Likable Rock Musical Moves to Broadway", New York Times, p. 40. Retrieved on April 11, 2008.
- ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Original Broadway Cast (Vocalists). (1968) Hair [Audio Recording]. RCA Victor. Events occur at Track 2 "Donna" and Track 26, "Walking in Space".
- ^ a b Miller, p. 116
- ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Original Broadway Cast (Vocalists). (1968) Hair [Audio Recording]. RCA Victor. Event occurs at Track 28, "Three-Five-Zero-Zero".
- ^ Miller, pp. 110–11
- ^ McNeill, Don (March 30, 1967). "Be-In, be-in, Being". The Village Voice, The Village Voice, LLC. Retrieved on April 17, 2008.
- ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Sally Eaton, Shelly Plimpton, Melba Moore, and Original Broadway Cast (Vocalists). (1968) Hair [Audio Recording]. RCA Victor. Event occurs at Track 11, "Air".
- ^ a b Davis, Lorrie (1968). Album notes for Original Cast Recording of Hair, pp.5–6 [CD booklet]. New York, New York: RCA Victor (1150-2-RC). Hair at MusicBrainz.
- ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Gerome Ragni (Vocalist). (1968) Hair [Audio Recording]. RCA Victor. Event occurs at Track 2, "Goin' Down".
- ^ a b Miller, pp. 88–89
- ^ Horn, p. 136
- ^ a b "Rapping With Sally Eaton of Hair". Astrology Today. michaelbutler.com. Retrieved on April 11, 2008.
- ^ Curtis, Charlotte (April 30, 1968). "Party Makes It (on the Third Try)". New York Times, p. 50. Retrieved on April 11, 2008.
- ^ "Gerome Ragni". ibdb.com. Retrieved on June 1, 2008.
- ^ a b c "Hairzapoppin'". Time (December 12, 1969). Retrieved on May 29, 2008.
- ^ a b Dowling, Colette (May 1971). "Hair – Trusting the Kids and the Stars". Playbill. Retrieved on June 1, 2008.
- ^ a b c Livingston, Guy (April 15, 1970). "Nudity and Flag "Desecration" Figure In Appeal Against Hair Foldo in Hub". Variety (michaelbutler.com). Retrieved on April 11, 2008.
- ^ a b "Supreme Court Clears Hair for Boston Run". New York Times: p. 26. May 23, 1970. Retrieved on April 11, 2008.
- ^ Prideaux, Tom (April 17, 1970). "That Play Is Sprouting Everywhere". Life, michaelbutler.com. Retrieved on June 7, 2008.
- ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Sally Eaton, Shelly Plimpton, Melba Moore, and James Rado, Lynn Kellogg, Melba Moore, and Original Broadway Cast (Vocalists). (1968) Hair [Audio Recording]. RCA Victor. Event occurs at Track 32, "The Flesh Failures (Let the Sunshine In)".
- ^ Miller, p. 91
- ^ "Shakespeare in the Park to present Hamlet and the musical Hair. newyorktheatreguide.com (February 7, 2008). Retrieved on April 18, 2008.
- ^ Miller, p. 92
- ^ Miller, p. 48
- ^ a b c d e f Miller, pp. 56–58
- ^ a b Horn, pp. 61–64
- ^ a b Lees, Gene (July 1969). "hair in Europe". High Fidelity. Retrieved on May 26, 2008.
- ^ Horn, p. 74
- ^ "Phoenix Fright Wig Up On Hair; Many Mix-Up Calcutta". Variety (August 5, 1970). Retrieved on July 2, 2008.
- ^ Brien, Alan (April 28, 1968). "Alan Brien Takes an Advance Look at a Frontal Attack on Broadway". The London Sunday Times. Retrieved on July 2, 2008.
- ^ "Optional Nudity in Hair". Esquire (September 1968). Retrieved on July 2, 2008.
- ^ Berkvist, Robert (September 14, 1969). "Changes Color of Hair". New York Times, p. D3. Retrieved on July 2, 2008.
- ^ Miller, p. 54
- ^ a b Alapatt, Eothen; Galt MacDermot. "Interview with Galt MacDermot by Eothen "Egon" Alapatt". galtmacdermot.com. Retrieved on May 26, 2008.
- ^ Miller, p. 44
- ^ Kenrick, John. "History of The Musical Stage 1960s: III". musicals101.com. Retrieved on June 9, 2008
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- ^ Rockwell, John (December 20, 1969). "Long Hair? Can 'the American tribal love-rock musical' be the opera of tomorrow?". Retrieved on May 26, 2008.
- ^ "Creedence’s Fogerty: Hair Is Not Where It’s At…". Billboard (November 14, 1970). Retrieved on April 18, 2008.
- ^ "Hair (Original Broadway Cast Recording) Track Listing". allmusic.com. Retrieved on April 11, 2008.
- ^ a b c d e Miller, pp. 70–77
- ^ a b Rado, James (July 25, 2007). "New lyrics for 'Hippie Life' song". hairthemusical.com. Retrieved on May 28, 2008.
- ^ "Production Songs". Internet Broadway Database. Retrieved on July 17, 2009.
- ^ Holleman, John. "Hair Songs by non-Hair artists". Hair for the Record: A discography compiled by John Holleman. Retrieved on May 30, 2008.
- ^ "Hair Tunes Sprayed With Cuts". Billboard (March 22, 1969). michaelbutler.com. Retrieved on May 28, 2008.
- ^ "Sesame Street". Sesame Street. PBS. 1969. Retrieved on July 15, 2008.
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- ^ Links to Hair recordings at Castalbums.org
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- ^ "The Springfield Files". Reid Harrison (Writer), Steven Dean Moore (Director). The Simpsons. FOX. 1997-01-12. No. 163, season 8.
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- ^ "Number One Essential Musicals". bbc.co.uk. 23 November 2006. http://www.bbc.co.uk/radio2/shows/paige/essentialvote.shtml. Retrieved 2008-04-11.
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- ^ "The Stage". Peter Jennings. In Search of America. ABC, Boulder, Colorado. 2002-09-04.
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- ^ a b c Horn, pp. 127–29
- ^ a b c d Horn, pp. 131–32
- ^ Wollman, pp. 121–123
- ^ Horn, pp. 137–38
References
- Davis, Lorrie and Rachel Gallagher. Letting Down My Hair: Two Years with the Love Rock Tribe (1973) A. Fields Books ISBN 0525630058
- Horn, Barbara Lee. The Age of Hair: Evolution and the Impact of Broadway's First Rock Musical (New York, 1991) ISBN 0313275645
- Johnson, Jonathon. Good Hair Days: A Personal Journey with the American Tribal Love-Rock Musical Hair (iUniverse, 2004) ISBN 0595312977
- Miller, Scott. Let the Sun Shine In: The Genius of Hair (Heinemann, 2003) ISBN 0325005567
- Wollman, Elizabeth Lara, The Theatre Will Rock: A History of the Rock Musical from Hair to Hedwig (University of Michigan Press, 2006) ISBN 0472115766
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