America Rules the World! But Who Rules America?
Jack Bellamy: Well, I've got an offer from Goldman Sachs to work in investment banking in New York City.::Himself - Fmr. editor Harper's Magazine: That's fantastic. Are you excited about that?::Jack Bellamy: Sure, I guess.::Himself - Fmr. editor Harper's Magazine: No guess. Great career. You meet a lot of nice people. Make a lot of money. Don't look a gift horse in the mouth, Jack. And what about you, Mike?::Mike Vanzetti: Actually, I thought I might take a year to write and work some odd jobs.::Himself - Fmr. editor Harper's Magazine: A shocking misuse of your parent's money.::Mike Vanzetti: So they tell me.::Himself - Fmr. editor Harper's Magazine: Both you gentlemen have a chance to become members of the American ruling class and I don't see why you don't avail yourself of that opportunity.::Jack Bellamy: Ruling class?::Himself - Fmr. editor Harper's Magazine: As was true in the early years of the Republic, the country is governed by a commercial oligarchy and the citizen who cannot afford the luxury of a contrary opinion learns, of necessity, to dance the beggar's waltz.
Himself - Folksinger: /singing/ Some say that human kind won't long endure. What makes them feel so doggone sure? I know that you who hear my singing could make those freedom bells go ringing.::Mike Vanzetti: No offense, but do you really think you can change things, much less the world, by walking down a country road singing a song? By singing a song anywhere, at any time, for anybody, for that matter?::Himself - Folksinger: I suppose not, but I am going to make darn sure the world isn't going to change me. It's like this. Imagine a big sea saw and one end is on the ground, because it has a basket half full of rocks in it. The other end is up in the air, because it has a basket one-quarter full of sand. And some of us got teaspoons and we are trying to fill it. And of course most people are kinda scoffing at us. They say, "Don't you see it's leaking just as quick as you are putting it in? People like you been trying for centuries, but it's never going to change." And we say, "You might be right, but we think we get more people with teaspoons all the time and one of these days that whole seasaw is going to go zooop, and people will say 'Gee, how did it happen so suddenly?' Us and all our little teaspoons, over the centuries." Who knows? /Starts singing/ And so we keep on, while we live, and have no, no long to give. And when these fingers can strum no longer, and the old banjo to young ones stronger.
Mike Vanzetti: So as chairman and publisher, how do you balance all these competing interests you've got - the family, the trust, the newsroom, the audience, the advertiser?::Himself - Chairman, New York Times Company: The stock market?::Mike Vanzetti: Thank you.::Himself - Chairman, New York Times Company: We worry a little bit about our earnings and our stock prices. Once every quarter, the executive editor, in this case, Bill Keller, gets into the ring and the CEO, Russ Lewis at the moment but soon Janet Robinson, and they duel it out. They just have a fistfight, and whoever wins for the next quarter we worry more about the journalism or we worry about the profits. It's a very simple operation. It's a balancing act. It's easy. Anyone can manage for one. Anyone can manage for the other. You manage for nothing but the quality of the journalism. You can manage for nothing but the quality of the profits. And that's easy. The challenge is to manage for both.
Jack Bellamy: We've been trying to discover: if in fact there is an American ruling class?::Himself - Fmr. CBS News Anchorman: I'm afraid there is. I don't think it serves democracy well, but that is true, but I think there is. The ruling crass [sic] is the rich, who really command our industry, our commerce, our finance, and those people are able to so manipulate our democracy that they really control democracy... I feel. [Cut to historical footage] And that's the way it is.
Jack Bellamy: How do you get into the ruling class?::Himself - Fmr. CBS News Anchorman: If you are smart enough, the ruling class will invite you in. They need smarts, they need intelligence, they need education, and they need to continue to survive as a ruling class.
