Phil Ochs Songs: http://betty.hypermax.net.au/ochs.htm
FROM: OBITUARY FOR A FRIEND: Twenty Years Late ~ By Marty Gallanter On a damp April morning, twenty-years ago, my friend Phil Ochs took his own life. Such was the nature of our "friendship" that nearly a week passed before I heard the news. Another friend, who knew that I had been close to Phil in the old days, heard eulogizing on WBAI radio (New York City), figured out what happened, and called me. Had he not phoned, more weeks might have passed before word reached me. With just so little fanfare, an icon of the Sixties, arguably one of the best singer-songwriters of the decade, disappeared with only a few notified to mourn. The death of Phil Ochs was not news because, in part, Phil himself had not been newsworthy for several years. His internal demons, some from his mind and others from a bottle, helped to isolate Phil from friends and fans. By the last days, most who were left were related by blood. I guess that the loneliness, like for many suicides, made life too hard. I'm guessing because I hadn't seen Phil Ochs for years. My last memories are imprinted differently than for those who were with him at the end. I met Phil Ochs in 1962 in Greenwich Village. I was still in high school. He had dropped out of college in Ohio and was not long in New York. Phil played the early opening set at one of those pass-the-hat coffee houses where a high-school buddy and I, new to the folk scene, constituted the entire audience. We forced him to perform forty minutes of Woodie Guthrie tunes. Later, when the house was full and the man returned for his second time on stage, we heard the genius of this singer-songwriter. We sat with our mouths open, listening to a full-set of his own topical-political music. Some songs were laugh-out-loud funny and others were coated with the anger that would eventually make the decade more than memorable. For me, that was the day the Sixties started. Afterward, I went backstage to apologize for making him sing anything other than his own music. It was the best apology I ever made because the act became the starting point of our friendship. And, as a friend and a fan, I witnessed some significant moments in his career. He rode to his first AM New York radio performance in my 1950 Plymouth, an appearance that I had personally arranged. I listened as he rehearsed the songs that became the demo that became the first album. And I ferried him up Sixth Avenue and down Fifth, over and over, when he found the front seat of my car to be an inspirational song-writing environment. I was with him for a few of his early career highlights and he repaid me by being with me for most of my major life events. Being a Jewish boy from a middle class, middle-of-the-road family, Phil Ochs was a new experience for me. I'd met my first genuine radical before I even knew the word "radical" had a political meaning. To Ochs, music was a means to carry a message. And he had friends that felt the same way. Over the next few months, I found myself in the presence of Tom Paxton, Pete Seeger, Patrick Sky, Peter LaFarge and even, on two separate occasions, Bob Dylan himself. I was too young and naive to even know how impressed I should be. Phil and his friends looked at things through different eyes. Established opinion was challenged because it was established opinion... no further criteria required. Examinations of marathon issues often took place late at night, when the clubs and coffee houses were closed and the debate, mixed with an occasional new song, was the centerpiece until dawn. Though many discussions took place in bars, no one drank much in those days. There were many cigarettes but no other drugs beyond small amounts of alcohol and lots of caffeine. Those conversations were filled with an unending optimism that claimed young men and women could change the world for the better if only they were willing. In those dialogues, this child started to grow up. Because of Phil Ochs, I did things I would not have done without him. I defied my father and took the 1950 Plymouth to the great Civil Rights March on Washington where I heard and saw, for the one time in my life, the Reverend Martin Luther King, Jr. In one of those twists of living, Phil couldn't go with me. His first (and only) child was about to be born and he said his wife would kill him if he was away when that happened. Almost a year later, I babysat for that child in Phil's room in the Cliff Walk Manor during