1971: The Year That Music Changed Everything (2021) s01e06 Episode Script
Exile
The dream's over.
- In 1971
- Music said something.
The world was changing.
We were creating
the 21st century in 1971.
I heard this is
this is probably all CIDs
and we're getting busted
but I don't care.
Shotgun.
There's drugs everywhere.
Within ten minutes in country I had
people approaching me selling skag.
What's skag?
It's heroin.
Well, it just goes to show
Things are not what they seem
Please, Sister Morphine
Turn my nightmare into dreams
Oh, can't you see I'm fading fast?
And that this shot
Will be my last
After a decade of indecisive battle,
the war in Vietnam
is said to be winding down.
Now experts guess there may be
40,000 or more hardcore drug addicts
among our homecoming GIs.
Care to join me here. Won't you be
seated please, ladies and gentlemen.
Come on, Dr. Jaffe.
It's fine. All right.
America's public enemy number one
in the United States is drug abuse.
In order to fight and defeat this enemy
it is necessary to wage
a new all-out offensive.
I've asked the Congress to provide
the legislative authority and the funds
to fuel this kind of an offensive.
It is essential for the American people
to recognize that it is a danger
that will not pass
with the passing of the war in Vietnam,
which has brought to our attention
the fact
that a number of young Americans have
become addicts as they serve abroad.
And that is why this offensive deals
with the problem there in Europe
but will then go on to deal
with the problem throughout America.
Hey, hey, hey, hey
Beat is gettin' stronger
Music gettin' longer too
Music's flashin' me
I wanna, I wanna
I wanna take you higher, yeah
- Wanna take you
- Higher
- Wanna take you higher
- Higher
- Wanna take you higher
- Higher
Boom laka-laka-laka
I had a friend who worked
on the Dick Cavett Show.
Sly wouldn't come out
of the dressing room
and they were gonna start taping.
They called me, "Come
Would you come over here please
and get him down? He won't come down."
Higher
It freaked him out that he couldn't go
on stage unless he was high.
We finally got him close to the stage
and he said, "Man, what have I created?"
"Oh, God, I don't want to be the guy
that's going to show the Black people up."
Take you higher
I wanna take you higher
I wanna take you higher
Hey.
Sly.
Good work.
Follow me here.
Okay.
Did you Did you
- I'm
- See right there.
You've cut yourself.
Did you have trouble getting here?
I got my house broken into.
Why are you injured there?
Was that during performance?
I broke into my house.
- Yeah.
- And I cut myself here.
It's an actual wound,
but it doesn't look
I think it's just a flesh wound.
- I don't think it's gonna be too
- Is this sympathy that I'm getting?
- Oh, yeah. Yeah.
- Is it sympathy?
Sympathy, yeah, considering that
you were almost late getting here.
- How come I can't tell?
- It's as much sympathy as I can
Well, I know you can understand
my house being broken into.
Was it today?
Yeah. If it was your house,
you'd be a little late.
Oh, yeah. Right.
That's right. Yeah.
Sly had gotten to the point
where you can't hide what you are.
You can't hide who you are.
He'd put on his face
and dress up and look nice,
but you just listen to the music
he was writing,
and it revealed what
he was going through.
We all had changed by then,
and we were just a product of life,
of the way life had taken its toll
on all of us actually.
And that's what you hear.
Running away to get away
Ha, ha, ha, ha!
You're wearing out your shoes
Look at you fooling you
Making blues of night and day
Hee, hee, hee, hee!
You're stretching out your dues
Look at you fooling you
Another day, you're farther away
Ha, ha, ha, ha!
A longer trip back home
Jim Morrison,
the lead singer for the Doors,
a rock music group, is dead. He was 27.
His personal manager said he died
in Paris probably of heart failure.
Pam was a heroin addict.
Jim was an alcoholic.
They were together in Paris.
He probably didn't
even know what it was.
Cocaine and heroin, two white powders.
And like most people who do heroin
for the first time, he got real sick.
The condition he was in physically
and the heroin did him in.
Jimi Hendrix, Janis Joplin
and Jim Morrison are the molds from which
many of the '60s rock stars were cast.
Vastly talented and successful,
they lived from moment to moment
with a kind of flamboyant
self-destructiveness
that ultimately killed them all
within a single year,
all at the identical age of 27.
There was the circus atmosphere
around Jim's death.
It was just distasteful.
And I really felt like
whether he died of beer,
or of cocaine or heroin or a heart
attack, it kinda didn't matter.
I was 21. What mattered
was that my friend is dead.
In the '60s when we discovered
drugs and flowers and long hair
and made legendary royalty
out of the young men and women
who played our music, we gave them roles,
really, that were larger than life.
We watched as they flew too high,
too fast, too close to the sun.
And we watched
as they burned themselves out.
For students, that was heartbreaking.
To lose those three, it was really
a kind of walking sadness on campus.
And so it was really scary that year.
Young people were being drafted into
the war. Young people were being killed.
