Aug 6, 2013

Carville lays o'reilly out: it was just a matter of time

james carville explains the facts of life to bill o'reilly......

Bill O'Reilly's Brilliant Pregnancy Prevention Program, Featuring Jay Z

The glaring contradiction in conservative rhetoric between the hostility toward contraception and the endless hand-wringing about single motherhood so often goes unchallenged in cable news discourse that James Carville was able to get Bill O'Reilly to go into a rhetorical death spiral just by bringing it up on Thursday. O'Reilly was running his mouth with the usual race-baiting talking points that incorrectly assume that rising numbers of births to legally unmarried women means that huge numbers of women are raising children alone when he proposed that the federal government fund (with money!) a campaign to tell young women to stop having all of the sex. Carville took this as a fun opportunity to provoke O'Reilly's notorious dislike for contraception by pointing out that any kind of campaign to prevent unplanned pregnancy should include contraception and sex education. 
Watching O'Reilly try to reconcile his "contraception is bad" position with his "stop having babies" position is delightful. First he attempted to deny that contraception, which he associates with sex, has anything to do with baby-making:
Carville: I think the idea that the federal government is going to tell a 17-year-old that you just wait and you don’t have sex—I don’t think that’s going to be effective.
O'Reilly: It has nothing to do with sex. It has to do with getting pregnant.
After Carville pointed out the fundamental problem with this argument, O'Reilly changed tactics, claiming that you can just go to Planned Parenthood and get contraception. When Carville noted that this is a funding issue—alluding to the fact that the anti-choice movement O'Reilly supports attacks any effort to make contraception more accessible—O'Reilly flipped out: "So, you don’t want peer pressure brought, you want to fund, fund, fund! More money, more money!"
He added, "Why don’t we just have the Good Humor man have contraception on the ice cream truck?" before giving more details about what his proposed "federal program" to discourage unmarried motherhood would entail: Having Jay Z tell young women not to have sex. 
O'Reilly: It’s going to discourage! Actively discourage! Peer pressure! Jay Z, the multimillion-dollar man—have him get out and do a couple public service announcements. 
Sadly, Carville did not have a chance to ask any of the pertinent follow-up questions, but I have a few: 1) Why does O'Reilly think that the 43-year-old Jay Z is a "peer" to the young women the Fox News star would dearly love to stop having sex? 2) If a federally funded Jay Z had dropped a line to O'Reilly in 2004 to discourage the then-married man from calling up a female colleague to invite her over for potentially pregnancy-causing activities, would that have stopped him? I'm not being flip. I just want to understand how this rappers-against-sex program is expected to work.

copied from slate.......

Jesus Christ, Anthony Weiner and Hate

Forever a radio listener I tune in to the Jesus Christ Show every Sunday morning.....I listen to part of the show until I run to watch my very favorite television show of all time.....CBS Sunday Morning.....and yes ,Bill Geist is the most perfect interviewer and reporter but that is another story for another time......

............................


Dear Jesus...I really enjoyed your show today and I am glad you talked about Anthony W........why, well, I almost do not know what to think about him.  Yes, I know he is wrong and I liked the way you explained it and I have to agree with what you said, but I do have a problem.  I am almost embarrassed to say I don't care.  I know everyone wants me to care but in the honest truth, I do care, but not that much....


Seriously, there are so many bigger problems to think about, not just big world problems like hunger and sickness and clean drinking water and all of that but I am also talking about hate.  

Here is something that really troubles me in politics if you will.  Bill O'Reilly absolutely hates Reverend Al Sharpton.  He has a vendetta against him that will not stop.  Yes, I used to be married, in fact  to a Bill O'Reilly type, arrogant and yelling and always making fun of  someone they thought lesser of them.. ...that would most often be me.  It was horrible and humiliating.  I can practically feel the hatred this mas seems to possess in his soul.  

