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.
"