the 1964 Newport Folk Festival. She wouldn't go to sleep until I picked up a guitar and played some of her father's music. Phil Ochs radicalized me. He took the liberal Jewish teen and transformed him into a real political person. He didn't change me through brain-washing or constant polemic. Phil Ochs made my partisan feet march through the simple, straightforward sense of his music. He did this for me and for tens of thousands of others back in those good times when the focus of the national crusade still was caring for others. When I got to college, I gravitated toward the activists and married one of them... because of Phil Ochs. I invested myself in the "Movement," first for Civil Rights and then for Peace, because of Phil Ochs. I would never have ended up in the commune had I not met Phil, nor in Mississippi, nor in Chicago. These were the places his path carried me. Those two civil rights arrests would not have appeared in my FBI file, the same arrests I will point to proudly when my someday grandchild asks me what I did in those times. In the coincidences of radical life, one of those arrests centered around Tom Hayden who later became a Chicago Seven defendant and sat in Judge Hoffman's court as Phil Ochs testified for our side. Even now, having moved to rural Minnesota where I am often an advocate for issues unique to this farmer's world... when I write an article or call my congressman, I am coming from where Phil sent me. I lost personal touch with Phil Ochs when he moved to California. I bought his records, listened as his "I Ain't a'Marchin' Anymore" became a signature song of the anti-war movement and his "There But for Fortune" became a top-forty hit recorded by Joan Baez. I watched his occasional television appearances, went to a few concerts but never backstage. Having been a friend and a confidant, I just couldn't bring myself to be one more fan trying to get an autograph. So I chose to stay in the crowd and enjoy the memory close up and the man from far away. An article in the October, 1976 edition of Esquire, by John Berendt was headlined with "While the Movement died a natural death, the music died by hanging." He was only half right. The Movement did not die, it evolved. Despite what those on the right say, even now, there are lots of us who remain true believers and live those beliefs most days of our lives. But Phil Ochs did die, twenty-years ago, on damp April morning and I still miss him. --- Photo: http://www.altmanphoto.com/phil.ochs.sm.jpeg --- Songs About Phil Ochs ~ The Parade's Still Passing By By Harry Chapin I got the news today That you refused to play Cause you never made number one But it's not just the words It's the deeds that are heard When all is said and done Kings take their crowns They melt them all down Trying to get the gold out You went to hell and Even when you weren't selling You never ever sold out. You weren't no leader, You were more like a bleeder Who was trying to cry for us all You weren't no sage But your sense of outrage Sounded like a trumpet call Fifteen years ago In the old folky show You were just one voice in the crowd But now with so few singing Your voice would have been ringing Out 'bout twice as loud. There but for fortune Say a small circle of friends Some may see the changes So few see the ends The pleasures of the harbor Have come to you at last You may not be marching anymore But the parade's still going past. I'm not taking the blame That we killed you You know you did that to yourself But it was kind of a shame That you played that game You were better than anyone else One shot of your bottle Got you full throttle It was the friend that was always there But your greatest gift And the curse you lived with Was that you could always care. --- Legends By Sammy Walker The first time that I called you in that old New York hotel It was Halloween all over with that trick you played so well I woke you up from dreaming singing songs of yesterday We took a drive to Newport to hear St. Peter play chorus: Dust on you mouth, legends on your mind Hanging out with Bogart in some bygone place and time Sing me your sweet Changes when I'm feeling down and blue And I'll treasure precious hours that I stole away with you Oh the muggy nights in Soho, I had so much to learn You gave me wings to fly away and asked for no return Lon Chaney's ghost beside you wore the face of Mickey Finn And I never once suspected that you and he were friends The last that I saw you you