Aclaración...

Este espacio se reserva el derecho de publicar sobre cualquier tema que parezca interesante a su staff, no solamente referidos a la cuestión musical sino también a lo político y social.
Si no estás de acuerdo con lo expresado podrás dejar tu comentario siempre que no sea ofensivo, discriminador o violento...

Y no te confundas, no nos interesa la piratería, lo nuestro es simplemente desobediencia civil y resistencia cultural a favor del libre acceso al conocimiento (nuestra música es, entre otras tantas cosas, conocimiento).

sábado, 20 de agosto de 2016

Juernes de Blues - Episodio 07 - Woodstock, 47° Aniversario

JUERNES es tratar el jueves tarde/noche psicologicamente como si fuera viernes. Entonces, intentando hacer la semana más soportable, acelerando la llegada del sábado, el Bar de Mr. Moog abre sus puertas y te brinda 
= 10 Grandes temas en pantalla 10 =
pero "HOY & solo X HOY"
WOODSTOCK mediante 
=16 GRANDES TEMAS 16=
para que te diviertas, refresques tus conocimientos, o aprendas del más increible Festival de todas las épocas.
Woodstock tuvo muchos problemas, los Agentes del Hades todo el tiempo estuvieron presentes tratando de sembrar el caos acullí y acullá, pero el PODER DE LA FLOR fue más fuerte, y lo sigue siendo. En esa batalla infinita del Bien contra el Mal, y tal como debía suceder ante una recordación de esta importancia, que tiene como finalidad rescatar la más pura esencia de la época y del evento, en esta Cruzada Acuariana (parafraseando el poster original), el Bar de Mr. Moog no ha salido inmaculado de esta tarea, toda vez que los Agentes se empecinaron en cortar la electricidad del Bar en numerosas ocasiones, debiendo suspender esta tarea hasta la reanudación del fluido eléctrico. Los Agentes con contentos con los retrasos generados, se empecinaron aún más mandando inspectores a registrar el Local y nos han llegado a advertir que por acusaciones ladinas, y esperamos que infundadas, les estamos permitiendo a los menores de edad el acceso al Bar y al expendio de bebidas alcohólicas! Así que mis amores, ante tamañas acusaciones y nos imaginamos que por infiltrados inspectores nos estarán vigilando es que nos veremos obligados a pedir documentos en la entrada. Pero, como siempre que llovió paró aquí estamos con nuestras armaduras magulladas, y dando un parte de VICTORIA contra el HADES, pudiendo decir nuevamente PRESENTE a toda nuestra COMUNIDAD!
Inspirados en el poster del Festival que en el apartado de comidas indicaba que "habrá comidas y hotdogs y docenas de curiosos platos combinados con frutas para experimentar" nosotros también hemos preparado una serie de delicias para comer y beber que los dejará pidiendo más!


Artistas: Muchos
Álbumes: Bastantes
Año: desde 1969 en adelante
Género: desde el Spiritual, pasando por el R&B, el Blues Rock llegando hasta la Fusión
Duración: 84 horas (3 1/2 días, del viernes 15 al lunes 18 de agosto, 1969)
Nacionalidad: Estados Unidos


Nuestro Play-List:
Este episodio lo ordenamos según se fueron sucediendo las actuaciones para notar más vivamente la impresión que iban teniendo los espectadores a cada momento  y como el show en si mismo iba resultando con sus subidas y bajadas.

01.   Joan Baez - Swing Low, Sweet Chariot
02.   Santana - Soul Sacrifice 1969
03.   Canned Heat - On the Road Again
04.   Mountain - Theme from an imaginary western
05.   Grateful Dead - Dark Star
06.   Creedence Clearwater Revival - I Put a Spell on You
07.   Janis Joplin - Ball & Chain
08.   Sly & the Family Stone - Love City
09.   The Who - My Generation
10.   Country Joe & the Fish - The "Fish" Cheer/I-Feel-Like-I'm-Fixin'-to-Die Rag
11.   Joe Cocker - With A Little Help Of My Friends
12.   Ten Years After - I'm Going Home
13.   Johnny Winter - Mean Town Blues
14.   Blood, Sweat & Tears - Spinning Wheel
15.   Paul Butterfield Blues Band - Morning Sunrise
16.   Jimi Hendrix - The Star Spangled Banner American Anthem



Afiche original



Recién llegados


Viernes, 15 de Agosto , 7:10pm - 7:20pm
Ceremonia inaugural del Festival a cargo del Swami Satchidananda dando un discurso de bienvenida.

Swami Satchidananda y su grupo




Sábado 16 de agosto, de 2:00pm - 2:45pm
02. Santana - Soul Sacrifice 



Abrieron la puerta del jardín de infantes/kindergarten y salieron unos chiquilines corriendo hacia Woodstock y terminaron dándole al festival uno de sus números más sobresalientes, tanto fue así que el álbum de Woodstock, era promocionado por esta canción, a pesar de ser el único grupo novel, sin haber grabado ningún disco aún. De la noche a la mañana todo fue una locura.

Alineación:
Carlos Santana / Guitar 
Gregg Rolie / Keyboards, Organ 
David Brown / Bass 
Michael Shrieve / Drums (el músico más joven del Festival)
Michael Carabello / Percussion, Congas 
Jose Areas / Percussion, Congas
"Soul Sacrifice" is an instrumental written and recorded by the American rock group Santana. Identified as one of the highlights of the 1969 Woodstock festival and documentary film, "Soul Sacrifice" features extended guitar passages by Carlos Santana and a percussion section with a solo by drummer Michael Shrieve. It is included as the final track on their 1969 debut album, Santana and on several live and compilation albums.
"Soul Sacrifice" was one of Santana's earliest compositions. Carlos Santana recalled the group wrote it when bassist David Brown joined. It has been described as "a perfect example of the amalgam of old-world guaguanco rhythms and strictly American licks" and includes "interplay between Santana and [Gregg] Rolie ... hammered home by [Mike] Carabello's and [Jose 'Chepito'] Area's congas and the sinuous drums and bass of [Mike] Shrieve and Brown".
Before its release on their album, Santana, then a largely unknown band, performed "Soul Sacrifice" as their closing number at Woodstock. "They were the only act to play without a record; it was unparalleled. Santana went from Woodstock to being in global demand almost overnight". In several interviews, Santana recalled experiencing the effects of psychedelics during the performance, but got it together for the finale. "By the time we got to 'Soul Sacrifice', I had come back from a pretty intense journey. Ultimately, I felt we had plugged in to a whole lot of hearts at Woodstock".




