Hair - Free Love movements

The term free love has been used since at least the 19th century to describe a social movement that rejects marriage, which is seen as a form of social bondage, especially for women. The Free Love movement’s initial goal was to separate the state from sexual matters such as marriage, birth control, and adultery. It claimed that such issues were the concern of the people involved, and no one else. Much of the free-love tradition is an offshoot of anarchism, and reflects a civil libertarian philosophy that seeks freedom from state regulation and church interference in personal relationships. According to this concept, the free unions of adults are legitimate relations which should be respected by all third parties whether they are emotional or sexual relations. In addition, some free-love writing has argued that both men and women have the right to sexual pleasure. In the Victorian era, this was a radical notion. Later, a new theme developed, linking free love with radical social change, and depicting it as a harbinger of a new anti-authoritarian, anti-repressive pacifist sensibility.
Many people in the early 19th century believed that marriage was an important aspect of life to “fulfill earthly human happiness.” Middle-class Americans wanted the home to be a place of stability in an uncertain world. This mentality created a vision on strongly defined gender roles, which lead to the advancement of the free love movement.
While the phrase free love is often associated with promiscuity in the popular imagination, especially in reference to the counterculture of the 1960s and 1970s, historically the free-love movement has not advocated multiple sexual partners or short-term sexual relationships. Rather, it has argued that love relations that are freely entered into should not be regulated by law. Thus, free-love practice may include long-term monogamous relationships or even celibacy, but would not include institutional forms of polygamy, such as a king and his wives and concubines.
The term “sex radical” is also used with the term “free lover” although being referred, as a sex radical is what most people liked to be called; the term “free love” often had a negative connotation. Even though they had different names, they still fought for the same rights. No matter what they called themselves, these people shared two strong beliefs: opposition to the idea of forceful sexual activity in a relationship and advocacy for a woman to use her body in any way that she pleases.
Laws of particular concern to free love movements have included those that prevent an unmarried couple from living together, and those that regulate adultery and divorce, as well as age of consent, birth control, homosexuality, abortion, and prostitution; although not all free love advocates agree on these issues. The abrogation of individual rights in marriage is also a concern—for example, some jurisdictions do not recognize spousal rape or treat it less seriously than non-spousal rape. Free-love movements since the 19th century have also defended the right to publicly discuss sexuality and have battled obscenity laws.
In 1857, Francis Barry wrote that “marriage is a system of rape.” He states that the woman is a victim where she can do nothing but be oppressed by her husband, as he tortures her in her home, which becomes a house of bondage. In one of his articles, Francis Barry wrote:
“‘The Object of this [women’s emancipation] Society,’ according to article two of its [free love] constitution, ‘shall be to secure absolute freedom to woman, through the overthrow of the popular system of marriage.’”
In the 20th century, some free-love proponents extended the critique of marriage to argue that marriage as a social institution encourages emotional possessiveness and psychological enslavement.[citation needed]
The Free Love movement mostly consisted of written articles, journals, and newspapers. The written word was what the free love movement chose to persuade their audience with; an act of civil disobedience.

Hair = Free Love and Women's movement

The history of free love is entwined with the history of feminism. From the late 18th century, leading feminists, such as Mary Wollstonecraft, have challenged the institution of marriage, and many have advocated its abolition.
Mary Wollstonecraft was one of the first women to contribute to the free love movement with her literary works. Her novels criticized the social construction of marriage and its effects on women. In her first novel, Mary: A Fiction written in 1788, the heroine is forced into a loveless marriage for economic reasons. She finds love in relationships with another man and a woman. The novel, Maria: or, The Wrongs of Woman written in 1798, but never published, revolves around the story of a woman imprisoned in an asylum by her husband; Maria finds fulfillment outside of marriage, in an affair with a fellow inmate. Mary makes it clear that women “had strong sexual desires and that it was degrading and immoral to pretend otherwise."
A married woman was solely a wife and mother, denying her the opportunity to pursue other occupations; sometimes this was legislated, as with bans on married women and mothers in the teaching profession. In 1855, free love advocate Mary Gove Nichols described marriage as the "annihilation of women," explaining that women were considered to be men's property in law and public sentiment, making it possible for tyrannical men to deprive their wives of all freedom. For example, the law allowed a husband to physically discipline his wife. In response, free love feminists stressed the anarchist concept of self-ownership in the context of sexual self-determination. Free love advocates like Nichols argued that many children are born into unloving marriages out of compulsion, but should instead be the result of choice and affection—yet children born out of wedlock did not have the same rights as children with married parents.
Sex, to proponents of free love, was not only about reproduction. Access to birth control was considered a means to women's independence, and leading birth-control activists like Margaret Sanger also embraced free love.
In the 1850’s, Hannah R. Brown contributed to the journal, the “Una,” made lecture tours, and edited her personal journal, “the Agitator.” In one of her articles, she stated, “the woman is regarded as a sort of appendage to the goods and glories [of a man].” She advocated that true marriages could be formed if only women were allowed to choose freely.
Francis Barry was also a prominent advocate for the free love movement in the middle to late 1800’s. He agreed that marriage socially bound a woman to a man, and that women should be free. Although this movement largely concerned women, the chief organizers were mostly men, one of them being Francis Barry. This helped foster a male ideology, and proved to women, such as Mary Gove Nichols and Victoria Woodhull that men were just as serious as they were about this issue. Although men were the main contributors to the organized and written part of the free love movement, the movement itself was still associated with loud and flashy women. There were two reasons for why free love was more agreeable to men. The first reason was that women lost more than men did, if marriage were to become “undermined.” The second reason was that free love “rested on the faith in individualism,” a quality that most women were afraid or unable to accept.
In 1857, Minerva Putnam complained that, “in the discussion of free love, no woman has attempted to give her views on the subject.” There were six books during this time that endorsed the concept of free love. Of the four major free love periodicals following the civil war, only two of them had female editors. Mary Gove Nichols was the leading female advocate, and the woman who most people looked up to, for the free love movement. She wrote her autobiography, which became the first case against marriage written from a woman’s point of view.
Many of the leaders of first-wave feminism attacked free love. To them, women's suffering could be traced to the moral degradation of men, and by contrast, women were portrayed as virtuous and in control of their passions, and they should serve as a model for men's behavior. Some feminists of the late 20th century would interpret the free-love ethic of the 1960s and 1970s as a manipulative strategy against a woman's ability to say no to sex.
Sex radicals remained focused on their attempts to uphold a woman’s right to control her body and to freely discuss issues such as contraception, marital sex abuse (emotional and physical), and sexual education. These people believed that by talking about female sexuality, they would help empower women. To help achieve this goal, sex radicals relied on the written word, books, pamphlets, and periodicals. This method helped these people sustain this movement for over 50 years, and helped spread their message all over the United States.
In recent years, women have created works of art to help keep the free love movement alive, often in ways that even the artist does not realize. Sara Bareilles’ songs, “Fairytale” and “Love Song” are modern examples of how women are participating in the Free Love movement; although, artists such as Sara Bareilles do not write their songs specifically for the Free Love movement.
The famous feminist, Gloria Steinem at one point stated, “you became a semi-nonperson when you got married.” She also famously coined the expression 'A woman needs a man like a fish needs a bicycle,' Steinem dismissed marriage in 1987 as not having a 'good name.' Steinem got married in 2000, stating that the symbols that feminists once “rebelled against” now are freely chosen, or society had changed.