Himself - Fmr. State Dept. Spokesman: There is something fatally attractive about joining the ruling class, starting of course with the pay, but also with the prestige and the like. But fatally ought to go with attractive, in many cases, because it means for a large part you're getting ready to forget about half of what you learned at Yale or anywhere else, that there are obligations in this democratic republic which I still, perhaps naively, believe need to be factored in. I do not actually believe that society is best served by everybody running avidly after their own self interest. I particularly think: that it is betrayal when the best and the brightest decide that their being the best and the brightest means that they jump on the gravy train and tell everybody else kiss mine as I leave the room. If there is no last morality here to be offered, it is an individual question. The last thing people always say as they go out is not 'I wish I had had more money.' They're usually wishing something else, about what they did with their lives.
[first lines]::Man: [singing] Here we are a sailing, adrift without a dream. We live for God and country, and yes our God is green. So put your arms around me, until the break of dawn. 'Cause late at night the great and mighty Wurlitzer plays on.
Himself - Fmr. editor Harper's Magazine: "Civil liberties"? Extremely expensive, far too numerous.
Himself - Fmr. editor Harper's Magazine: Americans are an inventive people, Mike. Manufacture our ruling elites, we like to call the meritocracy, in the same way that we build SUVs or 747s. The members come and go, and power for a season or generation, then replaced by new technology, fresh money. What never must change, Mike, is the belief that by doing well one is also doing good.
Himself - Frm. Secretary of State: Leadership is nothing more than knowing what to do, and doing it.
Invictus Hubba Hubba
Plot
Mrs. Rada the Goat tells her five children to behave while she goes to the fair, and under no circumstances open the door to anyone except her. But the Big Bad Wolf, Kostika (Titi) Suru, and his nephew, the Little Bad Wolf, along with friends Rassul the Lynx and Petrika the Donkey has made a plan to kidnap the children while their mother is away. And when the eldest child, Matei, decides to disobey his mother and visit the fair himself, things start to go badly for the goat-family.
The Donkey: [singing] Hee-haw hee-haw haw, I'm the donkey Petrika! Hee-haw hee-haw haw, I'm rather a good kicka'!
[last spoken line]::Titi Suru the Wolf: Now what did I do wrong... this time? Forgive me, Rada, I shall never never do it again!
Titi Suru the Wolf: Your brats are unbearable, and I will not tolerate this any longer!
Rada the Goat: [singing] Mum is home, now you can open the door. Don't be afraid now, not any more.
Rada the Goat: Get away, GET AWAY! Keep your dirty hands away!
Rada the Goat: My children's attitudes will not be criticized by you.
Plot
Clipper ships taking the shortest route between the Mississippi and the Atlantic often end up on the shoals of Key West in the 1840s. Salvaging the ships' cargos has become a lucrative business for two companies -- one headed by a feisty young woman. Then she falls in love with the captain of a wrecked ship while he recuperates at her home. She travels to Charleston and is charming to the man most likely to be head of the captain's company, thinking she will be able to get the captain the position he wants on the company's first steam ship.
Keywords: 1800s, 1840s, aunt-niece-relationship, axe, ballroom-dance, bar, based-on-short-story, beach, bondage, brawl
Cecil B. DeMille's GREATEST TRIUMPH! OUT-THRILLS ALL OTHER SCREEN SPECTACLES! (original ad - all caps)
Cecil B. DeMille's Greatest
Cecil B. DeMille's Greatest Cecil B. DeMille's Greatest (original poster)
CECIL B. DEMILLE'S MIGHTY SPECTACLE! Men Against Giant Sea Monster 50 Fathoms Down! (1954 poster)
Cecil B. DeMille's Might Spectacle Of Tempestuois Love...Violence Under And On The High Seas! (1964 poster)
Loxi: Where is Captain Jack?::Capt. Phillip Philpott: He's on a diving job. He'll be back this afternoon [chuckle] if his hat didn't leak!