Viernes, 15 de agosto, son las 0:55 del sábado, hasta las 2:00
01. Joan Baez - Swing Low, Sweet Chariot 



Joan estaba embarazada de 6 meses, y su marido David Harris había sido arrestado el 16 de julio por insumisión al negarse a prestar el servicio militar, permanecerá en la cárcel por 15 meses, se divorciarán en 1973 en buenos términos.

Chorus:

Swing low, sweet chariot
Coming for to carry me home,
Swing low, sweet chariot,
Coming for to carry me home.

I looked over Jordan, and what did I see?
(Coming for to carry me home)
I saw a band of angels coming after me,
(Coming for to carry me home)

Chorus

If you get back to heaven before I do,
(Coming for to carry me home)
You'd tell all my friends, I'll be coming there too.
(Coming for to carry me home)

Chorus (3x)

El tema fue aparentemente escrito por Wallace Willis antes de 1862. Si bien este no es un tema propiamente de Blues, sino un Spiritual, o Negro Spiritual, un género anterior al mismo Blues, la diferencia es que mientras el Blues es en general mundano, el Spiritual, como su nombre lo indica es netamente religioso, en que muchos de sus temas están armados a dos voces o grupos de voces en la que una voz cuenta y la otra contesta o reafirma lo expresado, esta estructura musical proviene directamente del África ancestral. El único instrumento que utiliza el género es la voz, ya individual (Paul Robeson), ya coral (Jubilee Singers of Fisk University in Nashville, Tennessee, los primeros que lo grabaron en 1909 y lo venían interpretando ya en 1873) o individual con apoyo coral (Mahalia Jackson). Muchas cantantes de Blues y de Jazz han comenzado artísticamente en la interpretación de esta música religiosa, como Ella Fitzgerald y Sister Rosetta Tharpe, ambas apreciadas en el Juernes de Blues - Episodio 04 ~ Especial FéminasLa versión que le dió la vuelta al mundo de este tema, fuera de esta, fue la que hizo Eric Clapton en 1975 en el disco There's One in Every Crowd en un cadencioso ritmo reggae, en un disco que en su momento fue calificado como "flojo" dentro de su producción.


Sábado 16, de 7:30pm - 8:30pm
03. Canned Heat - On the Road Again



Well, I'm so tired of crying
But I'm out on the road again
I'm on the road again
Well, I'm so tired of crying
But I'm out on the road again
I'm on the road again

I ain't got no woman
Just to call my special friend

You know the first time I traveled
Out in the rain and snow
In the rain and snow
You know the first time I traveled
Out in the rain and snow
In the rain and snow

I didn't have no payroll
Not even no place to go

And my dear mother left me
When I was quite young
When I was quite young
And my dear mother left me
When I was quite young
When I was quite young

She said, "Lord, have mercy
On my wicked son."

Take a hint from me, mama
Please don't you cry no more
Don't you cry no more
Take a hint from me, mama
Please don't you cry no more
Don't you cry no more

'Cause it's soon one morning
Down the road I'm going

But I ain't going down
That long old lonesome road
All by myself
But I ain't going down
That long old lonesome road
All by myself

I can't carry you, baby
Gonna carry somebody else

Alineación:
Bob "The Bear" Hite - voz, harmónica, guitarra
Alan "Blind Owl" Wilson - voz, harmónica, guitarra
Harvey "The Snake" Mandel - lead guitar
Larry "The Mole" Taylor - bajo
Adolfo "Fito" de la Parra - batería
Within days of the album's release, Vestine left the group after an on-stage blow up at the Fillmore West between himself and Larry Taylor. The next night after Mike Bloomfield and Mandel jammed with Canned Heat, both were offered Vestine's spot in the band's line-up and Mandel accepted. The new lineup played two dates at the Fillmore before appearing at Woodstock in mid-August.
Arriving via helicopter at Woodstock, Canned Heat played their most famous set on the second day of the festival at sunset. The set included "Going Up the Country" which became the title track in the documentary, even though the band's performance was not shown. The song was included in the first (triple) Woodstock album; while the second album, Woodstock 2, contained "Woodstock Boogie". The expanded 25th Anniversary Collection added "Leaving This Town" to the band's collection of Woodstock performances and "A Change Is Gonna Come" was included on the director's cut of the documentary film; leaving only "Let's Work Together" to be released.



Sábado 16, de 09:00pm - 10:00pm
04. Mountain - Theme from an imaginary western 

When the wagons leave the city
For the forest and further on
Painted wagon of the morning
Dusty roads where they've gone
Sometimes travelin' through the darkness
At the summer comin' home
Forcing faces by the wayside
Look as if they hadn't known
All the sad was in their eyes
And the desert that's dry
In a country town
Where the map was found
Oh the dancing and the singing
Oh the music when they play
Oh the fire that they saw there
On the grave of no return
Sometimes they found it
Sometimes they kept it
Often lost in on the way
Pawnee shadow to possess him
Sometimes ride inside of day
Oh the sad was in their eyes
And the desert that's dry
In a country town
Where the map was found
Oh the sad was in their eye
And the desert that's dry
In a country town
Where the wagons bound
Songwriters: Bruce, Jack / Brown, Peter Constantine

Alineación:
Leslie West - voz, guitarra
Felix Pappalardi - bajo
N.D. Smart - batería
Steve Knight - teclados