Young people were being beaten up
by police on college campuses.
It was just an air of violence.
And in that context,
we started an experiment.
- Let's go. Out. Out.
- Come on.
Move.
Better move now, move now, move now.
- I'll destroy you.
- Move now.
Go down.
The object of the experiment
was to create in as much detail
as possible
the psychological strain of prison life
in this building
on Stanford University's campus.
Students were recruited
through newspaper ads
to literally become prisoners and guards
for a two-week period.
Each volunteer was screened
for psychological stability and health.
Details of prison life were accurate
even to closed-circuit television
to monitor activity.
Let's go. Now. Now.
Lights on. Keep moving.
Move now, move now, move now.
Prisoners must keep the cell clean
at all times.
But after only five days
the experiment is being abandoned
as too frighteningly successful.
It's very hard to understand
how this is not fun and games.
This is just an experiment some
psychologists and students are doing.
It only lasts for two weeks.
But once you walk into that room,
it's so realistic,
and we've tried to make it that way,
that everyone be gets involved.
You can't take our beds!
Against the wall, man.
Put the handcuffs on him.
Oh, come on.
That's enough.
These are our beds.
Get off me, fucker.
Up against the wall.
No, you're not going
to take our fucking beds.
This is unbelievable!
The experiment
was really not at all about prisons.
In the '60s I had been doing research
on anonymity and deindividuation
showing that when people feel anonymous
their behavior is much more controlled
by external situational forces
than by willpower or personal values.
And so prison was a good setting
to test what happens when you put
good people in a bad situation.
I had really thought that I was
was incapable of this kind of behavior.
And while I was doing it
I I didn't feel any regret.
I didn't feel any guilt.
It was only after, afterwards
when I began to reflect
on what I had done that this began to
this behavior began to dawn on me
and I realized that this was
This was a part of me
I hadn't really noticed before.
So, in 1971, I'm doing this research
and what I'm studying
is erupting in our culture.
After 194 days of testimony,
the jury delivered verdicts of guilty
on 27 counts of first-degree murder
against Charles Manson
and three members of his family.
It's been more than a month now
since Lieutenant William Calley
was convicted of murdering Vietnamese
civilians at My Lai.
The outcry that followed the verdict
Suddenly you're seeing,
in various contexts,
ordinary, everyday people,
who had done horrible things
out of blind obedience to authority.
We drove to the house with instructions
to kill everyone in the house.
- From Charlie?
- Yeah.
A man comes stumbling out
and Tex starts stabbing him.
And there was a lady in a nightgown
and Patricia was stabbing her.
There was an evil force
in control that night.
Manson's followers
came from diverse origins.
Mostly even, I guess,
middle-class kids with no roots.
Death for them meant nothing.
It's a problem in America.
Like in Vietnam, for instance, My Lai,
I mean
Manson and My Lai are, you know,
it's part of the same problem.
The orders that I heard
was to shoot anything that moves.
I was personally responsible
for killing between 20 and 25 people.
To cuttin' their throats,
to scalping them,
cuttin' off their hands,
cuttin' out their tongue.
These guys first started raping a girl,
you know, this
this young girl, some were 15,
16 years old, you know,
some down as low as 13,
and maybe even 12.
The My Lai massacre just said,
"Here is the most extreme activities
imaginable
that young American soldiers could do
to somebody called their enemy."
The Nazis had done this,
the Japanese had done this,
and somehow Americans always said,
"We are above that."
It was truly shocking to realize
that we all have this dark side in us.
I can't stay in there, I'm fucked-up.
I don't know how to explain it.
I'm all fucked-up inside! I want out!
And I want out now!
Dammit. Fucked-up.
Once you put a uniform on
and are given a role,
I mean, a job, saying, "Your job
is to keep these people in line,"
then you're not
certainly not the same person
as if you were in street clothes
and in a different role.
You really become that person
once you put on that khaki uniform,
you take the nightstick,
you have to act accordingly.
I think we ought to tape
this guy's hands behind him
and cuff him through the door.
I maintained the prison too long.
I should've ended it after the second
prisoner had an emotional breakdown.
It was a mistake.
Of 60 we began with, we have the 20
most stable and most emotionally mature.
And most of them have cracked.
So we think our
our statements are very valid.
In a sense this prison
has helped to destroy
for a brief period of time, we
we don't think it's gonna have
any long-term effects
destroy some of the best people
that America has to offer.
- What do we need?
- Socialism!
- When?
- Now!
1971 was an incredibly tumultuous year,
politically, socially, musically.
And the Stanford prison study was almost
the epitome of all these forces.
Forces of good versus forces of evil.
And it was the forces of evil that won.
Evil
Why have you engulfed so many hearts?
Evil
Evil
Why have you destroyed so many minds?
Leaving room for
Darkness
Where lost dreams can hide
Evil
Why do you infest our purest thoughts
With hatred?
Evil
Why have you stolen so much love?