weren't really even there I cried when I heard you come across out on the air You bid your last farewell just like your first hello And I'll always think about you when I pass through Ohio --- I Dreamed I Saw Phil Ochs Last Night By Billy Bragg i dreamed i saw phil ochs last night alive as you or me says i to phil "you're ten years dead" "i never died' says he "i never died" says he the music business killed you phil they ignored the things you said and cast you out when fashions changed says phil "but i ain't dead" says phil "but i ain't dead" the fbi harassed you phil they smeared you with their lies says he "but they could never kill what they could not compromise i never compromised" "though fashion's changed and critics sneered the songs that i have sung are just as true tonight as then the struggle carries on the struggle carries on" with the song of freedom rings out loud from valleys and from hills where people stand up for their rights phil ochs is with us still phil ochs inspires us still. --- Phil By Tom Paxton I opened the paper, there was your picture Gone, gone, gone by your own hand I couldn't believe it, the paper was shakin' Gone, gone, gone by your own hand I know I'm gonna spend the rest of my lifetime wondering why You found yourself so badly hurt you had to die I opened the paper, there was your picture Gone, gone, gone by your own hand The phone started ringing, had I heard about it? I shook every time I heard it ring What was my reaction? I put the phone down That was the only news that was fit to sing They ask about Dylan, about MacDougal Street and Third Question piled on question and each question more absurd I opened the paper, there was your picture Gone, gone, gone by your own hand Oh, I remember "There But For Fortune", There but for fortune you and I would go Fortune turned its back on you, Or so it must have seemed to you, Christ alone knows what was the final blow The last time I saw you, the last time I saw you, Bleeker Street outside the Other End I told you I'd see you, I got distracted I never saw your face again I heard that you were feeling stronger every day I heard that you were well with good things on their way Then I opened the paper, there was your picture Gone, gone, gone by your own hand. --- Photo: http://betty.hypermax.net.au/ochs3.jpg --- Phil Ochs' testimony at the Chicago Seven trial (Hilarious) ~ MR. KUNSTLER: Will you state your full name, please? THE WITNESS: Philip David Ochs. MR. KUNSTLER: What is your occupation? THE WITNESS: I am a singer, a folksinger. MR. KUNSTLER: Now, Mr. Ochs, can you indicate what kind of songs you sing? THE WITNESS: I write all my own songs and they are just simple melodies with a lot of lyrics. They usually have to do with current events and what is going on in the news. You can call them topical songs, songs about the news, and then developing into more philosophical songs later. MR. KUNSTLER: Now, Mr. Ochs, did there ever come a time when you met any of the defendants at this table? THE WITNESS: Yes. I met Jerry Rubin in 1964 when he was organizing one of the first teach-ins against the war in Vietnam in Berkeley. He called me up. He asked me to come and sing. MR. KUNSTLER: Now did you have any occasion after that to receive another such call from Mr. Rubin? THE WITNESS: I met him a few times later in regard to other political actions. I met him in Washington at the march they had at the Pentagon incident, at the big rally before the Pentagon. MR. KUNSTLER: Now, Mr. Ochs, have you ever been associated with what is called the Youth International Party, or, as we will say, the Yippies? THE WITNESS: Yes. I helped design the party, formulate the idea of what Yippie was going to be, in the early part of 1968. MR. KUNSTLER: Can you indicate to the Court and jury what Yippie was going to be, what its purpose was for its formation? THE WITNESS: The idea of Yippie was to be a form of theater politics, theatrically dealing with what seemed to be an increasingly absurd world and trying to deal with it in other than just on a straight moral level. They wanted to be able to act out fantasies in the street to communicate their feelings to the public. MR. KUNSTLER: Now, were any of the defendants at the table involved in the formation of the Yippies? THE WITNESS: Yes, Jerry Rubin and Abbie Hoffman. MR. KUNSTLER: Can you just point to and identify which one is Jerry Rubin and which one is Abbie Hoffman? THE WITNESS: Yes, Jerry Rubin with the headband