Mountain, o como los tentáculos de Cream llegaron hasta el escenario de Woodstock
Así como existe el quinto beatle, el sexto stone existe un cuarto Cream, Felix Pappalardi, el productor de la banda, arreglista, amigo de Jack Bruce y "toco todo lo que los otros no hacen" en la giras, gracias a su formación clásica universitaria. Felix, del Bronx produjo el celebrado álbum Disraeli Gears, y junto a Clapton compuso el  exitoso Strange Brew. Al desbandarse Cream en el '68 y habiendo conocido al grandote Leslie West, le ofrece producir su nuevo álbum. Felix no fue un tipo con mucha suerte, ya que habiéndose estabilizado como miembro de Mountain más adelante tuvo que  bajarse de los escenarios debido a que el alto volumen de los shows de la banda lo estaba dejando sordo, igualmente siguió con la banda pero ya detrás de bambalinas. Sus días terminarán tempranamente en abril de 1982, cuando su esposa le dispare accidentalmente asesinándolo. Su esposa terminará pagando un par de años en la cárcel y al salir se radicará en México hasta su muerte en 2013. En esa sucesión Cream - Mountain, el grupo hará suyo en Woodstock y para siempre, el bello tema de Jack Bruce, ese Tema para un Western Imaginario (Theme from an imaginary western). El Bar propone un sentido brindis por el alma del bueno de Felix, donde quiera que esté.
In early 1969 Leslie West, formerly of the Long Island R&B band The Vagrants, put together a band, Leslie West Mountain (a reference to his then-large size), with Norman Landsberg (keyboards, bass) and Ken Janick (drums) and began playing concerts. Right around this time, former Cream collaborator Felix Pappalardi expressed an interest in producing West's work. ... [west] envisioned a project that would take on a rawer and much harder style of Rock N' Roll which he had begun to favor. The resulting solo album by Leslie West, Mountain, featured Pappalardi, Landsberg and former Remains drummer N.D. Smart. The album spotlighted West's raw vocals and melodic, bluesy guitar style, and Pappalardi's bass lines were prominent throughout. According to West, when Pappalardi asked what would be next, West suggested the pair go on the road. The group was heavily influenced by seminal British blues-rock band Cream (with which Pappalardi had been a frequent collaborator: he produced Disraeli Gears, Goodbye and Wheels of Fire, also contributing viola, brass, bells and organ to the latter) and also comprised keyboardist Steve Knight, who was added after Landsberg left to form another group.Naming themselves Mountain after West's album, West, Pappalardi, Smart and Knight played shows on the West Coast before getting to play their fourth concert as a working band at the 1969 Woodstock Festival in Bethel, New York. Mountain was received enthusiastically by the festival audience but the band did not appear in the film of the event, nor was their performance included on [triple LP] volume 1 of the festival's live album. Their performances of "Blood of the Sun" (from West's album) and "Theme for an Imaginary Western" (a song they planned to record for Climbing and co-written by former Cream bassist Jack Bruce) did appear on the [double LP] second volume of Woodstock performances. The 40th Anniversary Edition of Woodstock on DVD and Blu-ray features filmed performances of Beside The Sea and Southbound Train.

Sábado 16 de Agosto, de 10:30pm  a 12:05am del domingo.
05. Grateful Dead - Dark Star



Grabada orignalmente en abril de 1968 con una duración de 2:44 el tema sería utilizado generalmente como marco para las improvisaciones.

El set de los Dead fue cortado justo después de que los amplificadores del escenario se sobrecargaran durante "Turn On Your Love Light", algo que le sucedía frecuentemente al grupo debido al volumen que utilizaban. Ese problema recién lo resolverían un par de años más tarde cuando le comprasen a Alembic Inc. su primer sistema de sonido sólido.

Dark star crashes, pouring its light into ashes.
Reason tatters, the forces tear loose from the axis.
Searchlight casting for faults in the clouds of delusion.
Shall we go, you and I while we can

Through the transitive nightfall of diamonds?
Mirror shatters in formless reflections of matter.
Glass hand dissolving to ice petal flowers revolving.
Lady in velvet recedes in the nights of goodbye.

Shall we go, you and I while we can
Through the transitive nightfall of diamonds?

Written by Jerome J. Garcia, Michael S. Hart, Robert C. Hunter, William Kreutzmann, Philip Lesh, Ronald Charles Mckernan, Robert Hall Weir

Alineación:
Jerry Garcia - guitar, vocals
Bob Weir - guitar, vocals
Ron "Pigpen" McKernan - keyboards, harmonica, vocals
Phil Lesh - bass, vocals
Bill Kreutzmann - drums
Mickey Hart - other percussion
Tom Constanten - keyboards
"Dark Star" was an early Grateful Dead classic and became one of their most loved and anticipated numbers, often with the group using it as a vehicle for musical improvisation sessions that extended beyond the original structure of the song. ... was often the basis for jamming during the Dead's live shows, allowing the band to employ techniques typical of improvisational jazz.


Sábado 16, de 12:30am - 1:20am del Domingo 
06. Creedence Clearwater Revival - I Put a Spell on You



I put a spell on you, because you're mine
You better stop the thing that you're doin'
I said, "Watch out, I ain't lyin'", yeah
I ain't gonna take none of your, foolin' around
I ain't gonna take none of your, puttin' me down
I put a spell on you because you're mine, all right

I put a spell on you, because you're mine
You better stop, the thing that you're doin'
I said, "Watch out, I ain't lyin'", yeah
I ain't gonna take none of your, foolin' around
I ain't gonna take none of your, puttin' me down
I put a spell on you because you're mine, all right and I took it down

Written by Screamin’ Jay Hawkins

Alineación:
John Fogerty - ead vocalist, lead guitarist, primary songwriter
Tom Fogerty - rhythm guitarist 
Stu Cook - bassist 
Doug Clifford - drummer
Weeks later, in March 1969, "Bad Moon Rising" backed with "Lodi" was released and peaked at No. 2. In the United Kingdom, "Bad Moon Rising" spent three weeks at number one on the UK Singles Chart during September and October 1969, becoming the band's only number one single in the UK.[citation needed] The band's third album, Green River, followed in August 1969 and went gold along with the single "Green River", which again reached No. 2 on the Billboard charts. The B-side of "Green River", "Commotion", peaked at No. 30 and the band's emphasis on remakes of their old favorites continued with "Night Time Is the Right Time".
CCR continued to tour incessantly with performances in July 1969 at the Atlanta Pop Festival and in August 1969 at the Woodstock Festival. Their set was not included in the Woodstock film or soundtrack because John Fogerty felt the band's performance was subpar. Four tracks from the event (out of a total of eleven) were eventually included in the 1994 commemorative box set Woodstock: Three Days of Peace and Music. Stu Cook, however, held an opposing view, saying "The performances are classic CCR and I'm still amazed by the number of people who don't even know we were one of the headliners at Woodstock '69."] John Fogerty later complained the previous band, the Grateful Dead, put the audience to sleep; as John scanned the audience he saw a "Dante scene, just bodies from hell, all intertwined and asleep, covered with mud."


Sábado 16, ya madrugada del domingo 17 2:00 am - 3:00 am
07. Janis Joplin with The Kozmic Blues Band - Ball & Chain



Llama la atención la estructura del tema que comienza, justamente, con lo que suele estar en otras partes del tema, que es el solo de guitarra, que pareciera que, le está transmitiendo a ella su inspiración.