Leaving everyone's emotions
Lost and wandering free
Evil
Why have you taken over
God's children's eyes?
Evil
When you feel it, Mick.
I'll give you a yell.
So in, like, middle eight.
Well, I'll pull the string on that one.
We'd been in the south of France
for four or five months
trying to record the Stones' album
and it was going slowly.
If you did manage to get all them
hooked up and trying to do something
It would go for maybe an
hour-and-a-half, two hours
and then Keith would go upstairs
and have a fix.
And of course,
quite often he would nod off in bed
and we'd all be sitting there,
three in the morning
and everyone was too scared
to go up there.
Heroin was very prevalent.
Keith seemed to get easily immersed
into it, and Anita, both.
It was unbelievable.
Everything kind of disintegrated
and we got heavily into drugs.
Like breakfast, lunch and dinner.
And it was spreading.
Bobby Keys was a horn player.
He had got into the heroin there, too,
for the first time.
And Andy Johns was taking heroin.
It was easy to get.
Marseille was just down the road
and you could get this 'China White'
that was very powerful
for not a lot of money.
After a while you
start really liking it.
Then you have to have it.
And then it's too late
I wanna tell you 'bout a dance
That's goin' around
Don't move your head
Don't move your hands
Don't move your lips
Just shake your hips
Do the hip shake, babe
Do the hip shake, babe
Shake your hip, babe
Shake your hip, babe
What you don't know
Don't be afraid
Just listen to me
And do what I say
Don't move your head
Don't move your hands
Don't move your lips
Just shake your hips
Do the hip shake, babe
Do the hip shake, babe
Shake your hip, babe
Shake your hip, babe
Well, ain't that easy
I did smack to hide.
Hide from being this other person
because all I wanted to do
was play music
and bring my family up and everything.
With a hit of smack
I could walk through anything
and not give a damn.
Keith and all the entourage
were watching TV
and they just left all the doors open.
People just walked in
and stole eight guitars.
Bass guitar. Bobby Keys' saxophone.
No one even noticed.
It was getting progressively
more messed up.
Keith's guitars were stolen by
the drug dealers from Marseille
as recompense for all the heroin
that had not been paid for.
They weren't buying an ounce of heroin,
this was, like, big deals.
And these were some really bad people.
After the dealers
had stolen the guitars and gone
they ratted out Keith.
The military police came one night
with a bunch of gendarmes
and of course,
everyone's running around furiously
trying to get rid of their stashes.
And I thought, this does not bode well.
On whatever basis you rate success,
whether it be record sales, television,
personal appearances,
or popularity polls,
the Osmonds are number one.
The incredible success
of this talented family
has made them tops in
the music industry.
Yeah
I can tell you've been hurt
By that look on your face, girl
Some guy brought sad
Into your happy world
You need love
At around the same time as Sly,
along with other artists
like the Stones,
were having some problems,
these white Mormon kids came along
with a sound that catered
to the youngest of the young.
Give it one more try
Before you give up on love
In 1971, a lot of artists
were on the more progressive,
socially aware side,
remarking on what's
going on around them,
and playing music that you could imagine
the establishment
not being very impressed with.
But not the Osmonds.
I could make you happy, baby
Satisfy you, too
Satisfy you now
How can I if you won't give me a chance
To prove my love to you?
1971 was a pivotal year for me.
I'm 13 years old, right in the middle
of the Vietnam War.
There's a lot of dissension,
a lot of hatred going on.
You had your Jimi Hendrix,
your Janis Joplin.
All these artists that were dying off
from drug usage.
And then all of a sudden, there was us.
One bad apple don't spoil
The whole bunch, girl
Not political,
not singing sexually explicit lyrics.
Also safe as far as the drug scene.
Clean and wholesome.
To be honest with you,
it drove me crazy,
'cause I wanted to be
a little bit dirtier.
I was born in show business
so I'm a I'm a veteran, I guess.
And I just love it, I really do.
What about social life,
what about dates,
what about going out with somebody
that you actually like?
Definitely, we're very normal.
- But you have to
- We have our
- we have our girlfriends.
- make a date two months in advance.
Right, it's hard, but we do
we do get out once in a while.
The music world in 1971
was growing up in ways
that nobody could quite fully perceive.
The record industry was certainly
behind the times, out of date,
and the music had moved way faster
than the industry's ability
to understand it.
This resulted in the industry
trying to create novelty acts
that made product that was
more conventional to their taste.
That was very much a part of
the turbulence of that day.
It was the next big wave
within pop culture.
I was listening to Crosby,
Stills & Nash.
I was listening to Hendrix
and the Doors and all that stuff.
I wanted to be Elton John.
I wanted to be Stevie Wonder.
But I really wanted to be Sly Stone
without the drugs.
But that's not what people
wanted me to be.
And I think if we look back
at the era of '71
and the sexual tensions,
the political upheavals, the drug usage,
maybe we needed
a little more wholesomeness.
I can't even remember people leaving, but
they certainly left, all very quickly.