and Abbie Hoffman with the smile. MR. KUNSTLER: Can you indicate in general to the Court and jury what the plans were for the Yippies in Chicago during the Democratic National Convention? THE WITNESS: The plans were essentially-- MR. FORAN: I object. THE COURT: I sustain the objection. MR. KUNSTLER: Your Honor, one of the central roles in this case is the Yippie participation around the Democratic National Convention. THE COURT: I don't see that allegation in the indictment. MR. KUNSTLER: Well, the indictment charges these two men with certain acts in connection with the Democratic National Convention. THE COURT: These two men and others, but not as Yippies, so-called, but-- as individuals. MR. KUNSTLER: All right, your Honor, I will rephrase the question. Did there come a time when Jerry and Abbie discussed their plans? THE WITNESS: Yes, they did, around the middle of January at Jerry's. Present there, besides Abbie and Jerry, I believe, was Paul Krassner and Ed Sanders. Tim Leary was there at one point. MR. KUNSTLER: Can you tell the conversation from Jerry and Abbie, as to their plans in coming to Chicago around the Democratic National Convention? THE WITNESS: OK. Jerry Rubin planned to have a Festival of Life during the National Convention, basically representing an alternate culture. They would theoretically sort of spoof the Convention and show the public, the media, that the Convention was not to be taken seriously because it wasn't fair, and wasn't going to be honest, and wasn't going to be a democratic convention. They discussed getting permits. They discussed flying to Chicago to talk with Mayor Daley. They several times mentioned they wanted to avoid violence. They went out of their way on many different occasions to talk with the Mayor or anybody who could help them avoid violence-- MR. KUNSTLER: Now, Mr. Ochs, do you know what guerrilla theater is? THE WITNESS: Guerrilla theater creates theatrical metaphors for what is going on in the world outside. For example, a guerrilla theater might do, let us say, a skit on the Viet Cong, it might act out a scene on a public street or in a public park where some actually play the Viet Cong, some actually play American soldiers, and they will dramatize an event, basically create a metaphor, an image, usually involving humor, usually involving a dramatic scene, and usually very short. This isn't a play with the theme built up. It's just short skits, essentially. MR. KUNSTLER: Did Jerry Rubin or Abbie Hoffman ask you to do anything at any time? MR. FORAN: I object to that. THE COURT: I sustain the objection. MR. FORAN: I object to it as leading and suggestive. MR. KUNSTLER: Did you have any discussion with Abbie and Jerry about your role? THE WITNESS: Yes. In early February at Abbie's apartment. MR. KUNSTLER: Can you state what Abbie Hoffman and Jerry Rubin said to you and what you said to them? THE WITNESS: They discussed my singing at the Festival of Life. They asked me to contact other performers to come and sing at the Festival. I talked to Paul Simon of Simon and Garfunkel. I believe I talked with Judy Collins. MR. KUNSTLER: Did there come a time, Mr. Ochs, when you came to Chicago in 1968? THE WITNESS: I came campaigning for Eugene McCarthy on M-Day, which I believe was August 15, at the Lindy Opera House, I believe. MR. KUNSTLER: After you arrived in Chicago did you have any discussion with Jerry? THE WITNESS: Yes, I did. We discussed the nomination of a pig for President. MR. KUNSTLER: Would you state what you said and what Jerry said. THE WITNESS: We discussed the details. We discussed going out to the countryside around Chicago and buying a pig from a farmer and bringing him into the city for the purposes of his nominating speech. MR. KUNSTLER: Did you have any role yourself in that? THE WITNESS: Yes, I helped select the pig, and I paid for him. MR. KUNSTLER: Now, did you find a pig at once when you went out? THE WITNESS: No, it was very difficult. We stopped at several farms and asked where the pigs were. MR. KUNSTLER: None of the farmers referred you to the police station, did they? THE WITNESS: No. MR. FORAN: Objection. THE COURT: I sustain the objection. MR. KUNSTLER: Mr. Ochs, can you describe the pig which was finally bought? MR. FORAN: Objection. THE COURT., I sustain the objection. MR. KUNSTLER: Would you state what, if anything, happened to the pig? THE WITNESS: The pig was arrested with seven people. MR. KUNSTLER: When did that take place? THE WITNESS: This took place on the morning of August 23, at the Civic Center underneath the Picasso sculpture. MR. KUNSTLER: Who were those seven people? THE WITNESS: Jerry Rubin. Stew Albert, Wolfe Lowenthal, myself is four; I am not sure of the names of the other three. MR. KUNSTLER: What were you doing when you were arrested? THE WITNESS: We were arrested announcing the pig's candidacy for President. MR. KUNSTLER: Did Jerry Rubin speak? THE WITNESS: Yes, Jerry Rubin was reading a prepared speech for the pig---the opening sentence was something like, "I, Pigasus, hereby announce my candidacy for the Presidency of the United States." He was interrupted in his talk by the police who arrested us. MR. KUNSTLER: What was the pig doing during this announcement? MR. FORAN: Objection. MR. KUNSTLER: Do you remember what you were charged with? THE WITNESS: I believe the original charge mentioned was something about an old Chicago law about bringing livestock into the city, or disturbing the peace, or disorderly conduct, and when it came time for the trial, I believe the charge was disorderly conduct. MR. KUNSTLER: Were you informed by an officer that the pig had squealed on you? MR. FORAN: Objection. I ask it be stricken. THE WITNESS: Yes. THE COURT: I sustain the objection. When an objection is made do not answer until the Court has ruled. . . * * * * * * MR. KUNSTLER: Now, I call your attention to Sunday, August 25, 1968. Did you have any occasion to see Jerry Rubin? THE WITNESS: Well, ultimately I saw him at his apartment in Old Town that night. MR. KUNSTLER: Do you remember approximately what time that was? THE WITNESS: I guess it was around, maybe, 9:30 approximately 9:30, 10:00. He was laying in bed. He said he was very ill. He was very pale. We had agreed to go to Lincoln Park that night, and so I said, "I hope You are still going to Lincoln Park." He said, "I don't know if I can make it, I seem to he very ill." I cajoled him, and I said, I said, "Come on. you're one of the Yippies. You can't not go to Lincoln Park." He said, "OK," and he got up, and he went to Lincoln Park with me, and I believe Nancy, his girlfriend, and my girlfriend Karen, the four of us walked from his apartment to Lincoln Park. MR. KUNSTLER: And did you enter the park? THE WITNESS: Just the outskirts, I mean we basically stood in front of the Lincoln Hotel, and walked across the street from the Lincoln Hotel and stood in the outskirts of the park. MR. KUNSTLER: Now, did there come a time when people began to leave Lincoln Park? THE WITNESS: Yes, I guess it was around eleven o'clock at night. MR. KUNSTLER: What did you do at that time? THE WITNESS: Continued standing there. We stood there and watched them run right at us, as a matter of fact. MR. KUNSTLER: Who was with you at this time? THE WITNESS: The same people I mentioned before. MR. KUNSTLER: Had you been together continuously since You first left the apartment? THE WITNESS: Continuously. MR. KUNSTLER: And from the time you left the apartment to this time, did you see Jerry Rubin wearing a helmet at any time? THE WITNESS: No. MR. KUNSTLER: By the way, how long have you known Jerry Rubin? THE WITNESS: I have known Jerry Rubin approximately four years. MR. KUNSTLER: Have you ever seen him smoke a cigarette? THE WITNESS: No. MR. KUNSTLER: Mr. Ochs, you said there came a time when you left the area. Where did you go? THE WITNESS: We walked through the streets following the crowd. MR. KUNSTLER: And can you describe what you saw as you followed the crowd? THE WITNESS: They were just chaotic and sort of unformed, and people just continued away from the park and just seemed to move, I think toward the commercial area of Old Town where the nightclubs are and then police Clubs were there too, and it was just a flurry of movement of people all kinds of ways. MR. SCHULTZ: If the Court please, the witness was asked what he observed and that was not responsive to the question. If you would simply tell the witness to listen carefully to the question so he can answer the questions. THE COURT: I did that this morning. You are a singer but you are a smart fellow, I am sure. THE WITNESS: Thank you very much. You are a judge and you are a smart fellow. THE COURT: I must ask you to listen carefully to the questions of the lawyer and answer the question. Answer the questions; do not go beyond them. MR. KUNSTLER: At any time, did you see Jerry Rubin enter Lincoln Park? THE WITNESS: No. MR. KUNSTLER: Now, Mr. Ochs, I call your