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'But what it is ain't exactly clear' Painting

Philip Leister

Painting, Acrylic on Canvas

Size: 24 W x 48 H x 0.5 D in

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About The Artwork

There's something happening here But what it is ain't exactly clear There's a man with a gun over there Telling me I got to beware I think it's time we stop Children, what's that sound? Everybody look, what's going down? There's battle lines being drawn Nobody's right if everybody's wrong Young people speaking their minds Getting so much resistance from behind It's time we stop Hey, what's that sound? Everybody look, what's going down? What a field day for the heat (Ooh ooh ooh) A thousand people in the street (Ooh ooh ooh) Singing songs and they carrying signs (Ooh ooh ooh) Mostly say, "Hooray for our side" (Ooh ooh ooh) It's time we stop Hey, what's that sound? Everybody look, what's going down? Paranoia strikes deep Into your life it will creep It starts when you're always afraid Step out of line, the men come and take you away We better stop Hey, what's that sound? Everybody look, what's going down? You better stop Hey, what's that sound? Everybody look, what's going down? You better stop Now, what's that sound? Everybody look, what's going down? You better stop Children, what's that sound? Everybody look, what's going down? ‘For What It’s Worth’ by Buffalo Springfield Songwriter: Stephen Stills "For What It's Worth (Stop, Hey What's That Sound)" (often referred to as simply "For What It's Worth") is a song written by Stephen Stills. Performed by Buffalo Springfield, it was recorded on December 5, 1966, released as a single on Atco Records on December 23, 1966, and peaked at No. 7 on the Billboard Hot 100 chart in the spring of 1967. It was later added to the March 1967 second pressing of their first album, Buffalo Springfield. The title was added after the song was written, and does not appear in the lyrics. Although "For What It's Worth" is often considered an anti-war song, Stephen Stills was inspired to write the song because of the Sunset Strip curfew riots in November 1966—a series of early counterculture-era clashes that took place between police and young people on the Sunset Strip in Hollywood, California, beginning in mid-1966, the same year Buffalo Springfield had become the house band at the Whisky a Go Go on the Sunset Strip. Local residents and businesses had become annoyed by how crowds of young people going to clubs and music venues along the Strip had caused late-night traffic congestion. In response, they lobbied Los Angeles County to pass local ordinances stopping loitering, and enforced a strict curfew on the Strip after 10 p.m. The young music fans, however, felt the new laws infringed upon their civil rights. On Saturday, November 12, 1966, fliers were distributed on the Sunset Strip inviting people to join demonstrations later that day. Several of Los Angeles' rock radio stations also announced a rally outside the Pandora's Box club on the corner of Sunset Boulevard and Crescent Heights. That evening, as many as 1,000 young demonstrators, including future celebrities such as Jack Nicholson and Peter Fonda (who was handcuffed by police) gathered to protest against the curfew's enforcement. Although the rallies began peacefully, trouble eventually broke out. The unrest continued the next night, and periodically throughout the rest of November and December, forcing some clubs to shut down within weeks. It was against the background of these civil disturbances that Stills recorded "For What It's Worth" on December 5, 1966. Buffalo Springfield was an American rock band formed in Los Angeles, California by Canadian musicians Neil Young, Bruce Palmer and Dewey Martin and American musicians Stephen Stills and Richie Furay. The group, widely known for the song "For What It's Worth",[1] released three albums and several singles from 1966–1968. Their music combined elements of folk music and country music with British Invasion and psychedelic rock influences. Like contemporary band The Byrds, they were key to the early development of folk rock. The band took their name from a steamroller parked outside their house. Buffalo Springfield formed in Los Angeles in 1966 with Stills (guitar, keyboards, vocals), Dewey Martin (drums, vocals), Bruce Palmer (bass guitar), Furay (guitar, vocals) and Young (guitar, harmonica, piano, vocals). The band signed to Atlantic Records in 1966 and released their debut single "Nowadays Clancy Can't Even Sing", which became a hit in Los Angeles. The following January, they released the protest song "For What It's Worth". Their second album, Buffalo Springfield Again, marked their progression to psychedelia and hard rock. After several drug-related arrests and line-up changes, the group disbanded in 1968. Stephen Stills went on to form the supergroup Crosby, Stills & Nash with David Crosby of The Byrds and Graham Nash of The Hollies. Neil Young launched his solo career and later joined Stills in Crosby, Stills, Nash & Young in 1969. Furay, along with Jim Messina, went on to form the country-rock band Poco. Buffalo Springfield was inducted into the Rock and Roll Hall of Fame in 1997. Source: Wikipedia

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:24 W x 48 H x 0.5 D in

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I’m (I am?) a self-taught artist, originally from the north suburbs of Chicago (also known as John Hughes' America). Born in 1984, I started painting in 2017 and began to take it somewhat seriously in 2019. I currently reside in rural Montana and live a secluded life with my three dogs - Pebbles (a.k.a. Jaws, Brandy, Fang), Bam Bam (a.k.a. Scrat, Dinki-Di, Trash Panda, Dug), and Mystique (a.k.a. Lady), and five cats - Burglekutt (a.k.a. Ghostmouse Makah), Vohnkar! (a.k.a. Storm Shadow, Grogu), Falkor (a.k.a. Moro, The Mummy's Kryptonite, Wendigo, BFC), Nibbler (a.k.a. Cobblepot), and Meegosh (a.k.a. Lenny). Part of the preface to the 'Complete Works of Emily Dickinson helps sum me up as a person and an artist: "The verses of Emily Dickinson belong emphatically to what Emerson long since called ‘the Poetry of the Portfolio,’ something produced absolutely without the thought of publication, and solely by way of expression of the writer's own mind. Such verse must inevitably forfeit whatever advantage lies in the discipline of public criticism and the enforced conformity to accepted ways. On the other hand, it may often gain something through the habit of freedom and unconventional utterance of daring thoughts. In the case of the present author, there was no choice in the matter; she must write thus, or not at all. A recluse by temperament and habit, literally spending years without settling her foot beyond the doorstep, and many more years during which her walks were strictly limited to her father's grounds, she habitually concealed her mind, like her person, from all but a few friends; and it was with great difficulty that she was persuaded to print during her lifetime, three or four poems. Yet she wrote verses in great abundance; and though brought curiosity indifferent to all conventional rules, had yet a rigorous literary standard of her own, and often altered a word many times to suit an ear which had its own tenacious fastidiousness." -Thomas Wentworth Higginson "Not bad... you say this is your first lesson?" "Yes, but my father was an *art collector*, so…"

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