Me and Keith and a couple
of other people were still down there.
Eventually we got the word
that we had to leave
because we were gonna get arrested.
We were done in the south of France.
And it was getting a bit hot there,
especially for Keith.
These guys that were supplying
all these heavy drugs got busted
and were all completely loose cannons.
It was a lot of trouble.
In France, you get arrested,
there is no bail.
You sit in jail until your hearing.
In the state that Keith was in,
this was impossible.
And so, just as they had done in
Altamont, they were gone, man.
By the skin of their teeth,
the Stones always escaped.
They were geniuses at escape.
They were Houdinis.
Hello. It's Marshall.
All right. You gotta get moving
and be up there in the next 30 minutes.
It's 1896 Rising Glen Road.
Road.
And that comes off of
Sunset Plaza Drive.
We ended the Nellcôte thing.
Everyone decided to go to LA to mix it.
It's the last house.
It's the end of the road.
Oh, yeah
I hear you talking
When I'm on the street
Your mouth don't move
But I can hear you speak
When we started working
at Sunset Studios
there was a concern about Hells Angels,
you know, because of Altamont.
Rumors were that there was a contract
on Mick for Hells Angels to shoot him.
In LA, you could buy guns
with your driver's license.
So I carried, and Keith,
and I think Mick, pistols.
We had a bodyguard too.
We were worried leaving the studio.
Mick had a paranoia.
It was crazy.
It was like part of their history
that was still coming after them.
We realized we had this
very sprawling, gutsy piece of work.
Some of it wasn't very accessible
and some of it was a bit strange.
And some of it was also rather obscure.
There were no hit singles.
It didn't have a direction.
But then, that was the fucking point.
I don't think there was a direction
in the mainstream of our culture.
I'm not sure how conscious all this was.
But we felt like it was the beginning
of a new decade in a way.
After all that tension,
all that pressure
the heroin, the drug police problem,
we made a fabulous double album.
We're going on tour of America,
the Exile tour.
Times had changed.
It was a bigger audience,
it was a bigger thing,
they were gonna make
a hell of a lot of money.
It was a rebirth.
When it came out, there was a lack
of understanding of what Exile was.
The reviews were very mixed.
They thought it was too much.
It wasn't coherent,
it wasn't of a piece.
But by then the Stones were critic-proof
and people were going to buy the album
one way or the other.
The Rolling Stones were now
the number one attraction in the world.
The biggest rock 'n'
roll band in history.
They could sell out any venue anywhere
in less than an hour.
Ten years ago the Stones was
the guys that most didn't like.
- Today
- Eight years ago.
- Eight years ago.
- They love us now.
- How is it today?
- They love us.
- Great. It's all changed.
- It's great. It's all different.
Ten years ago,
people saw the Stones as young
Why do you wanna talk about what
"Ten years ago. Ten years ago.
- Ten, not nine.
- Ten years ago. Ten years ago.
Ten years ago. Ten years ago.
- Ten years ago. Ten years ago."
- Not nine.
He would just get into
these great grooves.
Layers of rhythm
that's one on top of the other.
We started to hear these
wonderful, interesting tracks.
But he hadn't made a new album
for two years.
And he didn't even realize
what the good stuff was.
Like, he didn't want "Family Affair"
out. He didn't believe in it.
It's a family affair
It's a family affair
It's a family affair
It's a family affair
One child grows up to be
Somebody that just loves to learn
And
Another child grows up to be
Somebody you'd just love to burn
Mom loves the both of them
You see, it's in the blood
Both kids are good to mom
Blood's thicker than mud
It's a family affair
It's a family affair
- It's a family affair
- It's a family affair
Over there, over there
Sylvester Stone has the number one
best-selling song in the USA.
It's also this week's
biggest selling album.
Sly and the Family Stone
There's a Riot Goin' On
totally took people by surprise.
It was like it had
dropped out of the sky
'cause there was nothing that had
sounded like that on the radio before.
There was a lot of darkness in the world
at that point,
so it mirrored a shift in the culture.
And it hit that time
and that sound perfectly.
It's a family affair
It's a family affair
- It's a family affair
- It's a family affair
It's a family affair
He was one of the founders
and the innovators.
He invented the alphabet and then
other people went on to use it.
Sly.
I love him.
Well, I never kept a dollar
Past sunset
It always burned a hole in my pants
Never made a school mama happy
Never blew a second chance, oh, no
I need a love to keep me happy
I need a love to keep me happy
Baby
Baby, won't you keep me happy?
Always took candy from strangers
Never wanna get me no trade
I need a love to keep me happy
Baby, won't you keep me happy? Yeah
Keep me happy, yeah
Keep me happy, yeah
Won't you keep me happy?
1971 was a turning point.
Black identity
was beginning to be mainstream.
We were trying to get
our records accepted by both races.
The first time a Black musician
has been honored.
We were beginning
to hold a mirror to ourselves.
- I am somebody.
- I am somebody.