attention to sometime in the vicinity of 6:00 p.m. Tuesday, August 27. Did you see Jerry Rubin? THE WITNESS: Yes, in Lincoln Park. He asked me to come and sing at a meeting. MR. KUNSTLER: Do you know what time approximately you sang after arriving there, how long after arriving there? THE WITNESS: Approximately a half-hour. MR. KUNSTLER: Was anything happening in that half-hour while you were there? THE WITNESS: Bobby Seale was speaking. MR. KUNSTLER: Did Jerry Rubin speak at all? THE WITNESS: Yes, after I sang. MR. KUNSTLER: Did you sing a song that day? THE WITNESS: Yes, "I Ain't Marching Anymore." MR. KUNSTLER: Did you sing at anybody's request? THE WITNESS: At Jerry Rubin's request. . MR. KUNSTLER: I am showing you what has been marked at D-147 for identification and I ask you if you can identify that exhibit. THE WITNESS: This is the guitar I played "I Ain't Marching Anymore" on. THE COURT: How can you tell? You haven't even looked at it. THE WITNESS: It is my case. THE COURT: Are you sure the guitar is in there? THE WITNESS: I am checking. MR. KUNSTLER: Open it up, Mr. Ochs, and see whether that is your guitar, THE WITNESS: That is it, that is it. MR. KUNSTLER: Now, would you stand and sing that song so the jury can hear the song that the audience heard that day? MR. SCHULTZ: If the Court please, this is a trial in the Federal District Court. It is not a theater. We don't have to sit and listen to the witness sing a song. Let's get on with the trial. I object. MR. KUNSTLER: Your Honor, this is definitely an issue in the case. Jerry Rubin has asked for a particular song to be sung. What the witness sang to the audience reflects both on Jerry Rubin's intent and on the mood of the crowd. THE COURT: I sustain the objection. MR. KUNSTLER: Your Honor, he is prepared to sing it exactly as he sang it on that day, THE COURT: I am not prepared to listen, Mr. Kunstler. MR. KUNSTLER: Do you recall how long after you sang in Lincoln Park that you were somewhere else? THE WITNESS: I arrived at the next place around seven-thirty, quarter to eight at the Coliseum. MR. KUNSTLER: Were any of the defendants present at that time? THE WITNESS: Abbie Hoffman was there, and I do not remember if Jerry Rubin was there. MR. KUNSTLER: Where did you see Abbie Hoffman first that night at the Coliseum? THE WITNESS: When he raced in front of me on the stage when I was introduced to Ed Sanders. He said, "Here's Phil Ochs," and as I walked forward, Abbie Hoffman raced in front of me and took the microphone and proceeded to give a speech. I was upstaged by Abbie Hoffman. MR. KUNSTLER: At the time when you first saw Abbie Hoffman there that night, can you approximate as best you can the time it was when you first saw him take the microphone? THE WITNESS: Approximately 8:30. MR. KUNSTLER: Your Honor, I have no further questions. * * * * * * MR. SCHULTZ: You were at the Bandshell, were you not? THE WITNESS: Yes. MR. SCHULTZ: What time did you arrive at the Bandshell? THE WITNESS: I don't remember. I'd guess it was around three or after in the afternoon. MR. FORAN: You seem to have a little trouble with time. Do you carry a watch with you? THE WITNESS: Just lately. MR. FORAN: As a matter of fact, when it comes to time during that week, it is pretty much of a guess, isn't it? THE WITNESS: I guess so. MR. FORAN: And the time you arrived at the Coliseum it was 9:00 or 9:30, isn't that right? Or at 6:00 or 6:30? THE WITNESS: No, because the normal opening time of the shows was around 8:00 and I think the show was starting when I got there. That is a safer guess than the other time. MR. FORAN: It is still a guess though, isn't it? THE WITNESS: Yes, it is a guess. MR. SCHULTZ: And now you say at the Coliseum, Abbie Hoffman upstaged you, is that right? THE WITNESS: Yes. I was walking toward the microphone and he raced in front of me. MR. SCHULTZ: And he led the crowd in a chant of "Fuck LBJ" didn't he? THE WITNESS: Yes, yes, I think he did. MR. SCHULTZ: You didn't remember that on direct examination very well, didn't you? THE WITNESS: I guess not. MR. SCHULTZ: Abbie Hoffman is a friend of yours, isn't he? THE WITNESS: Yes and no. MR. SCHULTZ: Now in your plans for Chicago, did you plan for public fornication in the park? THE WITNESS: I didn't. MR. SCHULTZ: In your discussions with either Rubin or Hoffman did you plan for public fornication in the park? THE WITNESS: No, we did not seriously sit down and plan public fornication in the park. MR. SCHULTZ: Did