Character Analysis - Claude Hooper

Claude Hooper Bukowski is a naive Oklahoman sent off to see the sites of New York before beginning his enlistment in the Army. On his arrival he observes a group of hippies lead by George Berger begging for change from a trio of horseback riders. Later Claude catches the runaway horse the hippies have rented and uses it to show off his riding skills to one of the trio of strangers--an upper class débutante. While returning the horse to the hippies, Claude accepts their invitation to be shown around.
In the course of an evening Claude gets stoned then is introduced to the race and class issues of the 1960's. On the morning after, George finds a scrap of newspaper identifying the mysterious girl. The group including Hud, Jeannie and Woof crash a private party where the girl--Sheila Franklin --secretly enjoys the disruption of her rigid environment. After the group is arrested, Claude uses the only money he has to pay George's fine so that George can find the funds to get the rest of them released.
For their next adventure, the group attends a peace rally in Central Park where Claude drops acid. When Jeannie proposes they get married to keep Claude out of the Army and Sheila shows up to apologize, Claude's "trip" reflects his internal conflict over which world he belongs in--his own native Oklahoman farm culture, the upper class society of Sheila or the free-wheeling world of the hippies.
When his trip is over, Claude and the hippies have a falling out over both a mean trick they pull on Sheila (taking her clothes while she's skinny-dipping, which then leads to Sheila being completely humiliated when she has no choice but to hail a cab completely naked) and their philosophical differences over the war in Vietnam and personal versus community responsibility. In the end Claude goes through with his original plan and reports to the draft board. He begins his enlistment in the Army and makes it through basic training.
When Claude writes to Sheila from his training camp, she seeks out George and his group to share the news. George begins to cook up a scheme to visit Claude in Nevada.
George infiltrates the Army base, finds Claude and reveals himself. When Claude refuses to leave for fear of being found missing during a headcount, George schemes to take his place long enough for Claude to visit with the others waiting in the desert.
While Claude is away, the base, which has been on alert, becomes fully activated with immediate ship-outs to Vietnam. George, unwilling to reveal the Claude is awol, boards the plane to Vietnam in Claude's stead. Claude arrives too late to slip back into his place.

Movements in the movie Hair = Counterculture

Counterculture opposed to dominant culture. Sociological term used to describe the values and norms of behavior of a cultural group, or subculture, that run counter to those of the social mainstream of the day, the cultural equivalent of political opposition. It is a neologism attributed to Theodore Roszak.
Although distinct countercultural undercurrents have existed in many societies, here the term "counterculture" refers to a more significant, visible phenomenon that reaches critical mass, flowers, and persists for a period of time. A countercultural movement expresses the ethos, aspirations, and dreams of a specific population during an era — a social manifestation of zeitgeist.It is important to distinguish between "counterculture", "subculture" and "fringe culture".
Countercultural milieux in 19th-century Europe included the traditions of Romanticism, Bohemianism and of the Dandy. Another movement existed in a more fragmentary form in the 1950s, both in Europe and the US, in the form of the Beat generation, or Beatniks, followed in the 1960s by the hippies and anti-vietnam war protesters.
The term 'counterculture' came to prominence in the news media as it was used to refer to the social revolution that swept North America, Western Europe, Japan, Australia and New Zealand during the 1960s and early 1970s.

Some movements in the movie Hair = Black Power

Black Power is a political slogan and a name for various associated ideologies. It is used in the movement among people of Black African descent throughout the world, primarily African Americans in the United States.[2] Most prominent in the late 1960s and early 1970s, the movement emphasized racial pride and the creation of black political and cultural institutions to nurture and promote black collective interests, advance black values, and secure black autonomy.
"Black Power" expresses a range of political goals, from defense against racial oppression, to the establishment of separate social institutions and a self-sufficient economy (separatism). Not only did this "Black Power" movement encourage separatism, but it helped usher in black radical thought, and action against what was considered to be an elusive, yet visible higher power, also known as white supremacy. The earliest known usage of the term is found in a 1954 book by Richard Wright titled Black Power. The first use of the term in a political sense may have been by Robert F. Williams, an NAACP chapter president, writer, and publisher of the 1950s and 1960s.[citation needed] New York politician Adam Clayton Powell Jr. used the term on May 29, 1966 during a baccalaureate address at Howard University: "To demand these God-given rights is to seek black power."

A range of ideology

Some Black Power adherents believe in Black autonomy, with a variety of tendencies such as black nationalism, and black separatism. Often Black Power advocates are open to use violence as a means of achieving their aims, but this openness to violence was nearly always coupled with community organizing work. Such positions were for the most part in direct conflict with those of leaders of the mainstream Civil Rights Movement, and thus the two movements have often been viewed as inherently antagonistic. However, certain groups and individuals participated in both civil rights and black power activism.
Not all Black Power advocates were in favor of black nationalism and black separatism. While Stokely Carmichael and SNCC were in favor of black nationalism, organizations such as the Black Panther Party for Self Defense were not. Though they considered themselves to be at war with a power structure that was indeed all white, they were not at war with all Whites, merely the individuals in the existing power structure, who happened to be all white.
Bobby Seale, Chairman and Co-Founder of the Black Panther Party for Self Defense, was outspoken about this. His stand was that the oppression of black people was more of a result of economic exploitation than anything innately racist. In his book Seize the Time, he states that "In our view it is a class struggle between the massive proletarian working class and the small, minority ruling class. Working-class people of all colors must unite against the exploitative, oppressive ruling class. So let me emphasize again -- we believe our fight is a class struggle and not a race struggle." Bayard Rustin, an elder statesman of the Civil Rights Movement, was a harsh critic of Black Power in its earliest days. Writing in 1966, shortly after the March Against Fear, Rustin said that Black Power “not only lacks any real value for the civil rights movement, but [...] its propagation is positively harmful. It diverts the movement from a meaningful debate over strategy and tactics, it isolates the Negro community, and it encourages the growth of anti-Negro forces.” He particularly criticized the Congress of Racial Equality (CORE) and SNCC for their turn toward Black Power, arguing that these two organizations once “awakened the country, but now they emerge isolated and demoralized, shouting a slogan that may afford a momentary satisfaction but that is calculated to destroy them and their movement."
Internationalist offshoots of black power include African Internationalism, pan-Africanism, black nationalism, and black supremacy.

Impact on Black Politics

Though the Black Power movement did not immediately remedy the political problems faced by African Americans in the 1960s and '70s, the movement did contribute to the development of black politics both directly and indirectly. As a contemporary of and successor to the Civil Rights Movement, the Black Power movement created, what sociologist Herbert H. Haines refers to as a “positive radical flank effect” on political affairs of the 1960s. Though the nature of the relationship between the Civil Rights Movement and the Black Power movement is contested, Haines’ study of the relationship between black radicals and the mainstream civil rights movement indicates that Black Power generated a “crisis in American institutions which made the legislative agenda of ‘polite, realistic, and businesslike’ mainstream organizations” more appealing to politicians. In this way, it can be argued that the more strident and oppositional messages of the Black Power movement indirectly enhanced the bargaining position of more moderate activists. Black Power activists approached politics with vitality, variety, wit, and creativity that shaped the way future generations approached dealing with America’s societal problems (McCartney 188). These activists capitalized on the nation’s recent awareness of the political nature of oppression, a primary focus of the Civil Rights Movement, developing numerous political action caucuses and grass roots community associations to remedy the situation.
The National Black Political Convention, held March 10-12, 1972, was a significant milestone in black politics of the Black Power era. Held in Gary, Indiana, a majority black city, the convention included a diverse group of black activists, although it completely excluded Whites. The convention was criticized for its racial exclusivity by Roy Wilkins of the NAACP, a group that supported integration. The delegates created a National Black Political Agenda with stated goals including the election of a proportionate number of black representatives to Congress, community control of schools, national health insurance, etc. Though the convention did not result in any direct policy, the convention advanced goals of the Black Power movement and left participants buoyed by a spirit of possibility and themes of unity and self-determination. A concluding note to the convention, addressing its supposed idealism, read: “At every critical moment of our struggle in America we have had to press relentlessly against the limits of the ‘realistic’ to create new realities for the life of our people. This is our challenge at Gary and beyond, for a new Black politics demands new vision, new hope and new definitions of the possible. Our time has come. These things are necessary. All things are possible.” Though such political activism may not have resulted in direct policy, they provided political models for later movements, advanced a pro-black political agenda, and brought sensitive issues to the forefront of American politics. In its confrontational and often oppositional nature, the Black Power movement, started a debate within the black community and America as a nation over issues of racial progress, citizenship, and democracy, namely “the nature of American society and the place of the African American in it.” The continued intensity of debate over these same social and political issues is a tribute to the impact of the Black Power movement in arousing the political awareness and passions of citizens.