I said, "Oh, my God.
This needs to be heard across America."
- In 1971
- Music said something.
The world was changing.
We were creating
the 21st century in 1971.
I heard this is
this is probably all CIDs
and we're getting busted
but I don't care.
Shotgun.
There's drugs everywhere.
Within ten minutes in country I had
people approaching me selling skag.
What's skag?
It's heroin.
Well, it just goes to show
Things are not what they seem
Please, Sister Morphine
Turn my nightmare into dreams
Oh, can't you see I'm fading fast?
And that this shot
Will be my last
After a decade of indecisive battle,
the war in Vietnam
is said to be winding down.
Now experts guess there may be
40,000 or more hardcore drug addicts
among our homecoming GIs.
Care to join me here. Won't you be
seated please, ladies and gentlemen.
Come on, Dr. Jaffe.
It's fine. All right.
America's public enemy number one
in the United States is drug abuse.
In order to fight and defeat this enemy
it is necessary to wage
a new all-out offensive.
I've asked the Congress to provide
the legislative authority and the funds
to fuel this kind of an offensive.
It is essential for the American people
to recognize that it is a danger
that will not pass
with the passing of the war in Vietnam,
which has brought to our attention
the fact
that a number of young Americans have
become addicts as they serve abroad.
And that is why this offensive deals
with the problem there in Europe
but will then go on to deal
with the problem throughout America.
Hey, hey, hey, hey
Beat is gettin' stronger
Music gettin' longer too
Music's flashin' me
I wanna, I wanna
I wanna take you higher, yeah
- Wanna take you
- Higher
- Wanna take you higher
- Higher
- Wanna take you higher
- Higher
Boom laka-laka-laka
I had a friend who worked
on the Dick Cavett Show.
Sly wouldn't come out
of the dressing room
and they were gonna start taping.
They called me, "Come
Would you come over here please
and get him down? He won't come down."
Higher
It freaked him out that he couldn't go
on stage unless he was high.
We finally got him close to the stage
and he said, "Man, what have I created?"
"Oh, God, I don't want to be the guy
that's going to show the Black people up."
Take you higher
I wanna take you higher
I wanna take you higher
Hey.
Sly.
Good work.
Follow me here.
Okay.
Did you Did you
- I'm
- See right there.
You've cut yourself.
Did you have trouble getting here?
I got my house broken into.
Why are you injured there?
Was that during performance?
I broke into my house.
- Yeah.
- And I cut myself here.
It's an actual wound,
but it doesn't look
I think it's just a flesh wound.
- I don't think it's gonna be too
- Is this sympathy that I'm getting?
- Oh, yeah. Yeah.
- Is it sympathy?
Sympathy, yeah, considering that
you were almost late getting here.
- How come I can't tell?
- It's as much sympathy as I can
Well, I know you can understand
my house being broken into.
Was it today?
Yeah. If it was your house,
you'd be a little late.
Oh, yeah. Right.
That's right. Yeah.
Sly had gotten to the point
where you can't hide what you are.
You can't hide who you are.
He'd put on his face
and dress up and look nice,
but you just listen to the music
he was writing,
and it revealed what
he was going through.
We all had changed by then,
and we were just a product of life,
of the way life had taken its toll
on all of us actually.
And that's what you hear.
Running away to get away
Ha, ha, ha, ha!
You're wearing out your shoes
Look at you fooling you
Making blues of night and day
Hee, hee, hee, hee!
You're stretching out your dues
Look at you fooling you
Another day, you're farther away
Ha, ha, ha, ha!
A longer trip back home
Jim Morrison,
the lead singer for the Doors,
a rock music group, is dead. He was 27.
His personal manager said he died
in Paris probably of heart failure.
Pam was a heroin addict.
Jim was an alcoholic.
They were together in Paris.
He probably didn't
even know what it was.
Cocaine and heroin, two white powders.
And like most people who do heroin
for the first time, he got real sick.
The condition he was in physically
and the heroin did him in.
Jimi Hendrix, Janis Joplin
and Jim Morrison are the molds from which
many of the '60s rock stars were cast.
Vastly talented and successful,
they lived from moment to moment
with a kind of flamboyant
self-destructiveness
that ultimately killed them all
within a single year,
all at the identical age of 27.
There was the circus atmosphere
around Jim's death.
It was just distasteful.
And I really felt like
whether he died of beer,
or of cocaine or heroin or a heart
attack, it kinda didn't matter.
I was 21. What mattered
was that my friend is dead.
In the '60s when we discovered
drugs and flowers and long hair
and made legendary royalty
out of the young men and women
who played our music, we gave them roles,
really, that were larger than life.
We watched as they flew too high,
too fast, too close to the sun.
And we watched
as they burned themselves out.
For students, that was heartbreaking.
To lose those three, it was really
a kind of walking sadness on campus.
And so it was really scary that year.
Young people were being drafted into
the war. Young people were being killed.
Young people were being beaten up
by police on college campuses.
