The Ultimate Vampire Resource and Directory

I come upon child of god

He was walking along the road

And i asked him where are you going

And this he told me



I'm going on down to yasgur's farm

I'm going to join un a rock'n'roll band

I'm going to camp out on the land

I'm going to try an'get my soul free



We are stardust, we are golden

And we've got to got to get ourselves

back to the garden



Then can i walk beside you

I have come here to lose the smog

And i feel to be a cog in something turning

well maybe it is just the time of year

or maybe it's the time of man

i don't know who i am

but you know lifeis for learning



We are stardust, we are golden

And we've got to get ourselves

back to the garden



by the time we got to woodstock

we were half a million strong

and everywhere there was song and celebration

and i dreamed i saw the bombers

riding shotgun in the sky

and they were turing into butterlifes

above our nation



we are stardust

billion year old carbon

we are golden

caught in the devils bargain

and we've got to get ourselves

back to the garden



Joni Mitchell

A. The Virtues Of Social Enterprise



I have been actively involved in the introduction of new products for over 50 years, looking always for the ’homerun’ which I incorrectly defined as making money. Only recently have I realized that social enterprise, that activity of achieving good in the world while realizing a fair profit is where my energies should be. This journey of mine has resulted in what I believe is the perfect product; an item that combines beauty, education, function, and purpose, at a very appropriate price. The objective is to promote peace in the world, and my total belief is that display of the peace globe in either the home or office will contribute to its realization. We state this thought process in marketing terms………

“Visualizing PEACE Throughout the World.”



B. Watching From The Safety Of The Sidelines



I was born the very day that Hitler and the Nazi’s marched into Poland (August 30,1939) to start WW11. Being Jewish, winning the war was absolutely essential, and for the first half of my life, I believed strongly in American power and influence, having first grown-up on the romantic notion of the Wild West and the other fantasy heroes we visited in books, in movies, and on television – Gene Autry, Roy Rodgers, Davie Crockett, Randolph Scott, Hopalong Cassidy, Robin Hood, The Lone Ranger, Captain Video, Superman, Batman, and the list goes on and on!!! And yet, during Vietnam when I was age appropriate to serve, I instead enrolled in the Army reserves, leaving the combat fighting to others. We were after all serving, attending weekly meetings, two weeks in the summer, and six months of basic activity duty at nearby Fort Dix, but our primary purpose for joining was to avoid the dreaded draft.



C. War Toys Like GI Joe Were Fantasy Play In Both Origin And Impact



In looking back over my business career, my greatest regret was the merchandising of the original GI Joe 11-1/2” articulated action figure; it was a major innovation in 1964, selling a doll to a boy for the very first time. We actually prepared recruiting posters stating that “GI Joe Wants You.” We utilized actual wartime stock footage supplied by the Department of Defense, and the highest tested commercial of all time, “Jealousy,” communicated to the target audience that unless they collected every GI Joe toy offered, that their parents were not very caring. Hasbro, the maker – then called Hassenfeld Brothers – a privately held Jewish owned and wonderfully managed Company, was actually concerned with selling Nazi GI Joe soldiers…….what is a war without an enemy to play with? I actually attended a meeting where the chairman remarked that our biggest problem was a stock shortage of Nazi soldiers. When our Green Beret soldiers started to return home from the war in body bags, sales of the product declined dramatically. Clearly there is a relationship between the fantasy and real worlds, a lesson that I did not fully understand until many, many years later.



D. Rooting For The Enemy



I am a big movie buff, and the 1981 German film Das Boot, directed by Wolfgang Petersen really began to change my outlook, although still below my radar screen. In this memorable film told in German with English subtitles, I found myself routing for the German sailors trapped under water in their submarine, rather than the Allied troops that had them trapped. The Germans were after all just like my fellow Americans, serving their country as best they could. For the first time in my life, I began to understand that war is totally unproductive, and should not be tolerated at any level, but I do however acknowledge that we have evil doers in the world who must be contained by the rest of us…the civilized world. One of our Founding Fathers, the great Benjamin Franklin said it best when, on September 11th of all days – but in the year 1783, that ‘Their Never Was a Good War Or A Bad Peace.” Still I remained on the sidelines, not protesting, because in the stands it was safe and comfortable, living the American dream – corporate tycoon, great marriage, fabulous kids, a dog, and a house with a swimming pool.