Music Analysis - Aquarius = Hair

Aquarius - Hair

• Repetição
• Paralelismo
• Referência Exofórica
• Referência Anafórica

When the moon is in the Seventh House
And Jupiter aligns with Mars
Then peace will guide the planets
And love will steer the stars

This is the dawning of the age of Aquarius
The age of Aquarius
Aquarius!
Aquarius!

Harmony and understanding
Sympathy and trust abounding
No more falsehoods or derisions
Golding living dreams of visions
Mystic crystal revalation
And the mind's true liberation
Aquarius!
Aquarius!

When the moon is in the Seventh House
And Jupiter aligns with Mars
Then peace will guide the planets
And love will steer the stars

This is the dawning of the age of Aquarius
The age of Aquarius
Aquarius!
Aquarius!

Harmony and understanding
Sympathy and trust abounding
No more falsehoods or derisions
Golding living dreams of visions
Mystic crystal revalation
And the mind's true liberation
Aquarius!
Aquarius!

John Savage

John Savage (born John Youngs; August 25, 1949) is an American film actor, producer, production manager, and composer.
His first major film role was as Steven in the 1978 film, The Deer Hunter, the story of a group of Russian American steel workers during the Vietnam War.
One of his most famous roles was as Claude Bukowski in the film Hair (1979). He had a brief role in Terrence Malick's war epic, The Thin Red Line.
In recent years he has been seen on the small as well as the big screen. He was the recurring character of Donald Lydecker in the first and second seasons of Dark Angel and portrayed Captain Ransom in the two part episode "Equinox" from Star Trek: Voyager.
Another recurring role found him as Henry Scudder in the HBO-produced television series Carnivàle. In 2005, he appeared on Law & Order: Special Victims Unit. Most recently[when?], he has lent his voice to a monologue on the title track of the album, This Town, by Steve Smith of Dirty Vegas. In September 2009, he appeared in the second episode of Season 2 of the Fox network drama Fringe.
Savage was born in Old Bethpage, New York, the son of Muriel, a homemaker, and Floyd Youngs, who worked in insurance sales.[1] His sister is Boston-based radio and television personality Robin Young. His brother is actor Jim Youngs. He is also the father of actress/singer Jennifer Youngs and her brother Lachlan. He has a grandson, Zolan Kanno-Youngs.

Filmography:

• Bad Company (1972)
• The Killing Kind (1973)
• Steelyard Blues (1973)
• The Sister In-Law (1974)
• All the Kind Strangers (1974)
• The Deer Hunter (1978)
• Hair (1979)
• The Onion Field (1979)
• Inside Moves (1980)
• Cattle Annie and Little Britches (1981)
• The Amateur (1981)
• Coming out of the Ice (1982)
• Vengeance of a Soldier (1984)
• Maria's Lovers (1984)
• Nairobi Affair (1984)
• The Little Sister (1985)
• Silent Witness (1985)
• Salvador (1986)
• Hotel Colonial (1987)
• Beauty and the Beast (1987)
• Caribe (1987)
• The Beat (1988)
• Do the Right Thing (1989)
• The Godfather Part III (1990)
• Mountain of Diamonds (1991)
• Hunting (1991)
• Door to Silence (1991)
• Primary Motive (1992)
• CIA II: Target Alexa (1993)
• The Dangerous (1994)
• Killing Obsession (1994)
• Deadly Weapon (1994)
• Berlin '39 (1994)
• Shattered Image (1994)
• Red Scorpion 2 (1994)
• The Takeover (1995)
• Fatal Choice (1995)
• Firestorm (1995)
• Carnosaur 2 (1995)
• OP Center (1995)
• The Crossing Guard (1995)
• Amnesia (1996)
• White Squall (1996)
• One Good Turn (1996)
• Where Truth Lies (1996)
• American Strays (1996)
• The Mouse (1996)
• Flynn (1997)
• Little Boy Blue (1997)
• Hollywood Safari (1997)
• Hostile Intent (1997)
• A Corner of Paradise (1997)
• Before Women Had Wings (1997)
• Club Vampire (1998)
• Nightworld: Lost Souls (1998)
• The Thin Red Line (1998)
• Christina's House (1999)
• Message in a Bottle (1999)
• The Jack Bull (1999)
• Summer of Sam (1999)
• Equinox (Star Trek: Voyager) (1999) (TV - 2 part episode)
• The Virginian (2000)
• They Nest (2000)
• Dark Angel (2000-2001) (TV series)
• Dead Man's Run (2001)
• Redemption of the Ghost (2002)
• The Anarchist Cookbook (2002)
• Intoxicating (2003)
• Easy Sex (2003)
• Carnivàle (2003-2005) (TV series)
• Shortcut to Happiness (2004)
• Alien Lockdown (2004)
• Sucker Free City (2004)
• Admissions (2004)
• Aimée Price (2005)
• Iowa (2005)
• Confessions of a Pit Fighter (2005)
• Love's Long Journey (2005)
• The New World (2005)
• The Drop (2006)
• Kill Your Darlings (2006)
• Shut Up and Shoot! (2006)
• Downtown: A Street Tale (2007)
• The Violent Kind (2008)
• The Attic (2008)
• The Golden Boys (2008)
• The Grift (2008)
• From a Place of Darkness (2008)
• The Thacker Case (2008)
• The Red Canvas (2009)
• Handsome Harry (2009)
• Buffalo Bushido (2009)
• Anytown (2009)
• Bereavement (2009)
• Nephilim (2009)

Hair Soundtrack

All lyrics written by Gerome Ragni, Jim Rado, all music composed by Galt MacDermot.

Disc One
1. "Aquarius"
2. "Sodomy"
3. "Donna/Hashish"
4. "Colored Spade"
5. "Manchester" (John Savage)
6. "Abie Baby/Fourscore" (Nell Carter)
7. "I'm Black/Ain't Got No"
8. "Air"
9. "Party Music"
10. "My Conviction"
11. "I Got Life" (Treat Williams)
12. "Frank Mills"
13. "Hair"
14. "L.B.J."
15. "Electric Blues/Old Fashioned Melody"
16. "Hare Krishna"

Disc Two
1. "Where Do I Go?"
2. "Black Boys"
3. "White Boys" (Nell Carter)
4. "Walking In Space (My Body)"
5. "Easy To Be Hard" (Cheryl Barnes)
6. "Three-Five-Zero-Zero"
7. "Good Morning Starshine" (Beverly D'Angelo)
8. "What A Piece Of Work Is Man"
9. "Somebody To Love"
10. "Don't Put It Down"
11. "The Flesh Failures/Let The Sunshine In"

Hair (Film)

Hair is a 1979 film adaptation of the 1968 Broadway musical of the same title about a Vietnam war draftee who meets and befriends a tribe of long-haired hippies on his way to the army induction center. The hippies introduce him to their environment of marijuana, LSD, and unorthodox relationships.