It was just an air of violence.
And in that context,
we started an experiment.
- Let's go. Out. Out.
- Come on.
Move.
Better move now, move now, move now.
- I'll destroy you.
- Move now.
Go down.
The object of the experiment
was to create in as much detail
as possible
the psychological strain of prison life
in this building
on Stanford University's campus.
Students were recruited
through newspaper ads
to literally become prisoners and guards
for a two-week period.
Each volunteer was screened
for psychological stability and health.
Details of prison life were accurate
even to closed-circuit television
to monitor activity.
Let's go. Now. Now.
Lights on. Keep moving.
Move now, move now, move now.
Prisoners must keep the cell clean
at all times.
But after only five days
the experiment is being abandoned
as too frighteningly successful.
It's very hard to understand
how this is not fun and games.
This is just an experiment some
psychologists and students are doing.
It only lasts for two weeks.
But once you walk into that room,
it's so realistic,
and we've tried to make it that way,
that everyone be gets involved.
You can't take our beds!
Against the wall, man.
Put the handcuffs on him.
Oh, come on.
That's enough.
These are our beds.
Get off me, fucker.
Up against the wall.
No, you're not going
to take our fucking beds.
This is unbelievable!
The experiment
was really not at all about prisons.
In the '60s I had been doing research
on anonymity and deindividuation
showing that when people feel anonymous
their behavior is much more controlled
by external situational forces
than by willpower or personal values.
And so prison was a good setting
to test what happens when you put
good people in a bad situation.
I had really thought that I was
was incapable of this kind of behavior.
And while I was doing it
I I didn't feel any regret.
I didn't feel any guilt.
It was only after, afterwards
when I began to reflect
on what I had done that this began to
this behavior began to dawn on me
and I realized that this was
This was a part of me
I hadn't really noticed before.
So, in 1971, I'm doing this research
and what I'm studying
is erupting in our culture.
After 194 days of testimony,
the jury delivered verdicts of guilty
on 27 counts of first-degree murder
against Charles Manson
and three members of his family.
It's been more than a month now
since Lieutenant William Calley
was convicted of murdering Vietnamese
civilians at My Lai.
The outcry that followed the verdict
Suddenly you're seeing,
in various contexts,
ordinary, everyday people,
who had done horrible things
out of blind obedience to authority.
We drove to the house with instructions
to kill everyone in the house.
- From Charlie?
- Yeah.
A man comes stumbling out
and Tex starts stabbing him.
And there was a lady in a nightgown
and Patricia was stabbing her.
There was an evil force
in control that night.
Manson's followers
came from diverse origins.
Mostly even, I guess,
middle-class kids with no roots.
Death for them meant nothing.
It's a problem in America.
Like in Vietnam, for instance, My Lai,
I mean
Manson and My Lai are, you know,
it's part of the same problem.
The orders that I heard
was to shoot anything that moves.
I was personally responsible
for killing between 20 and 25 people.
To cuttin' their throats,
to scalping them,
cuttin' off their hands,
cuttin' out their tongue.
These guys first started raping a girl,
you know, this
this young girl, some were 15,
16 years old, you know,
some down as low as 13,
and maybe even 12.
The My Lai massacre just said,
"Here is the most extreme activities
imaginable
that young American soldiers could do
to somebody called their enemy."
The Nazis had done this,
the Japanese had done this,
and somehow Americans always said,
"We are above that."
It was truly shocking to realize
that we all have this dark side in us.
I can't stay in there, I'm fucked-up.
I don't know how to explain it.
I'm all fucked-up inside! I want out!
And I want out now!
Dammit. Fucked-up.
Once you put a uniform on
and are given a role,
I mean, a job, saying, "Your job
is to keep these people in line,"
then you're not
certainly not the same person
as if you were in street clothes
and in a different role.
You really become that person
once you put on that khaki uniform,
you take the nightstick,
you have to act accordingly.
I think we ought to tape
this guy's hands behind him
and cuff him through the door.
I maintained the prison too long.
I should've ended it after the second
prisoner had an emotional breakdown.
It was a mistake.
Of 60 we began with, we have the 20
most stable and most emotionally mature.
And most of them have cracked.
So we think our
our statements are very valid.
In a sense this prison
has helped to destroy
for a brief period of time, we
we don't think it's gonna have
any long-term effects
destroy some of the best people
that America has to offer.
- What do we need?
- Socialism!
- When?
- Now!
1971 was an incredibly tumultuous year,
politically, socially, musically.
And the Stanford prison study was almost
the epitome of all these forces.
Forces of good versus forces of evil.
And it was the forces of evil that won.
Evil
Why have you engulfed so many hearts?
Evil
Evil
Why have you destroyed so many minds?
Leaving room for
Darkness
Where lost dreams can hide
Evil
Why do you infest our purest thoughts
With hatred?
Evil
Why have you stolen so much love?
Leaving everyone's emotions
Lost and wandering free
Evil
Why have you taken over
God's children's eyes?