E. My Take-Away From The World Trade Center Bombings



My actual awakening occurred during the September 11th bombing of The World Trade Center, I had been in the building many times before, watching from across the river in New Jersey on a picture perfect Fall day as the buildings looking small from a far tumbled to the ground. Rather than getting the culprits, which was how I generally behaved, I instead thought about the innocent victims, and how their promising lives were cut short, and the impact that one such life had on family, friends, and colleagues. The media was also very influential in reinforcing my new awareness of the utter stupidity of war, as the New York Times had daily pictures and biographies of the dead, and of course visiting the site and seeing all the pictures and flowers was both very emotional and disturbing.



I knew a handful of those that died, and also of a blind man from my town of Westfield, New Jersey, who went to work every day by train with his dog, who somehow made it 80 floors down to safety. This individualized approach to death through war, has also been continued into the Iraq War, where each name and picture of an American soldier killed is highlighted, again on a daily basis.



This from my perspective is much more impactful than the macro numbers associated with a 12 page listing of wars and disasters by death that included: wars and armed conflicts, noncombatant deaths, genocide, man-made famines, and human sacrifice and ritual suicide. Here the death tolls range from 72,000,000 persons to 400,000 in the Darfur Conflict in 2003 alone. I also must say that when the Vietnam Memorial was finally completed in 1982, the listing of 58,195 names, one by one, is so powerful, that when one visits, one can’t help but touching the names, even of people that we know nothing about.



F. The Very Large And Dedicated Peace Community



During the past few years, I have become aware of the many good people dedicated to peace, and they are far from young angry restless types with nothing better to do. They are instead highly educated and motivated; belonging to literally 1000’s of diverse peace groups, of all shades and sizes. The International Peace Symbol, first used in a London anti-nuclear protest in 1958 has become one of the most recognizable symbols in the world, appearing on a broad range of novelty, jewelry and apparel merchandise. Two significant books on the evolution of the symbol were published in 2008, marking its 50th anniversary of continuous and growing worldwide use.



G. The PeaceGlobe Is Magnificant In Its Majesty



Starting in 2007, I began to think about creating a significant and appropriate product to incorporate the symbol, and the result is The Original PeaceGlobe which is described in detail below. While the written description and pictures communicate the product, holding the crystal 3” diameter globe weighing approximately 1-1/2 pounds is a very special and powerful experience. The peace symbol actually appears to be floating inside the globe; its gift box is additionally a thing of beauty.



H. Wishing You A Life Of Peace And Love



Thank you for visiting our site – www.peaceGlobes.com, and may your lives be full of peace and love…hopefully you will get started earlier in life than I did.









Respectfully Submitted

Howard

Howard G. Peretz

Founder of www.PeaceGlobes.com

A project of Wide World of Maps, Inc.

Mesa, Arizona 85202







A project of Wide World of Maps, Inc.

Copyright © 2009 Wide World of Maps, Inc. All rights

About Woodstock 1999

Edit this in the Woodstock 1999 Wiki Page





By far, the most controversial of the three Woodstock festivals, the thirtieth anniversary event occurred July 23-25, 1999. Known as Woodstock '99, the festival was held at Griffiss Airforce base in upstate New York's Mohawk Valley outside Rome, New York. Michael Lang and John Scher were the producers, along with Ossie Kilkenny, an Irish band manager. Lang's partners in Woodstock Ventures, John Roberts and Joel Rosenman, served as the licensors of the festival.



The site was planned with the best intentions. "Griffiss was well suited should it rain," Lang says, "and the logistics there were fantastic: hundreds of buildings to house our crews and staff; hundreds of acres for parking, camping, and performances; and easy access to the site."



Again, plans were made well in advance to organize the festival so that things would run smoothly; and ticket prices were set for $150. A New York Times report on the preparations for Woodstock '99 was entitled "Woodstock Arrives and Mood Is Mellow." There were three stages – two for the big-name acts and one for emerging artists, more than 45 performances in total. Diverse artists were booked, including jam bands, classic rock, metal, pop, hip-hop, country, singer-songwriter, Latin rock, funk, world, soul, punk, thrash, electronica – and even swing, the ‘40s music that had been popularized again by groups like The [[Brian Setzer Orchestra]]. Wavy Gravy was back to host the festival, and one concert goer told film maker Barbara Kopple, "It's a family tradition – everybody, my aunt, my mom, and my dad have all been to Woodstock."