The film was directed by Miloš Forman, who was nominated for a César Award for his work on the film. Cast members include Treat Williams, John Savage, Beverly D'Angelo, Don Dacus of the rock band Chicago, Annie Golden, Dorsey Wright, Nell Carter, Ellen Foley, Charlotte Rae as well as Johnny Maestro, Jim Rosica and Fred Ferrara of the rock group The Brooklyn Bridge, and The Stylistics. Dance scenes were choreographed by Twyla Tharp and performed by the Twyla Tharp Dance Foundation. The film was nominated for a Best Picture Golden Globe Award, and Williams was nominated for a Golden Globe as New Star of the Year in a Motion Picture - Male.

In this adaptation of the hit Broadway musical, a naive farm boy from Oklahoma named Claude Hooper Bukowski (John Savage) heads to New York City to enlist in the Army and serve in the Vietnam War. In Central Park, he meets a troupe of free-spirited hippies led by a young man named George Berger (Treat Williams), who introduce him to a debutante named Sheila Franklin (Beverly D'Angelo). Inevitably, Claude is sent off to boot camp in Nevada, but Berger and his band of merry pranksters including Woof Daschund (Don Dacus), LaFayette "Hud" Johnson (Dorsey Wright) and Jeannie Ryan (Annie Golden) do what they can to rescue Claude from a tour of duty in Vietnam.

Changes from original version
A few verses from "Manchester, England" and a small portion of "Walking In Space" have been removed. The film omits the songs "The Bed", "Dead End", "Oh Great God of Power", "I Believe in Love", "Going Down", "Abie Baby," "Air," "My Conviction," "Frank Mills," and "What a Piece of Work is Man" from the musical. The latter five songs were originally recorded for the film, but were eventually cut, as they slowed the pace of the film. They can be found on the motion picture soundtrack album, although they were omitted on the 1990 reissue. While the songs "Don't Put It Down" and "Somebody To Love" are not specifically sung by characters in the movie, they are both used as background or instrumental music for scenes at the army base. There are several other differences from songs in the movie and as they appear on the soundtrack, mainly in omitted verses and different orchestrations.
The plot is changed in the film. Many of the songs have been shortened, sped up, rearranged, or assigned to different characters to allow for the differences in plot. Opinions are mixed as to whether the film was an improvement over the stage show.
In the original stage show, the character Claude Bukowski is a hippie who eventually joins the army and is sent to Vietnam. In the movie, the plot was changed so that Claude comes to New York City from Oklahoma after he is drafted and befriends a group of hippies before being sent to Army training camp. They introduce him to their psychedelically-inspired style of living, and eventually drive to Nevada to visit him at a training camp. In the play, Claude is from "dirty, mucky, polluted Flushing," in Queens, but wishes he was from "Manchester, England," which explained why he sang a song with that title. The song remains in the film, though with a joking introduction by Berger - "he just got off the boat" - to make it apply to Oklahoma native Claude.
In the musical, Sheila Franklin is a hippie who falls in love with Berger, not Claude. Jeannie was "knocked up" by a speed freak, not by either Woof or Hud.
Arguably, the most extreme change is Berger's death in the finale. In the original play it is Claude who dies in Vietnam.

Reaction
Original writers James Rado and Gerome Ragni were unhappy with the film. In their view, Forman failed to capture the essence of Hair in that hippies were portrayed as "oddballs" and "some sort of aberration" without any connection to the peace movement. Both are quoted as saying: "Any resemblance between the 1979 film and the original Biltmore version, other than some of the songs, the names of the characters, and a common title, eludes us." In their view, the screen version of Hair has not yet been produced. However, the film was generally well-reviewed. Writing in The New York Times, Vincent Canby called it "a rollicking musical memoir.... [Michael] Weller's inventions make this Hair seem much funnier than I remember the show's having been. They also provide time and space for the development of characters who, on the stage, had to express themselves almost entirely in song.... The entire cast is superb.... Mostly... the film is a delight.

The film was shown out of competition at the 1979 Cannes Film Festival.

Mama Tried - Merle Haggard

A musica “Mama tried”, foi apresentada no Woodstock. Fez parte do disco Skull & Roses. Essa musica foi escrita e gravada por Merle Haggard. Lançada em 1968, a musica se tornou uma das canções pedra angular de sua carreira.
No Mama Tried, Haggard incide sobre a dor e o sofrimento que ele causou a sua própria mãe por ser preso em 1957 em São Quentin. No entanto, a música não é autobiográfica, literalmente, como historiadores da música country muitos apontam.

Haggard após a morte de seu pai, começou a se rebelar por cometer pequenos crimes. Como resultado de serem pegos furtando em 1950 (treze anos), ele foi enviado para um centro de detenção juvenil. Em1951, Haggard fugiu para o Texas com um amigo, mas retornou no mesmo ano e foi novamente preso, desta vez para a vadiagem e furto. Ele fugiu de que o centro de detenção juvenil em que ele foi enviado e foi para Modesto, Califórnia. Após varias idas e vindas em centro de detenção, Haggard começa a se dedicar a música.

Grateful Dead

Grateful Dead foi uma banda de rock estadunidense formada em 1965 na cidade de São Francisco Califórnia, berço do movimento hippie. O grupo era conhecido por seu estilo único, suas composições havia elementos do folk, bluegrass, blues, contry, jazz, psicodélico e space music, além das performances que se transformavam numa longa sessão de improvisações; esta característica os fez serem caracterizados como uma jam band.
Eles se apresentaram no Woodstock em 16 de Agosto, 2º dia do festival. Infelizmente, devido a problemas técnicos e influência de drogas, sua atuação foi muito ruim. Os problemas técnicos foram devido à chuva. Alguns membros levaram choque e o baixista escutava o rádio de transmissão de um helicóptero através do amplificador de seu baixo.
Em 1995, o vocalista da banda, Jerry Garcia falece em um centro de reabilitação para dependentes químicos na Califórnia, vitima de um ataque cardíaco. Com isso, após várias reuniões, o grupo decide seguir caminhos diferentes, colocando um fim na banda.
Em 2004, a revista Rolling Stones, classificou Grateful dead em sua lista das 100 maiores artistas de todos os tempos.

Os integrantes da banda foram:

• Jerry Garcia - guitarra, vocais (1965 - 1995)
• Bob Weir - guitarra, vocais (1965 - 1995)
• Phil Lesh - baixo, vocais (1965 - 1995)
• Bill Kreutzmann - bateria (1965 - 1995)
• Ron "Pigpen" McKernan - teclado, vocais, gaita, percussão (1945 - 1973)
  

Music Analysis

Mama Tried Lyrics

Grateful Dead - Slide 4

Grateful Dead - Slide 3

Grateful Dead - Slide 2

Grateful Dead - Slide 1

Slides Presentation in the classroom = Grateful Deas

The slides presentation in the classroom about the band Grateful Dead. This band performed in the Woodstock

Woodstock Festival

Woodstock Woodstock Festival was a music festival, billed as "An Aquarian Exposition: 3 Days of Peace & Music", held at Max Yasgur's 600-acre (2.4 km²; 240 ha, 0.94 mi²) dairy farm near the hamlet of White Lake in the town of Bethel, New York, from August 15 to August 18, 1969. Bethel, in Sullivan County, is 43 miles (69 km) southwest of the town of Woodstock, New York, in adjoining Ulster County.

During the sometimes rainy weekend, thirty-two acts performed outdoors in front of 500,000 concert-goers. It is widely regarded as one of the greatest and most pivotal moments in popular music history and was listed among Rolling Stone's 50 Moments That Changed the History of Rock and Roll.