Evil
When you feel it, Mick.
I'll give you a yell.
So in, like, middle eight.
Well, I'll pull the string on that one.
We'd been in the south of France
for four or five months
trying to record the Stones' album
and it was going slowly.
If you did manage to get all them
hooked up and trying to do something
It would go for maybe an
hour-and-a-half, two hours
and then Keith would go upstairs
and have a fix.
And of course,
quite often he would nod off in bed
and we'd all be sitting there,
three in the morning
and everyone was too scared
to go up there.
Heroin was very prevalent.
Keith seemed to get easily immersed
into it, and Anita, both.
It was unbelievable.
Everything kind of disintegrated
and we got heavily into drugs.
Like breakfast, lunch and dinner.
And it was spreading.
Bobby Keys was a horn player.
He had got into the heroin there, too,
for the first time.
And Andy Johns was taking heroin.
It was easy to get.
Marseille was just down the road
and you could get this 'China White'
that was very powerful
for not a lot of money.
After a while you
start really liking it.
Then you have to have it.
And then it's too late
I wanna tell you 'bout a dance
That's goin' around
Don't move your head
Don't move your hands
Don't move your lips
Just shake your hips
Do the hip shake, babe
Do the hip shake, babe
Shake your hip, babe
Shake your hip, babe
What you don't know
Don't be afraid
Just listen to me
And do what I say
Don't move your head
Don't move your hands
Don't move your lips
Just shake your hips
Do the hip shake, babe
Do the hip shake, babe
Shake your hip, babe
Shake your hip, babe
Well, ain't that easy
I did smack to hide.
Hide from being this other person
because all I wanted to do
was play music
and bring my family up and everything.
With a hit of smack
I could walk through anything
and not give a damn.
Keith and all the entourage
were watching TV
and they just left all the doors open.
People just walked in
and stole eight guitars.
Bass guitar. Bobby Keys' saxophone.
No one even noticed.
It was getting progressively
more messed up.
Keith's guitars were stolen by
the drug dealers from Marseille
as recompense for all the heroin
that had not been paid for.
They weren't buying an ounce of heroin,
this was, like, big deals.
And these were some really bad people.
After the dealers
had stolen the guitars and gone
they ratted out Keith.
The military police came one night
with a bunch of gendarmes
and of course,
everyone's running around furiously
trying to get rid of their stashes.
And I thought, this does not bode well.
On whatever basis you rate success,
whether it be record sales, television,
personal appearances,
or popularity polls,
the Osmonds are number one.
The incredible success
of this talented family
has made them tops in
the music industry.
Yeah
I can tell you've been hurt
By that look on your face, girl
Some guy brought sad
Into your happy world
You need love
At around the same time as Sly,
along with other artists
like the Stones,
were having some problems,
these white Mormon kids came along
with a sound that catered
to the youngest of the young.
Give it one more try
Before you give up on love
In 1971, a lot of artists
were on the more progressive,
socially aware side,
remarking on what's
going on around them,
and playing music that you could imagine
the establishment
not being very impressed with.
But not the Osmonds.
I could make you happy, baby
Satisfy you, too
Satisfy you now
How can I if you won't give me a chance
To prove my love to you?
1971 was a pivotal year for me.
I'm 13 years old, right in the middle
of the Vietnam War.
There's a lot of dissension,
a lot of hatred going on.
You had your Jimi Hendrix,
your Janis Joplin.
All these artists that were dying off
from drug usage.
And then all of a sudden, there was us.
One bad apple don't spoil
The whole bunch, girl
Not political,
not singing sexually explicit lyrics.
Also safe as far as the drug scene.
Clean and wholesome.
To be honest with you,
it drove me crazy,
'cause I wanted to be
a little bit dirtier.
I was born in show business
so I'm a I'm a veteran, I guess.
And I just love it, I really do.
What about social life,
what about dates,
what about going out with somebody
that you actually like?
Definitely, we're very normal.
- But you have to
- We have our
- we have our girlfriends.
- make a date two months in advance.
Right, it's hard, but we do
we do get out once in a while.
The music world in 1971
was growing up in ways
that nobody could quite fully perceive.
The record industry was certainly
behind the times, out of date,
and the music had moved way faster
than the industry's ability
to understand it.
This resulted in the industry
trying to create novelty acts
that made product that was
more conventional to their taste.
That was very much a part of
the turbulence of that day.
It was the next big wave
within pop culture.
I was listening to Crosby,
Stills & Nash.
I was listening to Hendrix
and the Doors and all that stuff.
I wanted to be Elton John.
I wanted to be Stevie Wonder.
But I really wanted to be Sly Stone
without the drugs.
But that's not what people
wanted me to be.
And I think if we look back
at the era of '71
and the sexual tensions,
the political upheavals, the drug usage,
maybe we needed
a little more wholesomeness.
I can't even remember people leaving, but
they certainly left, all very quickly.
Me and Keith and a couple
of other people were still down there.