There were some notable old-school performers at Woodstock '99: The Godfather of Soul James Brown and eclectic country artist Willie Nelson, both of whom began their careers in the 1950s. Funk pioneers Parliament/Funkadelic also filled the stage with their huge ensemble of party-down performers. As for the audience, one young guy said to Kopple's film crew, "The mission is to have as much fun as possible and forget about life for a while." Part of that included moshing and crowd surfing, even during sets by jam bands like Dave Matthews. Most injuries at the festival occurred in the mosh pit, and later reports of rape surfaced, though no perpetrators were ever successfully prosecuted.



Unfortunately, it was an extremely hot weekend, and 200,000 people spread out over the concrete airstrips could not find shelter from the sun. This time, the rain was missed.



Things began peacefully, though. "There's so many different types of people here," one young woman told Kopple on camera. "Everybody has their own styles, whatever they want to do, and nobody cares, everybody's cool with it." Another festival goer exclaimed, "This is probably the biggest thing that will ever happen to us!"



"We're the re-generation of the generation of the ‘60s," said another. Kopple's 2001 film, My Generation, documented the festival and juxtaposed it with the original Woodstock and Woodstock '94.



Reflections of 1969's Woodstock were also part of the '99 event, thanks to a multimedia tribute to Jimi Hendrix, displayed on a massive screen. In addition, some artists paid homage to their 1960s predecessors: Wyclef Jean did a version of "The Star Spangled Banner" as a nod to Hendrix, and Creed played The [[Doors]]' "Roadhouse Blues" with Robby Krieger joining in. (Krieger was the only member of the Doors who attended Woodstock in '69.)



At 7 p.m. on the final evening, the Mayor of Rome and various county and state officials held a press conference to congratulate the producers on the well-organized event and to invite them back. A few hours later, though, as the festival was winding down with the Chili Peppers performing Hendrix's "Fire," an unruly mob in the back of the audience began lighting bonfires. Soon a group of about fifty or more kids, bent on provoking the crowd, began torching a line of supply trucks, then went through the concession stands, "liberating" whatever they could. The police came in to quell the melee.



Lang's theory on the chaos: " Maybe it was the times; young people were going through a period of feeling disenfranchised and frustrated at having little effect on the world they were about to inherit." Except for the unfortunate episodes of violence at the end, Lang was pleased with the earlier part of the weekend. "I thought most of it was a positive experience for everybody, although the last few hours on Sunday cast a shadow over everything."

About Woodstock 1994

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Diversity was the theme of Woodstock 1994, the 25th-anniversary celebration of the original Woodstock festival. More than forty artists, representing nearly every genre of popular music, played on two stages over the weekend of August 12 -14, 1994. Three-fourths of Woodstock Ventures, Michael Lang, Joel Rosenman, and John Roberts, reconvened with PolyGram's then-president John Scher to plan the gathering in Saugerties, New York, a few miles from the village of Woodstock, for which the festival had initially been named back in '69. In fact, the bucolic 840-acre Winston Farm, where Woodstock II occurred, had been an early choice for the original fest – but the owners had declined Woodstock Ventures' offer to lease the land.



"Woodstock means different things to different people," Joel Rosenman explains. "For me it has always been about three things: A big community listening to the best bands in the most beautiful setting. After 1969, I felt those elements were essential to any future Woodstock festival."



This time around, logistics and planning went more smoothly than for the original Woodstock, with festival permits secured as early as March 31, 1994 (in '69, that was the approximate date when the initial Wallkill site was found, only to be lost three months later). To deal with the rising costs of mounting such an event, corporate sponsorship was obtained from Pepsi, Apple Computers, and Haagen-Dazs. "Philosophically, it's always bothered me that [the original] Woodstock worked in all respects but as a business venture," Joel Rosenman explained. Its original slogan was "Two More Days of Peace and Music," but a third day, Friday the 12th, was added; tickets for the three days cost $135.



As for the lineup, the producers wanted to include some artists from the past festival and the 1960s music era, as well as young musicians important to a new generation of kids. A member of one of those, Cypress Hill's B-Real, said in advance of Woodstock II: "The whole thing Woodstock represented was just everybody hangin' together for three days. That's hard to do these days. It's going to be interesting to see how it happens this time." The goal was to present a rich musical offering that would appeal to those who attended Woodstock in '69 and their children, possibly even their grandchildren. The festival logo, then, featured two birds (rather than one) perched this time on an electric guitar neck. "I think kids have been tortured by the ‘60s and this is an interesting opportunity to let them have their own event," Michael Lang said at the time. "I hope the kids get to take home a little bit of what the festival was all about."