In the grand scheme of things, yes, sending pictures is quite inappropriate for someone asking for the trust of the people..... but again, this is so little to me.  Hating someone or a group of people or being arrogant is worse, in my humble opinion.  To me, trying to spread hate is the real sin.

Really, I think most men  will cheat given the opportunity and I think it is human nature for a man to want to have an interaction with a beautiful young girl.......no, it's not right but it is the way things exist...well, it isn't new is  it......it is a waste of time to keep bringing it up---talking about about two willing adults.   

I just think there are other more horrible problems in the world and hatred is one of them.


I hope  you have time  to respond because I do value your words and I am not trying to be disrespectful in any way.


thank you for your time.

chloe louise

here is a link to The Jesus Christ Show......



The website is very enjoyable and Neil's take on Anthony W. and politics is very insightful........

Mik Jagger racontant l'histoire de Gimme Shelter .......

Mick Jagger
Cover of Mick Jagger
Mik Jagger racontant l'histoire de Gimme Shelter .......
Mick Jagger raconte l'histoire derrière «Gimme Shelter» et Haunting Choeurs de Merry Clayton
En musique, Radio | 19ème Juin, 2013 6 Commentaires


À l'automne 1969, les Rolling Stones étaient dans un studio d'enregistrement à Los Angeles, en mettant la touche finale à son album Let It Bleed. C'était une époque tumultueuse pour les Stones. Ils avaient été prises avec l'album pendant la majeure partie de l'année comme ils ont traité avec la désintégration personnelle de leur fondateur et multi-instrumentiste Brian Jones, dont la toxicomanie et de la personnalité des problèmes avaient atteint un stade critique. Jones a été tiré à partir de la bande en Juin de cette année. Il est mort moins d'un mois plus tard. Et bien que les pierres ne pouvaient pas savoir à l'époque, l'année se terminerait sur une autre note catastrophique, car la violence a éclaté à la célèbre Altamont Concert gratuit juste un jour après Let It Bleed a été libéré.
C'était aussi une époque sombre du monde entier. Les assassinats de Martin Luther King et Robert F. Kennedy, l'offensive du Têt, la répression brutale du printemps de Prague-tous ces éléments étaient souvenirs récents. Sans surprise, Let It Bleed n'était pas le plus joyeux des albums. Comme Stephen Davis écrit dans son livre Anciens Dieux presque mort: The Odyssey 40 ans des Rolling Stones, "Non disque de rock, avant ou depuis, n'a jamais si bien capturé le sentiment de terreur palpable qui planait sur son époque." Et personne chanson onLet it Bleed articule cette crainte avec plus de force que l'apocalyptique "Gimme Shelter", dans lequel Mick Jagger chante d'un incendie "sweepin« Notre rue très aujourd'hui ", comme un" Mad Bull perdu son chemin. "
Viol, assassiner!
C'est juste un coup de loin
C'est juste un coup de loin
Dans une interview Novembre dernier avec le bloc Melissa pour le programme de NPR All Things Considered, Jagger a parlé de ces paroles, et la prise de la chanson:
00:0008:15
Un des moments les plus marquants de l'interview, c'est quand Jagger décrit les circonstances entourant puissants choeurs de la chanteuse de soul Merry Clayton. «Quand nous sommes arrivés à Los Angeles et nous avons été mélangeant, nous avons pensé:« Eh bien, ce serait bien d'avoir une femme venir faire le viol / verset assassiner », ou chorus ou ce que vous voulez appeler cela", a déclaré Jagger. «Nous avons téléphoné au hasard cette pauvre dame dans le milieu de la nuit, et elle est arrivée à ses bigoudis et se mit à le faire en une ou deux prises, ce qui est assez étonnant. Elle est venue et a frappé au large ce plutôt étrange lyrique. Ce n'est pas le genre de paroles que vous donnez à quelqu'un, «Le viol, assassiner / It 's juste un coup away', mais elle a vraiment eu en elle, comme vous pouvez l'entendre sur l'enregistrement."