The event was captured in the successful 1970 documentary movie Woodstock, an accompanying soundtrack album, and Joni Mitchell's song "Woodstock" which commemorated the event and became a major hit for Crosby, Stills, Nash, & Young.

Performing artists:
Friday, August 15

* Richie Havens

* Swami Satchidananda

* Sweetwater

* The Incredible String Band

* Bert Sommer

* Tim Hardin

* Ravi Shankar

* Melanie

* Arlo Guthrie

* Joan Baez

Saturday, August 16

* Quill

* Keef Hartley Band

* Country Joe McDonald

* John Sebastian

* Santana

* Canned Heat

* Mountain

* Grateful Dead

* Creedence Clearwater Revival

* Janis Joplin with The Kozmic Blues Band

* Sly & the Family Stone

* The Who

* Jefferson Airplane

Sunday, August 17 to Monday, August 18

* The Grease Band

* Joe Cocker

* Country Joe and the Fish

* Ten Years After

* The Band

* Blood, Sweat & Tears

* Johnny Winter featuring his brother, Edgar Winter

* Crosby, Stills, Nash & Young

* Paul Butterfield Blues Band

* Sha-Na-Na

* Jimi Hendrix

Woodstock 40th anniversary:

There was worldwide media interest in the 40th anniversary of Woodstock in 2009. A number of activities to commemorate the festival took place around the world. On August 15, at the Bethel Center for the Arts overlooking the original site, the largest assembly of Woodstock performing alumni since the original 1969 festival performed in an eight-hour concert in front of a sold-out crowd. Hosted by Country Joe McDonald, the event opened with 15-year-old guitarist Conrad Oberg, who re-created Jimi Hendrix’s The Star-Spangled Banner. The concert featured Big Brother and the Holding Company performing Janis Joplin's hits (she actually appeared with the Kozmic Blues Band at Woodstock, although that band did feature former Big Brother guitarist Sam Andrew), Canned Heat, Ten Years After, Jefferson Starship, Mountain and the headliners, The Levon Helm Band. At Woodstock, Levon Helm played drums and was one of the lead vocalists with The Band. Paul Kantner was the only member of the 1969 Jefferson Airplane line-up to appear with Jefferson Starship. Tom Constanten, who played keyboard with Grateful Dead at Woodstock, joined Jefferson Starship on stage for several numbers. Jocko Marcellino from Sha Na Na also appeared, backed up by Canned Heat. Richie Havens, who opened the Woodstock festival in 1969, appeared at a separate event the previous night.[48]Crosby, Stills & Nash and Arlo Guthrie also marked the anniversary with live performances at Bethel earlier in August 2009.
Another event occurred in Hawkhurst, Kent (UK), at a Summer of Love party, with acts including two of the participants at the original Woodstock, Barry Melton of Country Joe and the Fish and Robin Williamson of The Incredible String Band, plus cover bands for Santana and the Grateful Dead.
Also in 2009, Woodstock creator, Michael Lang along with Holly George-Warren published The Road to Woodstock (Ecco/HarperCollins, © 2009 ). The book describes Lang's involvement in the creation of the Woodstock Music & Arts Festival and includes many personal stories and quotes from central figures involved in the event.

Intrinsic versus Extrinsic Motivation

Intrinsic Motivation (Brandt 1995/Chance 1992)

The following are traits of human nature:

• To be curious;


• To be active;


• To initiate thought and behavior;


• To make meaning from experience;


• To be effective at what we value;


• Intrinsic motivation occurs when the learning activity and the learning environment elicit motivation in the student.
  

We do not motivate students but rather create, through our teaching, opportunities that can evoke motivation in students.

The following help to create intrinsic motivation:

• When the goals and rewards of the learning are meaningful to the learner;


• When the learning is important to the student;


• When the learning assists the learner in obtaining valued accomplishments;


• When the learning assists the learners in integrating themselves with the world, with others, and promotes self-awareness;

Extrinsic Motivation Ryan and Deci (1996), Kohn (1993)

In the classroom, it is a way of doing things to children rather than working with them" KOHN, 1993 (p.784). This view of management disregards a child's ability to think and reason on their own, not allowing them the chance to develop self-determination or independent thinking.
Punishments or rewards are used to control the motivation of the students.
In situations where one person (the teacher) is clearly in power, extrinsic motivation has a greater opportunity to be effective.
In situations where the students believe their perspectives are valid and their rights are equal to the person distributing the rewards or punishment, there is often the formation of "power-relationships” with a high probability of subversion, conflict, and/or resentment.

Intrinsic and Extrinsic Motivation

Teaching by principles - An interactive approach to language Pedagogy

Teaching by Principles - An interactive approach to language pedagogy
By H. Douglas Brown – 1994
Answer – Question 7 – Page 45





The school curriculum is dictated by institutions that can be far removed from even teacher’s choice. Parent’s and society’s values and wishes are virtually forced onto pupils, whether they like it or not. The consequence of such extrinsic motivators is that schools all too often teach students to play the “game” of pleasing teachers and authorities rather than developing an internalized thirst for knowledge and experience.

Examples:

• Asking the students to bring lyrics of musics that they like;
• Group work and teaching English with videos and cartoons;
• Viewing the class as a team;
• Using conversation to improve the pronunciation;
• Teaching writing as a thinking process in which learners develop their own ideas freely and openely.

Some Questions for Teresina's guys

Hello everybody,
I have some questions for you.

1. What do you think about your course?
2. What do you do to improve your English? For example: Listen to music, Watch movies etc...
3. Do you teach English? If you teach, Where and What are the ages of your students?

Scenes with Beatles' Song

The film begins with Jude (a reference to the song "Hey Jude") singing the beginning verse of "Girl". As the opening credits roll, Sadie and her band are heard singing "Helter Skelter". The scene intercuts sceens of Lucy's prom and Jude's date at the Cavern Club in Liverpool with his girlfriend Molly. "Molly" and "Lucy" are references to the Beatles songs "Ob-la-di, Ob-la-da" and "Lucy in the Sky with Diamonds". Molly and Lucy are both singing "Hold Me Tight". The shipyard payroll clerk says to Jude that he told himself "When I'm Sixty-Four", he was going to be out of this place. "All My Loving" is then sung by Jude to Molly prior to departing for America. When Prudence (referencing the song, "Dear Prudence") appears at football practice at her school in Dayton, singing "I Want to Hold Your Hand", she is thinking of one of the other cheerleaders, which becomes clear as she sings the line, "And let me be your man." When Jude meets Max, (referencing the song "Maxwell's Silver Hammer"), "With a Little Help from My Friends" is sung around the Princeton campus, the college Max attends. Towards the climax of the musical number, the melody for the song transcends to "Dig A Pony" and reverts back to "With A Little Help from My Friends". Lucy sings "It Won't Be Long" when she gets a letter from her boyfriend saying he'll be home before he ships out to Vietnam. At a bowling alley, Jude realizes he has feelings for Lucy, singing "I've Just Seen a Face". Max and Jude rent a New York apartment from a landlady named Sadie, (referencing the song "Sexy Sadie"), who then remarks that Max may have "murdered [his] granny with a hammer", further referencing "Maxwell's Silver Hammer". The scene shifts to show a small child hiding next to a burned out car during the 12th Street riot, singing "Let It Be". The style of the song changes into a gospel rendition behind intercut scenes of the funeral of the boy, who was shot by police in the riot, and that of Lucy's boyfriend, killed in Vietnam.