Yeah! Alright!

Sittin' down by my window,
Honey, lookin' out at the rain.
Lord, Lord, Lord, sittin' down by my window,
Baby, lookin' out at the rain.
Somethin' came along, grabbed a hold of me,
And it felt just like a ball and chain.
Honey, that's exactly what it felt like,
Honey, just dragging me down.

And I say, oh, whoa, whoa, now hon', tell me why,
Why does every single little tiny thing I hold on goes wrong ?
Yeah it all goes wrong, yeah.
And I say, oh, whoa, whoa, now babe, tell me why,
Why does every thing, every thing.
Hey, here you gone today, I wanted to love you,
Honey, I just wanted to hold you, I said, for so long,
Yeah! Alright! Hey!

Love's got a hold on me, baby,
Feels just like a ball and chain.
Now, love's just draggin' me down, baby, yeah,
Feels like a ball and chain.
I hope there's someone out there who could tell me
Why the man I love wanna leave me in so much pain.
Yeah, maybe, maybe you could help me, come on, help me!

And I say, oh, whoa, whoa, now hon', tell me why,
Now tell me, tell me, tell me, tell me, tell me, tell me why, yeah.
And I say, oh, whoa, whoa, whoa, when I ask you,
When I need to know why, c'mon tell me why, hey hey hey,
Here you've gone today,
I wanted to love you and hold you
Till the day I die.
I said whoa, whoa, whoa!!

And I say oh, whoa, whoa, no honey
It ain't fair, daddy it ain't fair what you do,
I see what you're doin' to me and you know it ain't fair.
And I say oh, whoa whoa now baby
It ain't fair, now, now, now, what you do
I said hon' it ain't fair what, hon' it ain't fair what you do.
Oh, here you gone today and all I ever wanted to do
Was to love you
Honey an' I think there can be nothing wrong with that,
Only it ain't wrong, no, no, no, no, no.

Sittin' down by my window,
Lookin' at the rain.
Lord, Lord, Lord, sittin' down by my window,
Lookin' at the rain, see the rain.
Somethin' came along, grabbed a hold of me,
And it felt like a ball and chain.
Oh this can't be in vain
And I'm gonna tell you one just more time, yeah, yeah!

And I say oh, whoa whoa, now baby
This can't be, no this can't be in vain,
And I say no no no no no no no no, whoa!
And I say whoa, whoa, whoa, whoa, whoa
Now now now now now now now now now no no not in vain
Hey, hope there is someone that could tell me
Hon', tell me why,
Hon', tell me why love is like
Just like a ball
Just like a ball
Baaaaaaalllll
Oh daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy
And a chain.
Yeah!

Written by Elton John, Gary Anthony Osborne
Joplin appeared at Woodstock starting at approximately 2:00 a.m., on Sunday, August 17, 1969. She followed Creedence Clearwater Revival. Despite her reportedly not even knowing of the festival's existence until a few days earlier, the Woodstock promoters advertised her as a headliner. She thus became one of the main attractions of the historic concert.[citation needed] Her friend Peggy Caserta claims in her book, Going Down With Janis (1973), that she had encouraged a reluctant Joplin to perform at Woodstock.
Joplin informed her band that they would be performing at the concert as if it were just another gig. On Saturday afternoon, when she and the band were flown by helicopter with the pregnant Joan Baez and her mother from a nearby motel to the festival site and Joplin saw the enormous crowd, she instantly became incredibly nervous and giddy. Upon landing and getting off the helicopter, Joplin was approached by reporters asking her questions. She deferred them to Caserta as she was too excited to speak. Initially Joplin was eager to get on the stage and perform, but she kept getting delayed as bands were contractually obliged to perform before her. Faced with a ten-hour wait after arriving at the backstage area, she shot heroin with Caserta and was drinking alcohol, so by the time she hit the stage, she was "three sheets to the wind" (drunk). During her performance, her voice became slightly hoarse and wheezy, and she found it hard to dance.
Throughout her performance she frequently spoke to the crowd, asking them if they had everything they needed and if they were staying stoned. She pulled through, however, and the audience was so pleased they cheered her on for an encore, to which she replied and sang "Ball and Chain". Her performances of "Kozmic Blues" and "Work Me, Lord" at Woodstock are notable, though her voice breaks while she sings. [¡que divina, ella toda preocupada por la gente, eso si es calidad humana, eh?]
Pete Townshend, who performed with The Who later in the same morning after Joplin finished, witnessed her performance and said the following in his 2012 memoir: "She had been amazing at Monterey, but tonight she wasn't at her best, due, probably, to the long delay, and probably, too, to the amount of booze and heroin she'd consumed while she waited. But even Janis on an off-night was incredible."

Sábado 16, ya madrugada del domingo 17 de 3:30 am - 4:20 am
08. Sly & the Family Stone - Love City


(buscar donde empieza => 33:24 min.)

Love city
Love city

Another generation
Who do you wanna be?
Get into your own thing
Everybody's free, free, free, free

Love city
Love city

Look into the future
Tell me what you see
Brothers and sisters holding hands
And you sitting next to me, now

Peaceful minds and beautiful heads
You see short and long hair
You just might even see Harry Truman
Groovin' with 'The Squares', yeah

I can see a big reunion
How could we go wrong, now?
All these wonderful people singin'
All these wonderful songs, yeah

Love city, love city
Love city, love city
Love city, love city
Love city, love city

I want it, love city
I want it now, now, now, now
Love city, love city
I want it now, now, now, now

Written by Sylvester Stewart
The success of Stand! secured Sly and the Family Stone a performance slot at the landmark Woodstock Music and Art Festival. They performed their set during the early-morning hours of August 17, 1969; their performance was said to be one of the best shows of the festival. A new non-album single, "Hot Fun in the Summertime", was released the same month and went to #2 on the U.S. pop chart (peaking in October, after the summer of 1969 had already ended). In 1970, following the release of the Woodstock documentary, the single of "Stand!" and "I Want to Take You Higher" was reissued with the latter song now the a-side; it reached the Top 40.