La fille d'un pasteur baptiste, Merry Clayton a grandi à chanter dans l'église de son père à la Nouvelle Orléans. Elle a fait ses débuts professionnels à 14 ans, l'enregistrement d'un duo avec Bobby Darin. Elle a continué à travailler avec The Supremes, Elvis Presley et bien d'autres, et a été membre du groupe de choristes, Les Raelettes de Ray Charles. Elle est l'un des chanteurs en vedette dans le nouveau film documentaire, 20 pieds de Stardom. En aninterview semaine dernière avec Terry Gross sur Fresh Air de NPR, Clayton a parlé de la nuit, elle a été invitée à chanter sur «Gimme Shelter»:
Eh bien, je suis à la maison à environ 12 I'd dire vers 11h30, près de 12 heures du soir. Et je suis accroupi dans mon lit avec mon mari, très enceinte, et nous avons reçu un appel d'un ami à moi et producteur nommé Jack Nitzsche. Jack Nitzsche appelé et m'a dit vous savez, Merry, êtes-vous occupé? J'ai dit non, je suis au lit. dit-il, eh bien, vous savez, il ya des gars de la ville de l'Angleterre. Et ils ont besoin de quelqu'un pour venir chanter un duo avec eux, mais je ne peux pas trouver quelqu'un pour le faire. Pourriez-vous venir? Il a dit je pense vraiment que ce serait une bonne chose pour vous.
À ce moment, Clayton a rappelé, son mari a pris le téléphone de sa main et dit: «L'homme, ce qui se passe? Cette heure de la nuit que vous appelez Merry de faire une séance? Vous savez qu'elle est enceinte. "Nitzsche a expliqué la situation, et tout comme Clayton était à la dérive rendormir son mari poussa et dit:« Chérie, tu sais, tu devrais vraiment y aller et faire de cette date. "Clayton n'avait aucune idée de qui est le roulement Des pierres ont été. Quand elle est arrivée au studio, Keith Richards était là et a expliqué ce qu'il voulait qu'elle fasse.
J'ai dit: Eh bien, jouer la piste. Il est tard. J'aimerais revenir à la maison. Alors, ils jouent la piste et me disent que je vais chanter, voilà ce que vous allez chanter: Oh, les enfants, c'est juste un coup de pied. Il a eu des paroles pour moi. J'ai dit: Eh bien, c'est cool. Donc j'ai fait la première partie, et nous sommes arrivés au viol, une partie de assassiner. Et j'ai dit: Pourquoi suis-je chantais viol, assassiner? ... Alors ils m'ont dit l'essentiel de ce que les paroles étaient, et j'ai dit Oh, ok, c'est cool. Alors j'ai dû m'asseoir sur un tabouret parce que j'étais un peu lourd dans mon ventre. Je veux dire, c'était un spectacle à voir. Et nous sommes passés au travers. Et puis nous sommes allés dans la cabine à l'écoute, et j'ai vu les huées et crier pendant que je chantais, mais je ne savais pas ce qu'ils ont été huées et crier sur. Et quand je suis rentré dans la cabine et j'ai écouté, j'ai dit: Oh, c'est vraiment sympa. Ils ont dit, eh bien, vous voulez faire un autre? Je l'ai dit, eh bien, je vais faire un de plus, je l'ai dit et je vais devoir vous dire merci et bonne nuit. J'ai fait un de plus, et puis j'ai fait un de plus. Ainsi, il a été trois fois je l'ai fait, et puis je n'étais pas là. La prochaine chose que je sais, c'est de l'histoire.
Clayton a chanté avec une telle force émotionnelle que sa voix se brisa. («J'étais juste heureux que la fissure était dans l'air», at-elle déclaré Gross.) Dans la piste vocale isolé ci-dessus, vous pouvez entendre les autres dans le studio criant dans la stupéfaction. Malgré donner ce que serait devenu le plus célèbre performance de sa carrière, il s'est avéré être une nuit tragique pour Clayton. Peu de temps après avoir quitté le studio, elle a perdu son bébé dans une fausse couche. Il est généralement admis que le stress de l'intensité émotionnelle de sa performance et de l'heure tardive a causé la fausse couche. Depuis de nombreuses années Clayton trouvé la chanson trop pénible à entendre, et encore moins chanter. «Ce fut une période sombre, très sombre pour moi", at-elle déclaré au Los Angeles Times en 1986, "mais Dieu m'a donné la force de la surmonter. Je l'ai tourné autour. Je l'ai pris comme la vie, l'amour et l'énergie et l'a dirigée dans une autre direction, il ne me dérange pas vraiment à chanter «Gimme Shelter» maintenant. La vie est courte comme il est et je ne peux pas vivre hier ".