As Jojo (referencing the song "Get Back") arrives in New York City, Joe Cocker sings "Come Together", switching between playing a bum, a pimp, and a street seller. When Prudence comes into the group's apartment, the lines "Hello Hello" are said in greeting and "She came in through the bathroom window" is said in response to Sadie's questioning her sudden appearance. Later, Sadie sings "Why Don't We Do It in the Road?" at Cafe Huh? (a reference to Cafe Wha? in Greenwich Village). Next, Jude and Lucy are at a dock, and Lucy sings "If I Fell" as she realizes her own feelings toward him. The songs ends with their kiss and embrace at a party. Max is drafted and during his recruitment tests we hear "I Want You (She's So Heavy)"; the scene later shifts to Sadie singing to Jojo and Prudence distantly singing to Sadie through her window. Prudence is heartbroken, locking herself in the closet. Sadie, Max, Lucy, and Jude sing "Dear Prudence" to convince her to come out. Max is later seen fixing a fan with a silver hammer referencing the song "Maxwell's Silver Hammer". "Flying" and "Blue Jay Way" appear in the background shortly thereafter.

Dr. Robert (a reference to the song "Dr. Robert", played by Bono), sings "I Am the Walrus", and the song continues as they drive away on Dr. Robert's bus (a reference to the television film "Magical Mystery Tour"). They find a circus grounds and Mr. Kite (Eddie Izzard) performs "Being for the Benefit of Mr. Kite!" (the song of which his name is derived), accompanied by the Blue Meanies from Yellow Submarine. Reunited with Prudence, who was performing in the circus and is involved with a contortionist named Rita (a reference to the song "Lovely Rita"), they all lie down in a field and sing "Because", then the film moves into a surreal underwater montage.

Back in New York, Jude sings "Something" as he sketches the sleeping naked Lucy. In the apartment, the naked sketches of both Jude and Lucy on the walls are also a reference to the "Two Virgins" album by John Lennon as both appear in similar poses. Next, Sadie and her band sing "Oh! Darling" at a gig at a large venue, leading to Jojo and Sadie's breakup, where Jojo deliberately messes up the guitar and makes Sadie storm out. At some point, Jude is working on a still life drawing of an apple in reference to the Beatles record company. When Jude is working on a logo for Sadie's new record label in his bedroom, tacking strawberries on a board, he (later joined by Max, who is currently in Vietnam) sings "Strawberry Fields Forever". The sequence for this song sometimes resembles parts of the Beatles' promotional video for the song.

Jude bursts in on Lucy at the Students for a Democratic Reformation's office ("Revolution"). After the assassination of Martin Luther King Jr., there is a shift to Jojo, seen in the bar singing "While My Guitar Gently Weeps".

Jude sings "Across the Universe" on the subway on his way to find Lucy at the Columbia University protests of 1968. He continues singing the refrain as the scene shifts between the protest and Sadie in concert singing "Helter Skelter". When Max is in the Stateside hospital, he and other wounded soldiers sing "Happiness Is a Warm Gun." When Lucy is caught in the middle of a violent demonstration, there is a slight reprise of "Revolution". Jeff Beck's version of "A Day in the Life" plays as Jude, back in the Liverpool shipyards, wanders the Liverpool streets. When Max is out of the hospital, Lucy sings "Blackbird" to him.

The scene now shifts between Jude and Max at different bars, and Max begins to sing "Hey Jude" as Jude goes back to New York. Max picks him up from the port and drives him to hear Sadie and Jojo sing "Don't Let Me Down" atop a building, in reference to the last concert of The Beatles, on the rooftop of the Apple Records building in London, where the band played some songs, "Don't Let Me Down" included. Jude then sings "All You Need is Love" a cappella. Max inserts the refrain from "She Loves You", which is doubly a propos, as Paul McCartney sang the line twice himself in a moment of ebullient self-parody during the live recording session for "All You Need is Love" in June of 1967 (audible in the released recording's fade out) - and as Lucy is revealed to be watching Jude sing from a neighboring rooftop.

Over the credits, Bono (with background vocals by The Edge) sings "Lucy in the Sky with Diamonds." "Flying" is reprised in a cover version by The Secret Machines.

Across the universe - Critics

The film tells two stories: The romance and the political conflicts in the U.S.A. in the 1960's. The main characters experience the sweeping changes of America in the late 60's. We see the Vietnam War, Lucy's boyfriend and Max went to this war, but in different moments. Lucy's boyfriend was died.
It has different kinds of characters with some ideologies. Lucy and Jude have different ideologies. They broke up because of this.
The songs are connected with the dialogues. The characters sing the songs.
There is an interesting things relate with the main characters names. Their names are two famous song: Jude (Hey Jude) and Lucy (Lucy in the sky with Diamonds).
Some scenes of the movies portray some real situations involving Beatles' life. The character are atrract for some anti-war moviments and Counter culture.
When Jude comes back to Liverpoll, he is in a pub and suddendly, we can see the picture of Max, who is singing "Hey Jude". This scene is the main scene which Jude decide to go back to New York and search his Real Love.
In the end of the movies, when Jude is singing "All you need is love", he sees Lucy, who is wearing a diamond necklace on an adjacent roof. Jude and Lucy smile at one another with tears in their eyes, and the screen fades out to white clouds and blue sky.
All the characters live without rules and love without fear.

Across the Universe -

These are the Beatles' songs of the movies. Each character sing the songs.

“Girl”
Jim Sturgess.

“Helter Skelter”
Dana Fuchs.

“Hold Me Tight”
Jim Sturgess, Evan Rachel Wood, Lisa Hogg.

“All My Loving”
Jim Sturgess.

“I Want To Hold Your Hand”
TV Carpio.

“With A Little Help From My Friends”
Joe Anderson, Jim Sturgess & Dorm Buddies .

“It Won’t Be Long”
Evan Rachel Wood.

“I’ve Just Seen A Face”
Jim Sturgess.

“Let It Be”
Carol Woods, Timothy T. Mitchum.

“Come Together”
Joe Cocker e Martin Luther.

“Why Don’t We Do It In The Road”
Dana Fuchs.

“If I Fell”
Evan Rachel Wood.

“I Want You”
Joe Anderson.

“Dear Prudence”
Dana Fuchs, Jim Sturgess, Evan Rachel Wood e TV Carpio.

“Flying”
The Secret Machines.
Produzido Elliot Goldenthal & The Secret Machines

“Blue Jay Way”
The Secret Machines.
Produzido por Elliot Goldenthal & The Secret Machines

“I Am The Walrus”
Bono .
Produzido Elliot Goldenthal & The Secret Machines

“The Benefit Of Mr. Kite”
Eddie Izzard .

“Because”
Evan Rachel Wood, Jim Sturgess, Joe Anderson, Dana Fuchs, TV Carpio e Martin Luther

“Something”
Jim Sturgess.

“Oh Darling”
Dana Fuchs e Martin Luther.

“Strawberry Fields”
Jim Sturgess e Joe Anderson.

“Revolution”
Jim Sturgess.

“While My Guitar Gently Weeps”
Martin Luther.

“Happiness Is A Warm Gun”
Joe Anderson.

“Blackbird”
Evan Rachel Wood .

“Hey Jude”
Joe Anderson .

“Don’t Let Me Down”
Dana Fuchs .

“All You Need Is Love”
Jim Sturgess e Dana Fuchs .

“Lucy In The Sky With Diamonds”
Bono.