Rubin say at any of these meetings that you must cause disruptions during the Convention and on through Election Day, mass disruptions? THE WITNESS: No. MR. SCHULTZ: Was there any discussion when you were planning your Yippie programs by either Rubin or Hoffman of going into the downtown area and taking over hotels for sleeping space? THE WITNESS: No. MR. SCHULTZ: Did the defendant Rubin during your planning discussion tell you if he ever had the opportunity and at one of his earliest opportunities he would, when he found some policemen who were isolated in the park, draw a crowd around him and bring the crowd to the policemen and attack the policemen with rocks and stones and bottles, and shout profanities at the policemen, tell them to take off their guns and fight? Did he ever say he was going to do that? THE WITNESS: No, he didn't, Mr. Schultz. MR. SCHULTZ: Now, Mr. Ochs, you say that on Sunday night you were with Mr. Rubin all night, is that right? THE WITNESS: From 9:30 maybe, until after 12:00. MR. SCHULTZ: And of course you have been told by somebody that there is evidence that Mr. Rubin was in Lincoln Park that night, isn't that right? Well, were you told, or not? THE WITNESS: Yes. MR. SCHULTZ: Were you told that somebody saw him with a cigarette in his hand? THE WITNESS: No, I was not told that. MR. SCHULTZ: Well, what were you told, please? THE WITNESS: I was told very little. I was told that Jerry was accused of something MR. SCHULTZ: Who told you all these things? THE WITNESS: Mr. Kunstler told me the one thing, not all these things, something that Jerry was accused of something in the park on Sunday night, and that's all I was told, nothing else. MR. SCHULTZ: You don't want to get Mr. Kunstler into trouble, do you? MR. KUNSTLER: Your Honor, first of all-- MR. SCHULTZ: Suddenly he backs off--suddenly he backs off. It is all too patent, your Honor. THE COURT: Will the record show that Mr. Kunstler-- MR. KUNSTLER: Yes, I did, your Honor, I think it is a disgraceful statement in front of a jury. THE COURT: --threw a block of papers noisily to the floor. MR. KUNSTLER: All right. I dropped papers noisily to the floor. THE COURT: I shall not hear from you in that tone, sir. MR. KUNSTLER: I am sorry for putting the paper on the table, and it fell off onto the floor, but to say in front of a jury, "That is too patent" and "What are you backing off for?" I think, your Honor, any Court in the land would hold that is unconscionable conduct, and if I am angry, I think I am righteously so in this instance. THE COURT: That will be all. Continue with your cross-examination. MR. SCHULTZ: In any event, Mr. Ochs, you are absolutely sure you never really went beyond the fringes of the park with Jerry Rubin that night, isn't that right? THE WITNESS: Yes. MR. SCHULTZ: You just stood right along the fringes all that night, you never went in to see what was happening at the command post, did you? THE WITNESS: No. MR. SCHULTZ: You never walked in to see what was happening at the fieldhouse, did you? THE WITNESS: No. MR. SCHULTZ: That is all, your Honor. THE COURT: You may step down. (witness excused) THE COURT: Don't forget your guitar. THE WITNESS: I won't. THE COURT: Call your next witness. --- Photo: http://www.jimmccrary.com/pages/page5/images/09ochs.jpg --- You Can't Get Stoned Enough ~ By Phil Ochs When the troubles of the world rest upon your weary shoulder When the wind that blows upon your face is blowing colder And every hour tells you you're getting older No you can't get stoned enough Chorus: And you're high high high high That's all you want to do Any way you get there, yeah That's alright with you You've been warned warned warned warned Seems that's all you've heard But today is your trouble tomorrow's only a word When your baby says she'll stick with you until the end And then she says she only wants to be your friend And you find yourself alone out in the street again No you can't get stoned enough And when you start to feelin' that no one cares And it seems that all your good time friends have disappeared And you reach into the night and find that nobody's there No you can't get stoned enough --- Photo: http://www.in.gr/bioimg/O2_01.jpg --- -- King Daevid MacKenzie, WLSU-FM 88.9 La Crosse, Wisconsin, USA http://laxradio.blogspot.com http://wpr.org/music/ http://ultimajock.blogspot.com "Why do people take drugs anymore, when reality has become a hallucination?" 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