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Mick Jagger Tells the Story Behind ‘Gimme Shelter’ and Merry Clayton’s Haunting Background Vocals

In the fall of 1969 the Rolling Stones were in a Los Angeles recording studio, putting the final touches on their album Let it Bleed. It was a tumultuous time for the Stones. They had been struggling with the album for the better part of a year as they dealt with the personal disintegration of their founder and multi-instrumentalist Brian Jones, whose drug addiction and personality problems had reached a critical stage. Jones was fired from the band in June of that year. He died less than a month later. And although the Stones couldn’t have known it at the time, the year would end on another catastrophic note, as violence broke out at the notorious Altamont Free Concert just a day after Let it Bleed was released.
It was also a grim time around the world. The assassinations of Martin Luther King and Robert F. Kennedy, the Tet Offensive, the brutal suppression of the Prague Spring–all of these were recent memories. Not surprisingly, Let it Bleed was not the most cheerful of albums. As Stephen Davis writes in his book Old Gods Almost Dead: The 40-Year Odyssey of the Rolling Stones, “No rock record, before or since, has ever so completely captured the sense of palpable dread that hung over its era.” And no song onLet it Bleed articulates this dread with greater force than the apocalyptic “Gimme Shelter,” in which Mick Jagger sings of a fire “sweepin’ our very street today,” like a “Mad bull lost his way.”
Rape, murder!
It’s just a shot away
It’s just a shot away
In an interview last November with Melissa Block for the NPR program All Things Considered, Jagger talked about those lyrics, and the making of the song:
00:00
00:00
One of the most striking moments in the interview is when Jagger describes the circumstances surrounding soul singer Merry Clayton’s powerful background vocals. “When we got to Los Angeles and we were mixing it, we thought, ‘Well, it’d be great to have a woman come and do the rape/murder verse,’ or chorus or whatever you want to call it,” said Jagger. “We randomly phoned up this poor lady in the middle of the night, and she arrived in her curlers and proceeded to do that in one or two takes, which is pretty amazing. She came in and knocked off this rather odd lyric. It’s not the sort of lyric you give anyone–’Rape, murder/It’s just a shot away’–but she really got into it, as you can hear on the record.”
The daughter of a Baptist minister, Merry Clayton grew up singing in her father’s church in New Orleans. She made her professional debut at age 14, recording a duet with Bobby Darin. She went on to work with The Supremes, Elvis Presley and many others, and was a member of Ray Charles’s group of backing singers, The Raelettes. She is one of the singers featured in the new documentary film, 20 Feet From Stardom. In aninterview last week with Terry Gross on NPR’s Fresh Air, Clayton talked about the night she was asked to sing on “Gimme Shelter”:
Well, I’m at home at about 12–I’d say about 11:30, almost 12 o’clock at night. And I’m hunkered down in my bed with my husband, very pregnant, and we got a call from a dear friend of mine and producer named Jack Nitzsche. Jack Nitzsche called and said you know, Merry, are you busy? I said No, I’m in bed. he says, well, you know, There are some guys in town from England. And they need someone to come and sing a duet with them, but I can’t get anybody to do it. Could you come? He said I really think this would be something good for you.
At that point, Clayton recalled, her husband took the phone out of her hand and said, “Man, what is going on? This time of night you’re calling Merry to do a session? You know she’s pregnant.” Nitzsche explained the situation, and just as Clayton was drifting back to sleep her husband nudged her and said, “Honey, you know, you really should go and do this date.” Clayton had no idea who the Rolling Stones were. When she arrived at the studio, Keith Richards was there and explained what he wanted her to do.
I said, Well, play the track. It’s late. I’d love to get back home. So they play the track and tell me that I’m going to sing–this is what you’re going to sing: Oh, children, it’s just a shot away. It had the lyrics for me. I said, Well, that’s cool. So  I did the first part, and we got down to the rape, murder part. And I said, Why am I singing rape, murder? …So they told me the gist of what the lyrics were, and I said Oh, okay, that’s cool. So then I had to sit on a stool because I was a little heavy in my belly. I mean, it was a sight to behold. And we got through it. And then we went in the booth to listen, and I saw them hooting and hollering while I was singing, but I didn’t know what they were hooting and hollering about. And when I got back in the booth and listened, I said, Ooh, that’s really nice. They said, well, You want to do another?  I said, well, I’ll do one more, I said and then I’m going to have to say thank you and good night. I did one more, and then I did one more. So it was three times I did it, and then I was gone. The next thing I know, that’s history.
Clayton sang with such emotional force that her voice cracked. (“I was just grateful that the crack was in tune,” she told Gross.) In the isolated vocal track above, you can hear the others in the studio shouting in amazement. Despite giving what would become the most famous performance of her career, it turned out to be a tragic night for Clayton. Shortly after leaving the studio, she lost her baby in a miscarriage. It has generally been assumed that the stress from the emotional intensity of her performance and the lateness of the hour caused the miscarriage. For many years Clayton found the song too painful to hear, let alone sing. “That was a dark, dark period for me,” she told the Los Angeles Times in 1986, “but God gave me the strength to overcome it. I turned it around. I took it as life, love and energy and directed it in another direction, so it doesn’t really bother me to sing ‘Gimme Shelter’ now. Life is short as it is and I can’t live on yesterday.”
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copied from www.openculture.com.......by cl
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ronnie in south park: Bill O'Reilly: Embarras américain

