Worth it song original tv#

вЂњIt was really four different things intertwined, including the war and the absurdity of what was happening on the Strip,вЂќ Stills later told The Los Angeles Times. Egged on by that fight, the protesters (some of whom carried placards that read вЂњWeвЂ™re Your Children! DonвЂ™t Destroy UsвЂќ) trashed a city bus and threw bottles and rocks at storefronts. According to reports, a fight broke out for reasons having nothing to do with the curfew a car carrying a group of Marines was bumped by another vehicle. On the night of November 12th, a local radio station announced there would be a protest at PandoraвЂ™s Box.

An increasing number of clubgoers was descending on the Strip, irritating area residents and upscale boutiques, and the LAPD instigated a 10 p.m. The song is going, вЂWhat the hell is this?вЂ™ You can apply the song to any situation in any decade.вЂќД«y 1966, the situation in Los Angeles was tense. The main hook, вЂEverybody look whatвЂ™s going downвЂ™ вЂ“ you can apply that, to say, the current election. вЂњThe way itвЂ™s written, itвЂ™s so open to interpretation,вЂќ says HeartвЂ™s Ann Wilson, who released a cover last year on her first EP with side project the Ann Wilson Thing.

In 2014, it came in at number three on Rolling StoneвЂs readers poll of the best protest songs.

Worth it song original tv#

(Robert Plant also cut a version with his pre-Zep band, Band of Joy.) Public Enemy even sampled it on 1996вЂ™s вЂњHe Got Game.вЂќДЄccording to BMI, the songвЂ™s publishing house, вЂњFor What ItвЂ™s WorthвЂќ been played 8 million times on TV and radio since its release. The Staple Singers were among the first to cover it, in 1967, but since then, itвЂ™s been recorded by a mind-bendingly diverse number of acts: Ozzy Osbourne turned it into a grim stomper, Lucinda Williams into a ghostly ballad, Kid Rock into a classic-rock homage, Rush into a swirling soundscape, Led Zeppelin (in live bootlegs) into languid blues. вЂњFor What ItвЂ™s WorthвЂќ has transcended its origin story to become one of popвЂ™s most-covered protest songs вЂ“ a sort of вЂњWe Shall OvercomeвЂќ of its time, its references to police, guns and paranoia remaining continually relevant. Yet equally striking was its sound: The eerily quiet song captured the uneasy mood of the moment that extended beyond Los Angeles to Vietnam, and lyrics about вЂњa man with a gun over thereвЂќ and вЂњyoung people speaking their minds/Getting so much resistance from behindвЂќ were the sound of the rock counterculture cementing its socially conscious voice. Within weeks, Stills had written вЂ“ and Buffalo Springfield had recorded вЂ“ a song inspired by that night, вЂњFor What ItвЂ™s Worth.вЂќ With its emphasis on StillsвЂ™ spooked voice, drummer Dewey MartinвЂ™s ominous snare drum and Neil YoungвЂ™s warning-bell two-note guitar part in the verse, the track became the bandвЂ™s only hit, peaking at Number Seven in the spring of 1967. вЂ¦ And I looked at it and said, вЂJesus, America is in great danger.'вЂќ About three busloads of Los Angeles police showed up, who looked very much like storm troopers. вЂњA bunch of kids got together on a street corner and said we arenвЂ™t moving. вЂњThe commercial merchants on Sunset Boulevard in a certain area decided that the element of young people on the street every night was not conducive to commercial enterprise,вЂќ Stills said in a 1971 interview.