Sábado 16, ya madrugada del domingo 17 de 5:00 am - 6:05 am
09. The Who - My Generation



People try to put us d-down (Talkin' 'bout my generation)
Just because we get around (Talkin' 'bout my generation)
Things they do look awful c-c-cold (Talkin' 'bout my generation)
I hope I die before I get old (Talkin' 'bout my generation)

This is my generation
This is my generation, baby

Why don't you all f-fade away (Talkin' 'bout my generation)
And don't try to dig what we all s-s-say (Talkin' 'bout my generation)
I'm not trying to cause a big s-s-sensation (Talkin' 'bout my generation)
I'm just talkin' 'bout my g-g-g-generation (Talkin' 'bout my generation)

This is my generation
This is my generation, baby

Why don't you all f-fade away (Talkin' 'bout my generation)
And don't try to d-dig what we all s-s-say (Talkin' 'bout my generation)
I'm not trying to cause a b-big s-s-sensation (Talkin' 'bout my generation)
I'm just talkin' 'bout my g-g-generation (Talkin' 'bout my generation)

This is my generation
This is my generation, baby

People try to put us d-down (Talkin' 'bout my generation)
Just because we g-g-get around (Talkin' 'bout my generation)
Things they do look awful c-c-cold (Talkin' 'bout my generation)
Yeah, I hope I die before I get old (Talkin' 'bout my generation)

This is my generation
This is my generation, baby

Alineación:
Roger Daltrey - lead vocal
Pete Townshend - guitar, vocal
John "the Ox" Entwistle - bass
Keith Moon - drums

Escrita por Pete Townshend en 1965. Pete, luego de destrozar la guitarra, como siempre, le alcance a un espectador la otra guitarra. Ahí se nota, lo que más adelante contará en un documental, que era Keith Lambert el productor del grupo, el que le insistía entre bambalinas, que le diera más duro aún a las guitarras cuando él no las había aporreado lo suficiente, porque ahí la gente se enloquecía. Por eso, todo es un show. Y aquí seguimos.


Reflexión personal:

Una sola canción convirtió en ídolos de la juventud a un grupo de muchachos discretos, que con unas sencillas frases y con la energía del que se sabe que tiene la razón, lograron que MI GENERACIÓN[1] y las siguientes, se subieran a su BUS MÁGICO[2] que llegaron a ATOMMYZAR[3] barreras, LIDIANDO VIVAMENTE[4] con lo que fuera, buscando QUIEN SERÁ EL PRÓXIMO[5] y a poner las mentes en estado de QUADROFRENIA[6], para que te pudieras ir POR LOS NÚMEROS[7], y terminaras preguntándote QUIÉN ERES TU[8] y cuando encontrases las respuestas pudieras afirmar tranquilamente que LOS CHICOS ESTÁN BIEN[9].




[1] My Generation (1965)
[2] Magic Bus (1966)
[3] Tommy (1968)
[4] Live At Leeds (1970)
[5] Who’s Next (1971)
[6] Quadrophenia (1973)
[7] By Numbers (1974)
[8] Who Are Your? (1978)
[9] The Kids Are Alright (1979)


Domingo 17 de agosto, de 14:00 a 15:30
Antes de subir al escenario, The Grease Band, la banda de Cocker, había hecho un par de temas instrumentales.
10. Joe Cocker - With A Little Help Of My Friends 


What would you do if I sang out of tune
Would you stand up and walk out on me?
Lend me your ears and I'll sing you a song
And I'll try not to sing out of key

Oh, I get by with a little help from my friends
Mm, I get high with a little help from my friends
Mm, gonna try with a little help from my friends

What do I do when my love is away
(Does it worry you to be alone?)
How do I feel by the end of the day
(Are you sad because you're on your own?)

No, I get by with a little help from my friends
Mm, I get high with a little help from my friends
Mm, gonna try with a little help from my friends

Do you need anybody
I need somebody to love
Could it be anybody
I want somebody to love

Would you believe in a love at first sight
Yes, I'm certain that it happens all the time
What do you see when you turn out the light
I can't tell you but I know it's mine

Oh, I get by with a little help from my friends
Mm, I get high with a little help from my friends
Mm, gonna try with a little help from my friends

Do you need anybody
I
Could it be anybody
I want somebody to love

Oh, I get by with a little help from my friends
with a little help from my friends

Written by John Lennon, John Winston Lennon, Paul Mccartney, Paul James Mccartney 

Upon hearing about Cocker's death in 2014, Paul McCartney said the following words about Cocker's version of the Beatles 1967 song:https://en.wikipedia.org/wiki/Joe_Cocker"He [Cocker] was a lovely northern lad who I loved a lot and, like many people, I loved his singing. I was especially pleased when he decided to cover "With a Little Help from My Friends" and I remember him and (producer) Denny Cordell coming round to the studio in Savile Row (central London) and playing me what they'd recorded and it was just mind-blowing, totally turned the song into a soul anthem and I was forever grateful to him for doing that.”
The single made the Top Ten on the UK Singles Chart, remaining there for thirteen weeks and eventually reaching number one, on 9 November 1968. It also reached number 68 on the US charts.The group [Joe Cocker and the Grease Band] had to be flown into the festival by helicopter due to the large crowds. They performed several songs, including "Delta Lady", "Something's Comin' On", "Let's Go Get Stoned", "I Shall Be Released" and "With a Little Help from My Friends". Cocker would later say that the experience was "like an eclipse ... it was a very special day."
Directly after Woodstock, Cocker released his second album, Joe Cocker!. Impressed by his cover of "With a Little Help from My Friends", Paul McCartney and George Harrison allowed Cocker to use their songs "She Came In Through the Bathroom Window" and "Something" for the album. Recorded during a break in touring in the spring and summer, the album reached number 11 on the US charts and garnered a second UK hit with the Leon Russell song, "Delta Lady".


Este segmento no queda claro si fue durante el sábado a la tarde, o el domingo después del mediodía.
11. Country Joe & the Fish - The "Fish" Cheer/I-Feel-Like-I'm-Fixin'-to-Die Rag



Escrita por Country Joe McDonald en 1965 y estructurada como un ragtime tradicional, se transformó en una de las favoritas de la cultura hippie. El tema cambia la palabra Fish en el disco por la palabra Fuck en los recitales. Tampoco íbamos a dejar por fuera el momento contextual de la época, así que Country Joe nos ilustra el sentimiento de los jóvenes que tenían que ir a pelear a Vietnam. ¡No íbamos a caer en la trampa!


Well, come on all of you, big strong men,
Uncle Sam needs your help again.
He's got himself in a terrible jam
Way down yonder in Vietnam
So put down your books and pick up a gun,
We're gonna have a whole lotta fun.