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Aug 4, 2013

Mick Jagger telling the story of Gimme Shelter.......

Mick Jagger Tells the Story Behind ‘Gimme Shelter’ and Merry Clayton’s Haunting Background Vocals

In the fall of 1969 the Rolling Stones were in a Los Angeles recording studio, putting the final touches on their album Let it Bleed. It was a tumultuous time for the Stones. They had been struggling with the album for the better part of a year as they dealt with the personal disintegration of their founder and multi-instrumentalist Brian Jones, whose drug addiction and personality problems had reached a critical stage. Jones was fired from the band in June of that year. He died less than a month later. And although the Stones couldn’t have known it at the time, the year would end on another catastrophic note, as violence broke out at the notorious Altamont Free Concert just a day after Let it Bleed was released.
It was also a grim time around the world. The assassinations of Martin Luther King and Robert F. Kennedy, the Tet Offensive, the brutal suppression of the Prague Spring–all of these were recent memories. Not surprisingly, Let it Bleed was not the most cheerful of albums. As Stephen Davis writes in his book Old Gods Almost Dead: The 40-Year Odyssey of the Rolling Stones, “No rock record, before or since, has ever so completely captured the sense of palpable dread that hung over its era.” And no song onLet it Bleed articulates this dread with greater force than the apocalyptic “Gimme Shelter,” in which Mick Jagger sings of a fire “sweepin’ our very street today,” like a “Mad bull lost his way.”
Rape, murder!
It’s just a shot away
It’s just a shot away
In an interview last November with Melissa Block for the NPR program All Things Considered, Jagger talked about those lyrics, and the making of the song:
00:00
00:00
One of the most striking moments in the interview is when Jagger describes the circumstances surrounding soul singer Merry Clayton’s powerful background vocals. “When we got to Los Angeles and we were mixing it, we thought, ‘Well, it’d be great to have a woman come and do the rape/murder verse,’ or chorus or whatever you want to call it,” said Jagger. “We randomly phoned up this poor lady in the middle of the night, and she arrived in her curlers and proceeded to do that in one or two takes, which is pretty amazing. She came in and knocked off this rather odd lyric. It’s not the sort of lyric you give anyone–’Rape, murder/It’s just a shot away’–but she really got into it, as you can hear on the record.”
The daughter of a Baptist minister, Merry Clayton grew up singing in her father’s church in New Orleans. She made her professional debut at age 14, recording a duet with Bobby Darin. She went on to work with The Supremes, Elvis Presley and many others, and was a member of Ray Charles’s group of backing singers, The Raelettes. She is one of the singers featured in the new documentary film, 20 Feet From Stardom. In aninterview last week with Terry Gross on NPR’s Fresh Air, Clayton talked about the night she was asked to sing on “Gimme Shelter”:
Well, I’m at home at about 12–I’d say about 11:30, almost 12 o’clock at night. And I’m hunkered down in my bed with my husband, very pregnant, and we got a call from a dear friend of mine and producer named Jack Nitzsche. Jack Nitzsche called and said you know, Merry, are you busy? I said No, I’m in bed. he says, well, you know, There are some guys in town from England. And they need someone to come and sing a duet with them, but I can’t get anybody to do it. Could you come? He said I really think this would be something good for you.
At that point, Clayton recalled, her husband took the phone out of her hand and said, “Man, what is going on? This time of night you’re calling Merry to do a session? You know she’s pregnant.” Nitzsche explained the situation, and just as Clayton was drifting back to sleep her husband nudged her and said, “Honey, you know, you really should go and do this date.” Clayton had no idea who the Rolling Stones were. When she arrived at the studio, Keith Richards was there and explained what he wanted her to do.
I said, Well, play the track. It’s late. I’d love to get back home. So they play the track and tell me that I’m going to sing–this is what you’re going to sing: Oh, children, it’s just a shot away. It had the lyrics for me. I said, Well, that’s cool. So  I did the first part, and we got down to the rape, murder part. And I said, Why am I singing rape, murder? …So they told me the gist of what the lyrics were, and I said Oh, okay, that’s cool. So then I had to sit on a stool because I was a little heavy in my belly. I mean, it was a sight to behold. And we got through it. And then we went in the booth to listen, and I saw them hooting and hollering while I was singing, but I didn’t know what they were hooting and hollering about. And when I got back in the booth and listened, I said, Ooh, that’s really nice. They said, well, You want to do another?  I said, well, I’ll do one more, I said and then I’m going to have to say thank you and good night. I did one more, and then I did one more. So it was three times I did it, and then I was gone. The next thing I know, that’s history.
Clayton sang with such emotional force that her voice cracked. (“I was just grateful that the crack was in tune,” she told Gross.) In the isolated vocal track above, you can hear the others in the studio shouting in amazement. Despite giving what would become the most famous performance of her career, it turned out to be a tragic night for Clayton. Shortly after leaving the studio, she lost her baby in a miscarriage. It has generally been assumed that the stress from the emotional intensity of her performance and the lateness of the hour caused the miscarriage. For many years Clayton found the song too painful to hear, let alone sing. “That was a dark, dark period for me,” she told the Los Angeles Times in 1986, “but God gave me the strength to overcome it. I turned it around. I took it as life, love and energy and directed it in another direction, so it doesn’t really bother me to sing ‘Gimme Shelter’ now. Life is short as it is and I can’t live on yesterday.”
Related Content:

copied from www.openculture.com...........