Across The Universe = Synopsis

The story begins in Liverpool, England with a young shipyard worker named Jude. Against the wishes of both his mother and his girlfriend, Jude enlists in the merchant navy and travels by a ship to the United States of America. He jumps ship in New York City to search for his American G.I. father, Wes Hubert whom he has never met and who does not know he exists. He learns that his father works at Princeton as a janitor. After meeting his father, Jude has nowhere to go. He befriends a Princeton student, Maxwell Carrigan a rebellious and eccentric young man from a privileged background. Max and his friends come from upper class families who pay for their schooling, so they mess around, drink, and do drugs. When Max goes home for Thanksgiving, bringing Jude with him, Jude meets Max's younger sister Lucy (Evan Rachel Wood). After a heated argument with his parents about his future, Max drops out of college and moves to New York City, accompanied by Jude. Max works as a taxi driver, while Jude pursues work as a freelance artist. They become roommates in a bohemian enclave in Greenwich Village, where they share an apartment with others, most notably Sadie, their landlady, who is an aspiring singer and a representation of Janis Joplin. Other residents include Jojo (who's name is a reference to the protagonist of the song Get Back) , a guitarist representing Jimi Hendrix, who arrives from Detroit, Michigan after the death of his younger brother during the 12th Street Riot; and Prudence Named after the song, Dear Prudence) a young woman who has hitchhiked to New York City from Dayton, Ohio where she was seen pining after a fellow cheerleader. After Lucy's boyfriend, Daniel is killed in Vietnam, she goes to New York City to visit Max before she starts college, despite the fact that her parents are against the idea.

Romantic relationships develop between Lucy and Jude, and between Sadie and Jojo. One night, Prudence (who seemingly has a crush on Sadie) becomes depressed, and hides in a closet. Upon realizing where she is, the rest of the cast coax her out of the closet. Prudence mysteriously leaves the group after wandering off enthralled by street performers at a peace rally. As Sadie and Max discuss Prudence's now-empty room, Max uses a hammer to bang out the first 7 notes of Maxwell's Silver Hammer.

Sadie and her band, the Po Boys (reference to a line in "Down on the Corner"), with Jojo as her lead guitarist, are courted by a prospective manager, who invites them to a book function for an existential drug guru named Doctor Robert based on Ken Kesey. After serving punch that appears to be laced with LSD (aka Kesey's Electric Kool-Aid), Doctor Robert lectures that the New Yorkers are two years behind the new agers of California, and urges everyone that "time is of the essence, we have to transcend fast".

The friends embark with Doctor Robert and his followers on an epic journey inside a psychedelically painted bus named "Beyond", an allusion to Ken Kesey's real-life bus "Furthur" They wake up not knowing where they are or how they got there, probably somewhere in Upstate New York. They learn Doctor Robert has taken them to the spiritual retreat compound of Dr. Frank Geary, a fellow psychonaut "Navigator", and leader of a cult called the "League of Spiritual Deliverance" (Geary is an allusion to Timothy Leary, who headed the International Foundation for Internal Freedom, from his estate in Millbrook). Mirroring the real-life refusal of Leary to commune with Kesey when the latter showed up unexpectedly at Leary's rural retreat house, Geary refuses to see Doctor Robert who, resigned to this news, retires to California. The friends, however, are stranded.

At the cult compound, the friends are reunited with Prudence, who now is a performer in the circus of "Mr Kite," a merry entertainer, who wants to challenge the world of show business with his "blue people" (a reference to the Blue Meanies from the Beatles 1968 movie Yellow Submarine). The Marry Pranksters can also be seen playing the instrumental part of the song "MR Kite".

When Max is drafted and sent to Vietnam, Lucy becomes involved in the anti-war movement, while Jude (who, despite potentially having U.S. citizenship due to his American father, is still living without a visa and thus can't be drafted) remains comparatively apolitical. Jude becomes unhappy with the amount of time Lucy spends with a political group, "Students for a Democratic Republic" (SDR), an allusion to the real life group Students for a Democratic Society suspecting that its leader Paco is a lothario. Jude's art and his relationship with Lucy both start to falter.

Meanwhile, Sadie has been signed to the prospective manager's record label, but he wants her to drop her backing band. She agrees, and this leads to a bitter break up between Sadie and Jojo, both musically and romantically. Sadie leaves to go on tour, while Jojo plays guitar in a local bar.

Meanwhile, the differences and tensions between Jude and Lucy escalate. One day, Jude storms into the SDR office where Lucy works and points out the activists' hypocrisy as well as the violence their actions invite, but he is thrown out by Paco's people. This leads to an argument between the couple, which results in Lucy leaving Jude. Jude finds her at an anti-war demonstration at Columbia University during which many protesters, including Lucy, are arrested. Pushing through the crowd to help her, Jude is also beaten and arrested.

Lucy contacts Jude's father Wes, who convinces the police not to press charges, but he cannot prove that Jude is his son (and thus an American citizen), so Jude is deported to England. Going back to work at the Liverpool shipyards, Jude encounters his old girlfriend, Molly. She is now pregnant by Jude's old friend and shipyard co-worker Phil Scully, which does not upset the apathetic Jude.

Max is wounded in Vietnam and is repatriated, emotionally and mentally shattered by his experiences and dependent on morphine to relieve his pain, while Lucy remains involved in her anti-war movement, which is becoming more and more violent (much as the SDS broke apart, with hard-left extremists forming the domestic terrorist group The Weathermen). Lucy finally leaves the group when she returns to the SDR headquarters one night to find the offices deserted and Paco and some of his followers making bombs. One of their bombs explodes, killing Paco and his confederates and destroying the building, an allusion to the Greenwich Village townhouse explosion that killed three members of the Weather Underground in 1970.

Jude reads about the explosion in a Liverpool newspaper and believes that Lucy has also been killed. However, he subsequently hears from Max that she is alive, and, encouraged both by a vision of Max singing "Hey Jude" to him and by his understanding mother, he arranges to legally return to the United States. He meets Max, who drives him to Sadie's music headquarters where a rooftop concert is underway that recalls the Beatles' famous 1969 performance. Jojo and Sadie have reunited, and their band (which now includes Prudence) sings "Don't Let Me Down". Lucy is supposed to be there, but she arrives late and cannot get into the building to join them on the roof. After seeing Sadie's recording company logo (an abstract strawberry Jude had created - a reference to the Beatles' Apple Corps), Lucy slowly walks away, overwhelmed with grief.

The police begin to force the group to leave, a specific reference to the Beatles' rooftop concert on January 30, 1969, where "Don't Let Me Down" was one of five songs sung by the Beatles before the concert was broken up by the police.[2] Jude manages to evade the police and stay behind on the roof. Hesitantly, he begins to sing "All You Need Is Love". Sadie, Jojo and the rest of the band hear him, and the police allow them to go back onto the roof to accompany him with their voices and instruments.

Down in the street, Lucy hears Jude as well and tries to enter the building, but is turned away by the police. Max suddenly looks out across the street as everybody else sings and, at the exact moment when John Lennon self-parodies in the original release.

Journal = Across the Universe

Last class, we watched an interesting film: "Across the universe", directed by Julie Taymor, Frida's Director.It was released in the United States on October 12, 2007. The script is based on an original story credited to Taymor, Dick Clement, and Ian La Frenais. It incorporates 33 compositions originally written by members of The Beatles.
The film, directed by Taymor, stars Evan Rachel Wood, Jim Sturgess, Joe Anderson, and T. V. Carpio, and introduces Dana Fuchs and Martin Luther McCoy as actors. Cameo appearances are made by Bono, Eddie Izzard, Joe Cocker, Salma Hayek, and others.

Opening to mixed reviews, Across the Universe was nominated for both a Golden Globe and an Academy Award. Two members of the supporting cast, Carol Woods and Timothy T. Mitchum, performed as part of a special Beatles tribute at the 50th Grammy Awards.

Journal - Chart = Teaching Methodology

Last month we produce a chart which we put 5 topics: Grammar Translation, Direct Method, Audiolingual, Communicative Language Teaching and My conceptions.
It was an interesting activity because we summarize the topics and in the end of the chart we our conceptions about method to teach in the classroom.