And it's one, two, three,
What are we fighting for?
Don't ask me, I don't give a damn,
Next stop is Vietnam;
And it's five, six, seven,
Open up the pearly gates,
Well there ain't no time to wonder why,
Whoopee! we're all gonna die.

Well, come on generals, let's move fast;
Your big chance has come at last.
Now you can go out and get those reds
'Cause the only good commie is the one that's dead
And you know that peace can only be won
When we've blown 'em all to kingdom come.

And it's one, two, three,
What are we fighting for?
Don't ask me, I don't give a damn,
Next stop is Vietnam;
And it's five, six, seven,
Open up the pearly gates,
Well there ain't no time to wonder why
Whoopee! we're all gonna die.

Come on Wall Street, don't be slow,
Why man, this is war au-go-go
There's plenty good money to be made
By supplying the Army with the tools of its trade,
But just hope and pray that if they drop the bomb,
They drop it on the Viet Cong.

And it's one, two, three,
What are we fighting for?
Don't ask me, I don't give a damn,
Next stop is Vietnam.
And it's five, six, seven,
Open up the pearly gates,
Well there ain't no time to wonder why
Whoopee! we're all gonna die.

Come on mothers throughout the land,
Pack your boys off to Vietnam.
Come on fathers, and don't hesitate
To send your sons off before it's too late.
And you can be the first ones in your block
To have your boy come home in a box.

And it's one, two, three
What are we fighting for?
Don't ask me, I don't give a damn,
Next stop is Vietnam.
And it's five, six, seven,
Open up the pearly gates,
Well there ain't no time to wonder why,
Whoopee! we're all gonna die.
On August 16, 1969, the second day of the Woodstock Festival, McDonald made an unexpected solo performance of "The Fuck Cheer" at the conclusion of his set list, after Ritchie Havens. McDonald was augmented with a Yamaha FG 150 guitar that he found and holstered with a rope. According to McDonald, "I went on with my guitar and it was like 'Here is this guy who's going to sing' but no one paid any attention. I played 'Janis' and 'Tennessee Stud' and then I walked off the stage. I asked my tour manager if he thought it would be OK to go back on stage and did the cheer and he said yeah. So I went....". The audience receptively responded by cheering the "F-U-C-K" chant along with McDonald. The performance was featured on the Woodstock film, which included sing-a-long lyrical subtitles of the "The Fuck Cheer".

Domingo 17, 8:15pm - 9:15pm, anocheciendo.
12. Ten Years After - I'm Going Home



Goin' home, my baby
Goin' home, my baby
Goin' home, to see my baby

Our baby, how good
My baby, be good
I'm goin' home, my baby
Home to see my girl

Oh baby, baby, I'm coming home
Baby, baby I'm coming home
Tell me Mama, baby, I'm coming home

Gonna see my baby, see my baby fine
Gonna take my baby, wanna take my baby mine
Gonna take my woman treats me real kind

I'm goin' home, my baby
I'm goin' home, to see my baby
Goin' home, my baby

Gonna see my baby, see my baby fine
Take my baby, take my baby mine
Gonna tell your mama how good that love of ours

I'm goin' home, to see my baby
I'm goin' home, to see my baby
Oh, baby ooh

Wanna take you back, take where love belong
Treat me baby, treat, don't treat me wrong

Oh, baby, I'm rollin'
Baby, baby, I'm rollin'
Baby, baby, I'm rollin'

Won't you shake me, baby, well get you rollin' down
Won't you shake me, baby, well get you rollin' down
Oh, baby, we're gonna have some fun

Baby, please don't go, baby, please don't go
Baby, please don't go, baby, please don't go
Please don't go, she's cold, I need you

Comin' home, ooh, hey
Come on over baby, whole lotta shakin' goin' on
I'm goin' home, to see my baby
Home, to see my girl, ooh

I'm goin' home, take my baby
I'm goin' home, see my baby
Gonna take me back, I'll take her where I belong

I'm goin' home, to see my baby
I'm goin' home, to see my baby
Come on, Take me, Yeah

I'm goin' home, I'm goin' home
I'm goin' home, hey, hoo
Gonna take me back right where I belong

I'm goin' home, I'm goin' home
I'm goin' home, I'm goin' home
Hoo, hoo....., right where I belong

Written by Buffy Sainte Marie

Alineación:
Alvin Lee – guitar, vocals, harp
Chick Churchill – keyboards 
Leo Lyons – bass
Ric Lee – drums 
In 1968, after touring Scandinavia and the United States, Ten Years After released a second album, the live Undead, with the noteworthy song, "I'm Going Home". They followed this in February 1969 by the studio issue Stonedhenge, a British hit that included another well-known track, "Hear Me Calling" (it was released also as a single). In July 1969, the group appeared at the Newport Jazz Festival, in the first event rock bands were invited to. Between 26–27 July 1969, they appeared at the Seattle Pop Festival held at Gold Creek Park. On 17 August, the band performed a breakthrough American appearance at Woodstock; their rendition of "I'm Going Home" featuring Alvin Lee as lead singer, was featured in both the subsequent film and soundtrack album and catapulted them to star status.
Their first album was not a success, but their second, the live Undead (1968) containing "I'm Going Home," a six-minute blues workout by the fleet-fingered Alvin, hit the charts on both sides of the Atlantic. Stonedhenge (1969) hit the U.K. Top Ten in early 1969. Ten Years After's U.S. breakthrough came as a result of their appearance at Woodstock, at which they played a nine-minute version of "I'm Going Home."
Lee's performance at the Woodstock Festival was captured on film in the documentary of the event, and his 'lightning-fast' playing helped catapult him to stardom. Soon the band was playing arenas and stadiums around the globe. The film brought Lee's music to a worldwide audience, although he later lamented that he missed the lost freedom and spiritual dedication with his earlier public.
Lee was named "the Fastest guitarist in the West", and considered a precursor to shred-style playing that would develop in the 1980s.


Domingo 17, ya justo a las 0:00 a 1:05 del lunes 18
13. Johnny Winter - Mean Town Blues 


Aparecido en su 1er. LP Progressive Blues Experiment (1968), con Johnny dándole al slide y el Uncle John al bombo.