Plot
Clipper ships taking the shortest route between the Mississippi and the Atlantic often end up on the shoals of Key West in the 1840s. Salvaging the ships' cargos has become a lucrative business for two companies -- one headed by a feisty young woman. Then she falls in love with the captain of a wrecked ship while he recuperates at her home. She travels to Charleston and is charming to the man most likely to be head of the captain's company, thinking she will be able to get the captain the position he wants on the company's first steam ship.
Keywords: 1800s, 1840s, aunt-niece-relationship, axe, ballroom-dance, bar, based-on-short-story, beach, bondage, brawl
Cecil B. DeMille's GREATEST TRIUMPH! OUT-THRILLS ALL OTHER SCREEN SPECTACLES! (original ad - all caps)
Cecil B. DeMille's Greatest
Cecil B. DeMille's Greatest Cecil B. DeMille's Greatest (original poster)
CECIL B. DEMILLE'S MIGHTY SPECTACLE! Men Against Giant Sea Monster 50 Fathoms Down! (1954 poster)
Cecil B. DeMille's Might Spectacle Of Tempestuois Love...Violence Under And On The High Seas! (1964 poster)
Loxi: Where is Captain Jack?::Capt. Phillip Philpott: He's on a diving job. He'll be back this afternoon [chuckle] if his hat didn't leak!
The Lamb
Little lamb, who made thee?
Does thou know who made thee,
Gave thee life, and bid thee feed
By the stream and o’er the mead;
Gave thee clothing of delight,
Softest clothing, woolly, bright;
Gave thee such a tender voice,
Making all the vales rejoice?
Little lamb, who made thee?
Does thou know who made thee?
Little lamb, I’ll tell thee;
Little lamb, I’ll tell thee:
He is callèd by thy name,
For He calls Himself a Lamb.
He is meek, and He is mild,
He became a little child.
I a child, and thou a lamb,
We are callèd by His name.
Little lamb, God bless thee!
Little lamb, God bless thee!
"The Lamb" is a poem by William Blake, published in Songs of Innocence in 1789. Like many of Blake's works, the poem is about Christianity.
Like the other Songs of Innocence and Experience, The Lamb was intended to be sung; William Blake's original melody is now lost. It was made into a song by Vaughan Williams. It was also set to music by Sir John Tavener, who explained, "The Lamb came to me fully grown and was written in an afternoon and dedicated to my nephew Simon for his 3rd birthday." American poet Allen Ginsberg set the poem to music, along with several other of Blake's poems.
Ray Boltz (born 1953 in Muncie, Indiana, United States) is a singer-songwriter who first came to wide notice in contemporary Christian music, many of his songs tell stories of faith and inspiration. He was raised by his parents William and Ruth Boltz, and was married to his wife Carol Boltz for over 30 years prior to coming out as gay in 2008. They have four children.
Boltz was virtually unknown when he wrote "Thank You", which won the Song of the Year prize at the 1990 GMA Dove Awards. His song "I Pledge Allegiance to the Lamb" also won a Dove Award for Inspirational Recorded Song of the Year at the 25th GMA Dove Awards in 1994. After the release of Songs from the Potter's Field in 2002, and his last tour in 2004, Boltz retired from the music industry and moved to Fort Lauderdale, Florida.
In a September 2008 interview with the Washington Blade, Boltz came out of the closet and announced he was gay Since then, Boltz has performed at several churches of the Metropolitan Community Church, a gay-affirming Christian denomination.
Kirk Dwayne Franklin (born (1970-01-26)January 26, 1970) is an American Gospel music musician, choir director, and author, and is most notably known for leading urban contemporary gospel choirs such as The Family, God's Property and One Nation Crew (1NC).
A native of Fort Worth, Texas, Franklin was raised by his grandmother, Gertrude, having been abandoned as a baby by his mother.[dead link] Gertrude collected and resold aluminum cans to raise money for Kirk to take piano lessons from the age of four. Kirk excelled in music, being able to read and write music, while also play by ear.