Teaching by Principles

This month, we are reading the book: "Teaching by Principles: An Interactive Approach to Language Pedagogy", H. Douglas Brown - 1994 - San Francisco University

Text = Ofina: Práticas de Leitura Crítica em aulas de inglês instrumental

We did some activities with the text "Oficina: Práticas de Leitura Crítica em aulas de Inglês Instrumental", by Prof. Dr. Luiz Fernando Gomes

We did music analysis with the song: "The Boxer", by Simon and Garfunkel

Text = Teaching Methodology

We read a text last month with this text we gave a presentations with some subjects.

The topic of the text we read was: "Second Language Acquisition" - Chapter eleven

Communicative Language Teaching

This method is learner-centered and emphasizes communication and real-life situations.

Learner-Centered = In CLT, the teacher serves as more of a facilitator, allowing students to be in charge of their own learning. The teacher still sets up exercises and gives direction to the class, but the students do much more speaking than in a traditional classroom. This responsibility to participate can often lead to an increased sense of confidence in using the language.
Communication = In CLT, students practice real-life situations, for example, buying food at the market or asking someone for directions. In these exercises, the goal is for the student to communicate his or her needs and thoughts, without worrying about having perfect grammar.
Social Context = CLT also stresses social and situational contexts of communication. For example, in many languages, the form of "you" changes depending on the age and status of the two speakers. Addressing a person in the proper way can make a big difference in having a successful exchange, even if the verb tenses aren't right.

Some Classroom activities used in CLT
· Role Play
· Interviews
· Information Gap
· Games

Reference:

• http://coe.sdsu.edu/eet/Articles/comlangteach/index.htm

Interlanguage

Interlanguage is the type of language produced by second and foreign language learners who are in the process of learning a language. In language learning, learner’s errors are caused by several different processes. These include: a. borrowing patterns from the mother tongue b. extending patterns from the target language. c. Expressing meanings using the words and grammar which are already known.
Teachers can give appropriate feedback after checking out learner’s interlanguage. Learners need not worry so much about making mistakes. They can assume that making mistakes is a procedure of development from mother tongue to Second Language.

Reference:

• http://duermueller.tripod.com/interlanguage.html

Teaching Methodologies

Song: The Boxer - Simon and Garfunkel

I´am just a poor boy and my story is seldom told
I´ve squandered my resistance for a pocketful of mumbles, such are promises
All lies and jest, still the man hears what he wants to hear
And disregards the rest, hmmmm
When I left my home and my family, I was no more than a boy
In the company of strangers
In the quiet of the railway station, runnin scared
Laying low, seeking out the poorer quarters, where the ragged people go
Looking for the places only they would know
Li la li...
Asking only workmans wages, I come lookin for a job, but I get no offers
Just a comeon from the whores on 7th avenue
I do declare, there were times when I was so lonesome
I took some comfort there
Now the years are rolling by me, they are rockin even me
I am older than I once was, and younger than Ill be, thats not unusual
No it isnt strange, after changes upon changes, we are more or less the same
After changes we are more or less the same
Li la li...
And Im laying out my winter clothes, wishing I was gone, goin home
Where the new york city winters arent bleedin me, leadin me to go home
In the clearing stands a boxer, and a fighter by his trade
And he carries the reminders of every glove that laid him down or cut him
Til he cried out in his anger and his shame
I am leaving, I am leaving, but the fighter still remains
Yes he still remains
Li la li...

The Boxer - Simon and Garfunkel = Journal

Last Clas, we listened a song, The Boxer by Simon and Garfunkel. We did an exercise (Basic Deconstruction Questions) in groups. We answered the questions about the song.
It was an interesting song, which spoke about a guy who left his friends, family and home. He knew a different world on the streets.
The Choruses (Li La Li...) means Lie.

Characters of the song:
Family

Strangers

Whores

Ragged People

The practice of English Language = Writing

Written text has a number of conventions witch separate it out from speaking. We need to take care of some points in our texts: handwriting, spelling, layout, and punctuation.

Handwriting: The teacher may help the students how to improve their handwriting. The teacher can write sentences for students imitate that writing, but they will have a personal style.

Spelling: The students are used to write the way they speak. It’s a problem because in English we don’t write the same way. There is a difference between American English and British English, it can confuse the student. It’s necessary to focus on a particular variety of English.

Layout and Punctuation: Frequently the punctuation is a personal style of writing. As teachers we need to help them how to use the punctuation following the grammar rules. We can show them different types of letters, like: business letter, commercial letter, etc.

Different approaches to the practise of writing skills both in and outside the classroom:
* The student may write a draft first and then a final text after reviewing it.
* The student read an article and after write with their own words what they understood about it.
* Creative writing: poetry stories and plays. According to Gaffield - Vile, creative writing is a journey of self-discovery.
* Using the computer: e-mails, pen pals, etc.
* Writing lessons sequences: Students can look at the pictures and then write a story about it.
* Dictations

Journal = Practice of English Language Teaching

After learning about Parody and produce a parody, we make a debate involving Practice of English Language teaching.
Each group spoke about 4 topics: Speaking, Writing, Video in the classroom and Learners Autonomy


Video in the classroom: We talk about the advantages and disadvantages. There are people who use video and lyrics because the student can learn more. Sometimes, the use of video and the lyrics can be a disadvantage, because images work more than lyrics, when you talk about comprehision.

Learners Autonomy: In this topic, we talk about students who learn by themselves. These students, sometimes, can learn because they love the subject and want to learn more about it. If the teacher direct the students, they can create this autonomy. The idea of autonomy vary in each countries and cultures. We can relate autonomy to social behavior.

Speaking: In this topic, we talk a little about speaking. Students need to speak English to create a motivation, because if they do it, they can learn more. The movition is the result of the practice in class.

Writing: In this topic, we can see some rules which a teacher can use in class to teach how to write. As a teacher we can show to our students, these rules: Handwriting, Spelling (We have to take care about it), Layout and Punctuation, and Different approaches to the practice of writing skills.

Another Kid in the mall

We don't need no reputation
We are out of control
We don't want to stay in the bedroom
Parents, we don't need to stay home
Hey! Parents! We don't need to stay home
'Cause we are another kid in the mall
'Cause we are just another kid in the mall


We don't need no introductions
We are here to have control
You don't need to stay in the bedroom
Kids, you need to stay home
Hey! Kids! You need to stay home
'Cause you are another kid in the mall
'Cause you are just another kid in the mall

Parody Journal

In our last class, we produce a parody of the Pink Floyd song.
It was so interesting, because we have to use the same melody and the rhyme, but the parody needed to have humorous, satiric.
It was so difficult to find the rhyme of the words.
What we can rhyme with education, classroom, alone, brick and wall?
Can be reputation, presentation, bedroom, home, kid and mall.
And I use these words to produce my parody.
The theme of the parody was so complicated. Because it is so difficult to find an idea to satiric.
My theme was about kids.
The kids want to go to the mall. In their opion, they have to go every day.
The parents want that their children stay home with themon the weekend.
But the Kids don't want, they want to have fun and go out with their friends.
To produce this parody was so funny because I could learn more about parody and how to produce it.

Another Brick in the wall (Pt.2) = Pink Floyd

Another Brick in the wall (Pt.2) - Pink Floyd
We don't need no education
We don't need no thought control
No dark sarcasm in the classroom
Teachers leave them kids alone
Hey! Teachers! Leave them kids alone!
All in all it's just another brick in the wall.
All in all you're just another brick in the wall.

We don't need no education
We don't need no thought control
No dark sarcasm in the classroom
Teachers leave them kids alone
Hey! Teachers! Leave those kids alone!
All in all it's just another brick in the wall.
All in all you're just another brick in the wall.