Lord my mother she done told me and my
Father done told me
Grandfather told me too
My mother she done told me
And my father done told me
Grandfather told me too
It's a mean old town to live in by yourself

Yeah, I worked for a dollar could not
Save a lousy
Could not save a dime
You know I worked for a dollar could not
Save a lousy
Could not save a dime
Ain't nobody worried, man, ain't nobody crying

Everybody's got a hand out trying to
Get a hold on
Trying to get some of my cash
Everybody's got a hand out trying to
Get a hold on
Trying to get some of my cash
Smiling great big smiles, man, keep on talking trash

You know I packed up my suitcase and I
Moved on down the
Hit that lonesome road
You know I packed up my suitcase and I
Moved on down the
Hit that lonesome road
I'm still trying to make it, man, when the day is done

Written by Johnny Winter

Alineación:
Johnny Winter - guitar
Tommy Shannon - bass
Uncle John Turner - drums 
Edgar Winter (en otros temas)

Raisin' Cain: The Wild and Raucous Story of Johnny Winter,  el libro de Mary Lou Sullivan, reseña el momento así:

(pag. 210) LSD was the drug of choice for many concertgoers and performers, and Johnny was no exception. “We were trippin’ for Woodstock too,” says Johnny. “I don’t remember very much of Woodstock. I remember sleeping in a press trailer and then waking up and wandering up to the stage with the band to see what was going on. Nobody was there, so they stuck us on. We just happened to be there—we had the band together, so they put us on. We were supposed to go on sometime during the day but didn’t go on till around midnight. (seguramente se deba a eso que no se le entienda bien qué es lo que está cantando)



Lunes 18, 1:30 am - 2:30 am
14. Blood, Sweat & Tears - Spinning Wheel



What goes up, must come down
Spinning wheel got to go round
Talkin' 'bout your troubles, it's a cryin' sin
Ride a painted pony, let the spinning wheel spin

You got no money and you, you got no home
Spinning wheel, all alone
Talkin' 'bout your troubles and you, you never learn
Ride a painted pony, let the spinning wheel turn

Did you find a directing sign on the straight and narrow highway?
Would you mind a reflecting sign?
Just let it shine within your mind
And show you the colors that are real

Someone is waiting just for you
Spinning wheel spinning through
Drop all your troubles by the riverside
Catch a painted pony on the spinning wheel ride
Ha!

Someone's waiting just for you
Spinning wheel spinning through
Drop all your troubles by the riverside
Ride a painted pony, let the spinning wheel fly

Tremendo tema de fusión o de varias fusiones, escrito por el cantante de la banda Clayton Thomas, un tema que habla de la rueda del karma, sin usar la palabra. En los días del Festival alcanzaría lo más alto de la Billboard y haciendo buen desempeño en otras listas similares, que fue nominado para 3 Grammy’s, ganándolo como Mejor Arreglo Instrumental las otras fueron grabación del año y canción del año, en 1970. Un tema que fue muy difundido por las radios en su época y con numerosas versiones, y el mismo tema utilizado en diversas oportunidades.
The group's second album, Blood, Sweat & Tears, was produced by James William Guercio and released in late 1968. It was more pop-oriented, featuring fewer compositions by the band. The record quickly hit the top of the charts, winning Album of the Year at the Grammy Awards over the Beatles' Abbey Road, among other nominees. Three hit singles were released from Blood, Sweat & Tears: a cover of Berry Gordy and Brenda Holloway's "You've Made Me So Very Happy", Clayton-Thomas' "Spinning Wheel", and a version of Nyro's "And When I Die". All three singles reached #2 on Billboard Magazine 's Hot 100 chart.
The commercial and critical acclaim enjoyed by the band in 1969 culminated in an appearance at Woodstock, in which the band enjoyed headliner status. The festival's film crew even caught the band's opening number, "More and More", as they took to the stage. But the band's manager at the time, Bennett Glotzer, ordered the movie crew to turn off the cameras and leave the stage since the band had not agreed nor been paid to be filmed.
While Blood, Sweat & Tears achieved commercial success alongside similarly configured ensembles such as Chicago and the Electric Flag, the band had difficulty maintaining its status as a counterculture icon at a time when record company executives deemed this characteristic important as a tool to lure young consumers. This was compounded by the band going on a United States Department of State-sponsored tour of Eastern Europe in May/June 1970. Any voluntary association with the government was highly unpopular at the time, and the band was ridiculed for it. (Después se supo que el grupo fue presionado por el gobierno para hacer la gira so pretexto de rebocarle la visa al canadiense Clayton Thomas)

Lunes 18, 6:00am - 6:45am ya amaneciendo 
15. Paul Butterfield Blues Band - Morning Sunrise



Baby, all I can feel is the morning sunrise coming on
Yeah, I can feel all my love coming on
Yeah, try to remember the long time has passed on by
Yeah, I'm all alone these days, may we both cry
Yeah, baby, they're gone

All I can feel is the morning sunrise coming on
Baby, all I can feel, all my love for you
Every evening
Life can be so strong when you say what you feel, yeah
It's so hard sometimes
To leave me girl, just please me

Yeah, you wonder
If you knew love the way you know how
I believe it's a rough time, baby
But I know it's the right time, babe
Yeah, yeah, yeah
I know it's the right time
And the right time is now

Yeah, I can feel it coming on
Yeah, ooh, baby, it's the morning sunrise
Oooh, all my loving
And all my love
All I can feel and all my love is the morning sunrise
The Butterfield Blues Band was invited to perform at the Woodstock Festival on August 18, 1969. The band performed seven songs, and although its performance did not appear in the film Woodstock, one song, "Love March", was included on the album Woodstock: Music from the Original Soundtrack and More, released in 1970. In 2009, Butterfield was included in the expanded 40th Anniversary Edition Woodstock video, and an additional two songs appeared on the box set Woodstock: 40 Years On: Back to Yasgur's Farm.
The album Keep On Moving, with only Butterfield remaining from the original lineup, was released in 1969. It was produced by veteran R&B producer and songwriter Jerry Ragovoy, reportedly brought in by Elektra to turn out a "breakout commercial hit".[3] The album was not embraced by critics or long-time fans;[24] however, it reached number 102 in the Billboard album chart.
A live double album by the Butterfield Blues Band, Live, was recorded March 21–22, 1970, at the The Troubadour, in West Hollywood, California. By this time, the band included a four-piece horn section in what has been described as a "big-band Chicago blues with a jazz base". Live provides perhaps the best showcase for this unique "blues-jazz-rock-R&B hybrid sound". After the release of another soul-influenced album, Sometimes I Just Feel Like Smilin' in 1971, the Paul Butterfield Blues Band disbanded. In 1972, a retrospective or their career, Golden Butter: The Best of the Paul Butterfield Blues Band, was released by Elektra.