Over three days, an estimated 350,000 people got to experience music of the ‘60s, ‘70s, ‘80s, and ‘90s. Music icon Bob Dylan, whom the producers had wanted for the original Woodstock, performed. Also appearing were Joe McDonald, John Sebastian, Santana, Joe Cocker, The Band, and Crosby, Stills and Nash] – all of whom made stellar appearances at the festival back in 1969. Other ‘60s acts included [[The Allman Brothers Band and Traffic[[, who reunited for the occasion. (Going even further back, the producers heard that [[Frank Sinatra wanted to perform, but this did not come to pass.)



Among the genres of music culled from four decades of sounds were: rock, hip-hop, R&B, pop, soul, funk, blues, folk, singer-songwriter, metal, industrial, thrash, punk, grunge, alternative, reggae, gospel, country, electronica, house, and World. Special events included Peter Gabriel's WOMAD troupe, a three-hour presentation of world music, including Oreyema, Xalem, and Hassan Hakmoun, among others. Africa's Youssou N'Dour and Italy's Zucchero added to the international flavor.



A nod to the past, The Band[[ backed [[Woodstock veterans The Grateful Dead's Bob Weir, and Jefferson Airplane's Jorma Kaukonen and Jack Casady, who'd formed Hot Tuna, as well as Bruce Hornsby (part-time member of The Dead and founder of The Range) and Roger McGuinn, of The Byrds. Another intriguing aggregation was the gospel-soul group, The Sisters of Glory, comprised of vocalists extraordinaire Phoebe Snow, CeCe Penistron, Mavis Staples, Thelma Houston, and Lois Walden.



Looking to the future, Saturday night featured Ravestock, a six-and-a-half hour rave spotlighting The Orb, Orbital, and Deee-Lite. A mix of heavies from three decades of rock, The [[Paul Rodgers Band]] included the Bad Company vocalist flanked by Guns' ‘n Roses guitarist Slash, Journey's axman Neal Schon, Bluesbreaker bassist Andy Fraser, and drummer Jason Bonham, son of Led Zeppelin's John Bonham.



Like the original Woodstock, some fairly new artists broke big – either right before or at the festival: Sheryl Crow, Melissa Etheridge (who'd just come out with Yes, I Am), and The Cranberries, among them. Though not a free festival without gates, as in '69, this time about 50,000 people managed to sneak in, and rain once again pelted festival goers, with mud races gleefully being re-enacted on Saturday afternoon. Green Day, whose manager had played the original Woodstock as a member of Sha Na Na, started an onstage mud fight, and mud-covered bassist Mike Dirnt got smashed in the mouth by an overzealous security guard who mistook him for a stage usurper from the audience. Some young artists paid homage to their predecessors, with The Red Hot Chili Peppers essaying "The Star Spangled Banner" and Melissa Etheridge belting Janis Joplin's "Piece of My Heart."



Wavy Gravy, a member of the Hog Farm commune who was a big part of the original Woodstock, returned in '94 and did some of the emceeing. "The ‘90s are the ‘60s standing on your head," he pointed out. "I love your spirit!" he told the crowd. "Woodstock is not a geographical location, it's the spirit of the people!"



The proceedings were televised on cable via pay-per-view, with fourteen cameras filming 28 hours of coverage. Part of the festival later appeared in Barbara Kopple's 2001 film, My Generation. "I think the vibe here is amazing," Henry Rollins told Kopple.



Says Michael Lang, "In true Woodstock style, the communal spirit lived, it rained like hell, Mud People abounded, and Woodstock ‘94 made money for everyone but us."



As for Joel Rosenman, "The vibe at Woodstock '94 was mellow. Spirits were high, the music was great, the setting was beautiful and a huge community had a great weekend party in the country. One message was the same [as at the original fest]: as far as the eye could see, there was a vast crowd of people like you, with similar goals with a similar dream of a peaceful world community."

About Woodstock 1969

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Rolling Stone has called it "the most famous event in rock history." The Woodstock Music and Art Fair, on a 600-acre farm in the township of Bethel, New York, from August 15-18, 1969, represents more than a peaceful gathering of 500,000 people and 32 musical performances. Woodstock has become an idea that has suffused our culture, politically and socially, as much as musically. Joni Mitchell, who didn't attend but wrote an anthemic song about it, once said, "Woodstock was a spark of beauty" where half-a-million kids "saw that they were part of a greater organism." According to Michael Lang, one of four young men who formed Woodstock Ventures to produce the festival, "That's what means the most to me – the connection to one another felt by all of us who worked on the festival, all those who came to it, and the millions who couldn't be there but were touched by it."