He received his first contract offer at the age of seven, which his aunt turned down. He joined the church choir and became music director of the Mt. Rose Baptist Church adult choir at the age of eleven.
Despite his strict religious upbringing, Franklin rebelled in his teenage years, and in an attempt to keep him out of trouble, his grandmother arranged an audition for him at a professional youth conservatory associated with a local university. He was accepted and, while his life seemed to be on track for a while, the announcement of a girlfriend's pregnancy and his eventual expulsion from school for behavioral problems proved otherwise.
Sir John Kenneth Tavener (born 28 January 1944) is a British composer, best known for such religious, minimal works as "The Whale", and "Funeral Ikos". He began as a prodigy; in 1968, at the age of 24, he was described by the Guardian as "the musical discovery of the year", while The Times said he was "among the very best creative talents of his generation." During his career he has become one of the best known and regarded composers of his generation. Tavener was knighted in 2000 for his services to music and has won an Ivor Novello Award.
John Kenneth Tavener was born on 28 January 1944 in Wembley, London, England, and claims to be a direct descendant of the 16th-century composer John Taverner. He was educated at Highgate School (where a fellow pupil was John Rutter) and at the Royal Academy of Music, where his tutors included Sir Lennox Berkeley. He first came to prominence in 1968 with his dramatic cantata The Whale, based on the Old Testament story of Jonah. It was premièred at the London Sinfonietta's début concert and later recorded by Apple Records. The following year he began teaching at Trinity College of Music, London. Other works released by Apple included his Celtic Requiem. In 1977, he joined the Russian Orthodox Church. Orthodox theology and Orthodox liturgical traditions became a major influence on his work. He was particularly drawn to its mysticism, studying and setting to music the writings of Church Fathers and competing a setting of the Liturgy of St John Chrysostom, the principal eucharistic liturgy of the Orthodox Church.
Little Lamb, who made thee?
Dost thou know who made thee?
Gave thee life, and bid thee feed,
By the stream and o'er the mead;
Gave thee clothing of delight,
Softest clothing, woolly, bright;
Gave thee such a tender voice,
Making all the vales rejoice?
Little Lamb, who made thee?
Dost thou know who made thee?
Little Lamb, I'll tell thee,
Little Lamb, I'll tell thee.
He is called by thy name,
For He calls Himself a Lamb.
He is meek, and He is mild;
He became a little child.
I a child, and thou a lamb,
We are called by His name.
Little Lamb, God bless thee!
You go west
Where they won't find you
With your mother's breast
And the poison arrows
'Cause you see black
And I see shadows
I am the lamb
And I'm a dead man
They'll take my name
And feed my children
With my remains
In the holy temple
'Cause I am the lamb
And I'm a dead man
I am the lamb
Behold, I will show you,
I will know you.
Behold, I will love you,
I will hold you.
Behold, I am with you,
I am coming soon.
the kingdom of heaven is surely at hand.
Little Lamb who made thee
dost thou know who made thee?
Gave thee life and bid thee feed
by the stream and o'er the mead
Gave thee clothing of delight
softest clothing wooly bright
Gave thee such a tender voice
making all the vales rejoice, rejoice
Little Lamb who made thee
dost thou know who made thee?
Little Lamb I'll tell thee
Little Lamb I'll tell thee
He is called by thy name
for he calls himself a Lamb
He is meek and he is mild
he became a little child
I a child and thou a lamb
we are called by his name
Little Lamb God bless thee
Chorus:
Well slow down, my sweet Juliet,
There's a world of indifference but you haven't got to
it yet
Well you cannot heal the lamb
That you've taken to the slaughter.
Well somewhere there's glass all over the hall
And letters in blood and they're ten feet high on the
wall,
Saying you cannot heal the lamb
That you've laid upon the altar.
And it's, it's early April, still I'm cold as hell,
My fingers feel like ice.