Lunes, 18  entre las 9:00am y las 11:10am 

De las 400.000 personas en el momento máximo del show, apenas van quedando unas 30.000 a esa hora
16. Jimi Hendrix - The Star Spangled Banner American Anthem



Alineación: (para el evento)
Jimi Hendrix – guitar, voice
Noel Ridding - bass
Mitch Mitchell - drums
Larry Lee - rhythm guitarist 
Juma Sultan – congas
Jerry Velez – congas

Así Wikipedia recupera la información:
By 1969, Hendrix was the world's highest-paid rock musician. In August, he headlined the Woodstock Music and Art Fair that included many of the most popular bands of the time. For the concert, he added rhythm guitarist Larry Lee and conga players Juma Sultan and Jerry Velez. The band rehearsed for less than two weeks before the performance, and according to Mitchell, they never connected musically. Before arriving at the engagement, he heard reports that the size of the audience had grown to epic proportions, which gave him cause for concern as he did not enjoy performing for large crowds. He was an important draw for the event, and although he accepted substantially less money for the appearance than his usual fee he was the festival's highest-paid performer. As his scheduled time slot of midnight on Sunday drew closer, he indicated that he preferred to wait and close the show in the morning; the band took the stage around 8:00 a.m. on Monday. By the time of their set, Hendrix had been awake for more than three days. The audience, which peaked at an estimated 400,000 people, was now reduced to 30–40,000, many of whom had waited to catch a glimpse of Hendrix before leaving during his performance. The festival MC, Chip Monck, introduced the group as the Jimi Hendrix Experience, but Hendrix clarified: "We decided to change the whole thing around and call it Gypsy Sun and Rainbows. For short, it's nothin' but a Band of Gypsys".
Hendrix's performance featured a rendition of the U.S. national anthem, "The Star-Spangled Banner", during which he used copious amounts of amplifier feedback, distortion, and sustain to replicate the sounds made by rockets and bombs. Although contemporary political pundits described his interpretation as a statement against the Vietnam War, three weeks later Hendrix explained its meaning: "We're all Americans ... it was like 'Go America!'... We play it the way the air is in America today. The air is slightly static, see".Immortalized in the 1970 documentary film, Woodstock, his guitar-driven version would become part of the sixties Zeitgeist.[206] Pop critic Al Aronowitz of The New York Post wrote: "It was the most electrifying moment of Woodstock, and it was probably the single greatest moment of the sixties." Images of the performance showing Hendrix wearing a blue-beaded white leather jacket with fringe, a red head-scarf, and blue jeans are widely regarded as iconic pictures that capture a defining moment of the era. He played "Hey Joe" during the encore, concluding the 3½-day festival. Upon leaving the stage, he collapsed from exhaustion. In 2011, the editors of Guitar World placed his rendition of "The Star-Spangled Banner" at Woodstock at number one in their list of his 100 greatest performances.
Discografía


  • Woodstock: Music from the Original Soundtrack and More (1970) (3-LP, later 2-CD)  [138:56]




  • Woodstock two (1971) (2-LP, later 2-CD)  [85:08]









  • Woodstock Diary (1994) [4-CD]




  • Woodstock: Three Days of Peace and Music 1994 (4-CD) (Reedición de la anterior)




  •  Jimi Hendrix: Woodstock (1994) [63:46]




  • Live at Woodstock (1999) [96:38]



  • In 2009, Joe Cocker released a live album of his entire Woodstock set. The album contained eleven tracks, ten of which were previously unreleased.



  • In 2009, complete performances from Woodstock by Santana, Janis Joplin, Sly & the Family Stone, Jefferson Airplane, and Johnny Winter were released separately by Legacy/SME Records, and were also collected in a box set titled The Woodstock Experience. 




CD#1: Santana Studio
CD#2: Santana Live
CD#3: Janis Joplin Studio
CD#4: Janis Joplin Live
CD#5: Sly & the Family Stone Studio
CD#6: Sly & the Family Stone Live
CD#7: Jefferson Airplane Studio
CD#8: Jefferson Airplane Live
CD#9: Johnny Winter Studio

CD#10: Johnny Winter Live


  • Also, in 2009, Rhino/Atlantic Records issued a 6-CD box set titled Woodstock: 40 Years On: Back to Yasgur's Farm, which included further musical performances as well as stage announcements and other ancillary material.



  • Woodstock (film), was directed by Michael Wadleigh. Seven editors are credited, including Thelma Schoonmaker, Martin Scorsese, and Wadleigh. Woodstock was a great commercial and critical success. It received the Academy Award for Best Documentary Feature. Thelma Schoonmaker was nominated for the Academy Award for Film Editing, which is a quite rare distinction for a documentary film. Dan Wallin and L. A. Johnson were nominated for the Academy Award for Best Sound. The film was screened at the 1970 Cannes Film Festival, but wasn't entered into the main competition. The 1970 theatrical release of the film ran 184 minutes. A director's cut spanning 225 minutes was released in 1994.





  • Jimi Hendrix at Woodstock was also released separately on DVD and Blu-ray.






  • Taking Woodstock is a 2009 American comedy-drama film about the Woodstock Festival of 1969, directed by Ang Lee. The screenplay by James Schamus is based on the memoir Taking Woodstock: A True Story of a Riot, a Concert, and a Life by Elliot Tiber and Tom Monte.





Hasta aquí llegamos, dejamos todo por el camino, pero nuestra presencia es el testimonio de nuestro triunfo, aunque sea en harapos, No Nos Vencieron!




Y siempre en algún lugar escondido maliciosamente, se encontrará algo nuevo, algo raro, algo asombroso. Mientras, testigos de una época como nosotros, seguiremos metiendole en el ojo la punta de la bandera, nuestra bandera, tu bandera al infiel y les advertimos que El Amor, Siempre Prevalecerá.


Y así como llegamos, nos fuimos

Y aunque los Agentes del Hades no lo puedan creer, llegamos al final de este especialísimo episodio de esta serie. El Bar de Mr. Moog espera  que la hayas pasado tan bien como nosotros¡Hasta el JUERNES!


Tu opinión es valiosa,  siempre a tus órdenes, pide lo que quieras.

Y recuerda, la mejor manera de aprender, es enseñar.

Dark-ius, blusero & hippie
(el Flower Power al Poder)



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