Lang met Artie Kornfeld, a Capitol Records A&R man and songwriter, in late 1968, and the two envisioned producing a festival in Woodstock, New York.and building a building a recording studio there. In search of financing they connected with John Roberts and Joel Rosenman, a pair of young venture capitalists who were already building Media Sound studios, a large-scale recording facility in New York City. In February of 1969, the four men incorporated Woodstock Ventures, Inc., and they began work on the festival. Soon, the conservative townsfolk of Wallkill became alarmed by the growing number of longhairs arriving to prepare the festival grounds, and a number of lawsuits were filed to stop the festival. After weeks of tension, town meetings, and legal maneuverings, Woodstock Ventures were refused permission to produce the festival.The studio project was put on hold so they could focus all their energy on saving the festival. Miraculously, 600 bucolic acres belonging to White Lake dairyman Max Yasgur, in the township of Bethel, New York, were discovered after Lang recieved a call from a local motel owner Elliott Tiber the day after the Wallkill site was lost. Work rapidly got underway to turn the rural acreage into a concert site with camping areas for 200,000. Three weeks later, during the week of August 11, thousands of people from all over the country began flocking to the festival site.



By Wednesday, August 13, the lush green bowl in front of the massive 75-foot stage was already filled with some 60,000 people. On Friday the roads were so clogged with cars that the only way most artists could reach the festival was by helicopter from a nearby airstrip. Though over 100,000 tickets were sold prior to the festival weekend, they became unnecessary: The fences and gates were never finished and people simply swarmed over those that were in place. "It's a free concert from now on!" was announced from the stage. As John Roberts later pointed out, "It took us eleven years to break even, but it was a success in every other way."



The music was scheduled to start at 4 p.m. on August 15, and just after 5 it did, thanks to New York-born folksinger Richie Havens. His improvised and rhythmic "Freedom" set the tone for the weekend. "The vibe at Woodstock was an expression of the times," says Joel Rosenman. "Energized by repugnance for a senseless war and for the entrenched discrimination of the establishment, a spirited but nonviolent counterculture was sweeping the country. That counterculture burst into bloom like the mother of all Mother's Day bouquets at Woodstock."



The occasional cloudburst delayed the primarily acoustic music as Friday night wore on, but eight acts, plus a swami, made it to the stage. Around 2 a.m, Joan Baez closed the first night with the spiritual "We Shall Overcome."



Saturday boasted the most music of the weekend, starting just after noon and continuing until Sunday at dawn (with Jefferson Airplane performing "morning maniac music," as described by Grace Slick). Highlights included the then-unknown Santana in mid-afternoon, and that night spectacular back-to-back performances by Sly and the Family Stone and The Who. Blues-rock was featured via Canned Heat and Mountain, followed by such legendary California-based artists as the Grateful Dead, Creedence Clearwater Revival, and Janis Joplin. Sunday featured another long span of music, though violent thunderstorms wreaked havoc just after Joe Cocker and The Grease Band's finale of "A Little Help From My Friends." The music was delayed until late afternoon but carried on throughout the night with more highlights including the Texas bluesman Johnny Winter and Crosby, Stills, Nash and Young (their second gig). On Monday morning at 8:30, Jimi Hendrix closed out the festival. His magnificent, improvisational version of "The Star Spangled Banner" has come to symbolize the weekend.



Around 10:30 a.m. on August 18, the festival came to an end. The innovative concert film Woodstock, directed by Michael Wadleigh, was released in March of 1970 and took the festival's message around the world. The movie documented a community of a half million people who managed to peacefully co-exist over three days of consistent rain, food shortages, and a lack of creature comforts. "Woodstock is a reminder that inside each of us is the instinct for building a decent, loving community, the kind we all wish for," according to Joel Rosenman. "Over the decades, the history of that weekend has served as a beacon of hope that a beautiful spirit in each of us ultimately will triumph."



Recordings of the music played that weekend still evoke the magic and power felt by those who were there. "It was a privilege to help found something that has meant so much to so many," adds Rosenman. "Woodstock turned out to be a sort of permanent relative of the Family of Man—the adventuresome, kind-hearted uncle you're always happy to see at Thanksgiving and graduation. I'm really grateful that we both ended up in the same family."



Two days after Woodstock ended, the New York Times ran an editorial praising what had happened at Bethel (a reversal from a previous editorial condemning the festival). It concluded with a quote from Shakespeare's Henry V, which seems appropriate upon the fortieth anniversary of Woodstock: "He that outlives this day, and comes safe home, will stand a-tiptoe when this day is nam'd."



Category: Woodstock