Let's go back inside, forget the big parade
Wouldn't that be nice?
Chorus
Now one night, when I was down on my knees
Well the TV reached out and it laid its hands on me,
Saying you cannot heal the lamb
That you've laid upon my altar.
Now when it rains, still I can't get clean,
Remember why we came.
I heard it said if you're not in love on the first day
of spring
Well you've only yourself to blame.
Now whether you hit out or you're being hit,
It's just the ways of an empire that's slowly falling
to bits.
If you find nothing to heal
There's plenty left to slaughter,
I heard a story (of a man)
Who laid down his glory (he knew he had)
To bear the weight of the world (what a price to pay)
One road, one passion (he knew the way)
That lay before him (the greatest power)
In his spoken word to heal (and set the captives free)
He was called the Lamb
(Chorus)
He lived and died
Raise the dead in me
Was crucified
Raise the dead in me
All of Heaven knows the Risen One
Gods own Son, The Lamb
Thirty-three years later (they threw a cross)
Over his shoulders (up the road)
He gave His life for our sins (that we might live)
Through all the suffering (he had the love)
And cried out to the Father (forgive them)
For they know not what they do (his love never ends)
He was called the lamb
(Chorus)
They took his body (off the cross)
And laid it down (in a tomb)
They rolled the stone and closed the door (what a sad day)
Only three days later (the ground shook)
And the earth, it trembled (the prophecy)
It was fulfilled victorious (he rose from the dead)
He was called the Lamb
You came up from anesthesia like a diver out of air surprised to be alive startled I was there It’s been a long time and I’ve got no axe to grind with you but goddamn it, man, this hatchet won’t stay buried without some sign from you sign from you
I don’t quite come in peace but times like these ask us to set aside old grudges Duty calls, I heed but I don’t love it The night nurse leaves just you and me and you give a look to freeze gasoline I don’t believe that you’re reformed or you’re redeemed
CHORUS If they ask me, I’ll deny it but I remember what you did While it’s true you were a young man then I was just a kid One of us was lying both of us half damned one of us the lion and one the lamb
You’ve got a way with words You got away with murder But now our roles reverse and your table’s turning now
Too weak to lift a spoon, I fed you shaved you when your hands were shaking dosed you like they told me never more, lord, the demands you’re making Help the monster on two feet walk him down the hall, repeat and when he’s strong enough to stand alone you’ll notice what big teeth But blood is blood and what’s done is done yeah, blood is blood and its burden is a beast You lie expressionless face set like the Old Testament silence always your best defense I bet you guess I came to settle debts They tell me you’ll get better I don’t know what to say cause they could sew your hands together but they can’t make you pray
CHORUS
But now you’re careful, now you’re good but do I scare you, like I should? Now you’re careful, now you’re good but I still scare you, and I should
Free me from this body of death, I can't see past my
circumstances,
I can't see past my tears, past my doubt, past my loss,
are you still listening?
What will become of me? I swore this faith would not
falter
This is not what I had expected, this is not what I
planned on
What is this? Explain yourself
Is this what you wanted? Someone give me hope.
Something's changed, do my eyes deceive me? We are not
who we're meant to be.
This world that I've come to love, I count it all as
loss.
I would die a thousand times to have you see the truth
I would give what I can't keep to gain what I can't
lose.
I know I've seen this all before, the cycle never
really ends, it never really ends
I repeat myself over and over, these words are ringing
in my ears. Oh these words.
Free me from this body of death, I was made for more
than this
Free me from this body of death. I was made for more
than this
Do you know the things that these eyes have seen?
You can't imagine what we've been through
I believe it's high time you and your kind learned some
respect
I'm scared to fall asleep for fear of this inescapable
conviction.
Who am I to doubt the faultless one?
I would die a thousand times to have you see the truth
I would give what I can't keep to gain what I can't
lose
Take this plague from me, take this life from my chest