Eventually we got the word
that we had to leave
because we were gonna get arrested.
We were done in the south of France.
And it was getting a bit hot there,
especially for Keith.
These guys that were supplying
all these heavy drugs got busted
and were all completely loose cannons.
It was a lot of trouble.
In France, you get arrested,
there is no bail.
You sit in jail until your hearing.
In the state that Keith was in,
this was impossible.
And so, just as they had done in
Altamont, they were gone, man.
By the skin of their teeth,
the Stones always escaped.
They were geniuses at escape.
They were Houdinis.
Hello. It's Marshall.
All right. You gotta get moving
and be up there in the next 30 minutes.
It's 1896 Rising Glen Road.
Road.
And that comes off of
Sunset Plaza Drive.
We ended the Nellcôte thing.
Everyone decided to go to LA to mix it.
It's the last house.
It's the end of the road.
Oh, yeah
I hear you talking
When I'm on the street
Your mouth don't move
But I can hear you speak
When we started working
at Sunset Studios
there was a concern about Hells Angels,
you know, because of Altamont.
Rumors were that there was a contract
on Mick for Hells Angels to shoot him.
In LA, you could buy guns
with your driver's license.
So I carried, and Keith,
and I think Mick, pistols.
We had a bodyguard too.
We were worried leaving the studio.
Mick had a paranoia.
It was crazy.
It was like part of their history
that was still coming after them.
We realized we had this
very sprawling, gutsy piece of work.
Some of it wasn't very accessible
and some of it was a bit strange.
And some of it was also rather obscure.
There were no hit singles.
It didn't have a direction.
But then, that was the fucking point.
I don't think there was a direction
in the mainstream of our culture.
I'm not sure how conscious all this was.
But we felt like it was the beginning
of a new decade in a way.
After all that tension,
all that pressure
the heroin, the drug police problem,
we made a fabulous double album.
We're going on tour of America,
the Exile tour.
Times had changed.
It was a bigger audience,
it was a bigger thing,
they were gonna make
a hell of a lot of money.
It was a rebirth.
When it came out, there was a lack
of understanding of what Exile was.
The reviews were very mixed.
They thought it was too much.
It wasn't coherent,
it wasn't of a piece.
But by then the Stones were critic-proof
and people were going to buy the album
one way or the other.
The Rolling Stones were now
the number one attraction in the world.
The biggest rock 'n'
roll band in history.
They could sell out any venue anywhere
in less than an hour.
Ten years ago the Stones was
the guys that most didn't like.
- Today
- Eight years ago.
- Eight years ago.
- They love us now.
- How is it today?
- They love us.
- Great. It's all changed.
- It's great. It's all different.
Ten years ago,
people saw the Stones as young
Why do you wanna talk about what
"Ten years ago. Ten years ago.
- Ten, not nine.
- Ten years ago. Ten years ago.
Ten years ago. Ten years ago.
- Ten years ago. Ten years ago."
- Not nine.
He would just get into
these great grooves.
Layers of rhythm
that's one on top of the other.
We started to hear these
wonderful, interesting tracks.
But he hadn't made a new album
for two years.
And he didn't even realize
what the good stuff was.
Like, he didn't want "Family Affair"
out. He didn't believe in it.
It's a family affair
It's a family affair
It's a family affair
It's a family affair
One child grows up to be
Somebody that just loves to learn
And
Another child grows up to be
Somebody you'd just love to burn
Mom loves the both of them
You see, it's in the blood
Both kids are good to mom
Blood's thicker than mud
It's a family affair
It's a family affair
- It's a family affair
- It's a family affair
Over there, over there
Sylvester Stone has the number one
best-selling song in the USA.
It's also this week's
biggest selling album.
Sly and the Family Stone
There's a Riot Goin' On
totally took people by surprise.
It was like it had
dropped out of the sky
'cause there was nothing that had
sounded like that on the radio before.
There was a lot of darkness in the world
at that point,
so it mirrored a shift in the culture.
And it hit that time
and that sound perfectly.
It's a family affair
It's a family affair
- It's a family affair
- It's a family affair
It's a family affair
He was one of the founders
and the innovators.
He invented the alphabet and then
other people went on to use it.
Sly.
I love him.
Well, I never kept a dollar
Past sunset
It always burned a hole in my pants
Never made a school mama happy
Never blew a second chance, oh, no
I need a love to keep me happy
I need a love to keep me happy
Baby
Baby, won't you keep me happy?
Always took candy from strangers
Never wanna get me no trade
I need a love to keep me happy
Baby, won't you keep me happy? Yeah
Keep me happy, yeah
Keep me happy, yeah
Won't you keep me happy?
1971 was a turning point.
Black identity
was beginning to be mainstream.
We were trying to get
our records accepted by both races.
The first time a Black musician
has been honored.
We were beginning
to hold a mirror to ourselves.
- I am somebody.
- I am somebody.
I said, "Oh, my God.
This needs to be heard across America."