Hair (musical)
Hair: The American Tribal Love-Rock Musical is a rock musical with a book and lyrics by Gerome Ragni and James Rado and music by Galt MacDermot. The work reflects the creators' observations of the hippie counterculture and sexual revolution of the late 1960s, and several of its songs became anthems of the anti-Vietnam War peace movement. The musical's profanity, its depiction of the use of illegal drugs, its treatment of sexuality, its irreverence for the American flag, and its nude scene caused much comment and controversy.[1] The work broke new ground in musical theatre by defining the genre of "rock musical", using a racially integrated cast, and inviting the audience onstage for a "Be-In" finale.[2]
This article is about the stage musical. For the musical film adaptation, see Hair (film).Hair
- Gerome Ragni
- James Rado
- 1967 Off-Broadway
- 1968 Broadway
- 1968 West End
- 1977 Broadway revival
- 2009 Broadway revival
- 2010 West End revival
- 2019 UK Tour
Hair tells the story of the "tribe", a group of politically active, long-haired hippies of the "Age of Aquarius" living a bohemian life in New York City and fighting against conscription into the Vietnam War. Claude, his good friend Berger, their roommate Sheila and their friends struggle to balance their young lives, loves and the sexual revolution, with their rebellion against the war and their conservative parents and society. Ultimately, Claude must decide whether to resist the draft as his friends have done, or to serve in Vietnam, compromising his pacifist principles and risking his life.
After an off-Broadway debut on October 17, 1967, at Joseph Papp's Public Theater and a run at the Cheetah nightclub from December 1967 through January 1968, the show opened on Broadway in April 1968 and ran for 1,750 performances. Simultaneous productions in cities across the United States and Europe followed shortly thereafter, including a successful London production that ran for 1,997 performances. Since then, numerous productions have been staged around the world, spawning dozens of recordings of the musical, including the 3 million-selling original Broadway cast recording. Some of the songs from its score became Top 10 hits, and a feature film adaptation was released in 1979. A Broadway revival opened in 2009, earning strong reviews and winning the Tony Award and Drama Desk Award for Best Revival of a Musical. In 2008, Time wrote, "Today Hair seems, if anything, more daring than ever."[3]
Synopsis[edit]
Act I[edit]
Claude sits center stage as the "tribe" mingles with the audience. Tribe members Sheila, a New York University student who is a determined political activist, and Berger, an irreverent free spirit, cut a lock of Claude's hair and burn it in a receptacle. After the tribe converges in slow-motion toward the stage, through the audience, they begin their celebration as children of the Age of Aquarius ("Aquarius"). Berger removes his trousers to reveal a loincloth. Interacting with the audience, he introduces himself as a "psychedelic teddy bear" and reveals that he is "looking for my Donna" ("Donna").
The tribe recites a list of pharmaceuticals, legal and illegal ("Hashish"). Woof, a gentle soul, extols several sexual practices ("Sodomy") and says, "I grow things." He loves plants, his family and the audience, telling the audience, "We are all one." Hud, a militant African-American, is carried in upside down on a pole. He declares himself "president of the United States of Love" ("Colored Spade"). In a fake English accent, Claude says that he is "the most beautiful beast in the forest" from "Manchester, England". A tribe member reminds him that he's really from Flushing, New York ("Manchester England"). Hud, Woof and Berger declare what color they are ("I'm Black"), while Claude says that he's "invisible". The tribe recites a list of things they lack ("Ain't Got No"). Four African-American tribe members recite street signs in symbolic sequence ("Dead End").
Sheila is carried onstage ("I Believe in Love") and leads the tribe in a protest chant. Jeanie, an eccentric young woman, appears wearing a gas mask, satirizing pollution ("Air"). She is pregnant and in love with Claude. Although she wishes it was Claude's baby, she was "knocked up by some crazy speed freak". The tribe link together LBJ (President Lyndon B. Johnson), FBI (the Federal Bureau of Investigation), CIA (the Central Intelligence Agency) and LSD ("Initials"). Six members of the tribe appear dressed as Claude's parents, berating him for his various transgressions – he does not have a job, and he collects "mountains of paper" clippings and notes. They say that they will not give him any more money, and "the army'll make a man out of you", presenting him with his draft notice. In defiance, Claude leads the tribe in celebrating their vitality ("I Got Life").
After handing out imaginary pills to the tribe members, saying the pills are for high-profile people such as Richard Nixon, the Pope, and "Alabama Wallace", Berger relates how he was expelled from high school. Three tribe members dress up as principals in Hitler mustaches and swastika arm bands, mocking the American education system. Berger and the tribe defy them, singing "Going Down". Claude returns from his draft board physical, which he passed. He pretends to burn his Vietnam War draft card, which Berger reveals as a library card. Claude agonizes about what to do about being drafted.
Two tribe members dressed as tourists come down the aisle to ask the tribe why they have such long hair. In answer, Claude and Berger lead the tribe in explaining the significance of their locks ("Hair"). The woman states that kids should "be free, no guilt" and should "do whatever you want, just so long as you don't hurt anyone." She observes that long hair is natural, like the "elegant plumage" of male birds ("My Conviction"). She opens her coat to reveal that she's a man in drag. As the couple leaves, the tribe calls her Margaret Mead.
Sheila gives Berger a yellow shirt. He goofs around and ends up tearing it in two. Sheila voices her distress that Berger seems to care more about the "bleeding crowd" than about her ("Easy to Be Hard"). Jeanie summarizes everyone's romantic entanglements: "I'm hung up on Claude, Sheila's hung up on Berger, Berger is hung up everywhere. Claude is hung up on a cross over Sheila and Berger." Berger, Woof and another tribe member pay satiric tribute to the American flag as they fold it ("Don't Put it Down"). The tribe runs out to the audience, inviting them to a Be-In. After young and innocent Crissy describes "Frank Mills", a boy she's looking for, the tribe participates in the "Be-In". The men of the tribe burn their draft cards. Claude puts his card in the fire, then changes his mind and pulls it out. He asks, "where is the something, where is the someone, that tells me why I live and die?" ("Where Do I Go"). The tribe emerges naked, intoning "beads, flowers, freedom, happiness."
Act II[edit]
Four tribe members have the "Electric Blues". After a black-out, the tribe enters worshiping in an attempt to summon Claude ("Oh Great God of Power"). Claude returns from the induction center, and tribe members act out an imagined conversation from Claude's draft interview, with Hud saying "the draft is white people sending black people to make war on the yellow people to defend the land they stole from the red people". Claude gives Woof a Mick Jagger poster, and Woof is excited about the gift, as he has said he's hung up on Jagger. Three white women of the tribe tell why they like "Black Boys" ("black boys are delicious ..."), and three black women of the tribe, dressed like The Supremes, explain why they like "White Boys" ("white boys are so pretty ...").
Berger gives a joint to Claude that is laced with a hallucinogen. Claude starts to trip as the tribe acts out his visions ("Walking in Space"). He hallucinates that he is skydiving from a plane into the jungles of Vietnam. Berger appears as General George Washington and is told to retreat because of an Indian attack. The Indians shoot all of Washington's men. General Ulysses S. Grant appears and begins a roll call: Abraham Lincoln (played by a black female tribe member), John Wilkes Booth, Calvin Coolidge, Clark Gable, Scarlett O'Hara, Aretha Franklin, Colonel George Custer. Claude Bukowski is called in the roll call, but Clark Gable says "he couldn't make it". They all dance a minuet until three African witch doctors kill them – all except for Abraham Lincoln who says, "I'm one of you". Lincoln, after the three Africans sing his praises, recites an alternate version of the Gettysburg Address ("Abie Baby"). Booth shoots Lincoln, but Lincoln says to him, "Shit! I'm not dyin' for no white man".
As the visions continue, four Buddhist monks enter. One monk pours a can of gasoline over another monk, who is set afire (reminiscent of the self-immolation of Thích Quảng Đức) and runs off screaming. Three Catholic nuns strangle the three remaining Buddhist monks. Three astronauts shoot the nuns with ray guns. Three Chinese people stab the astronauts with knives. Three Native Americans kill the Chinese with bows and tomahawks. Three green berets kill the Native Americans with machine guns and then kill each other. A Sergeant and two parents appear holding up a suit on a hanger. The parents talk to the suit as if it is their son and they are very proud of him. The bodies rise and play like children. The play escalates to violence until they are all dead again. They rise again and comment about the casualties in Vietnam: "It's a dirty little war" ("Three-Five-Zero-Zero"). At the end of the trip sequence, two tribe members sing, over the dead bodies, a Shakespeare speech about the nobility of Man ("What A Piece of Work Is Man"), set to music.
After the trip, Claude says "I can't take this moment to moment living on the streets. ... I know what I want to be ... invisible". As they "look at the Moon," Sheila and the others enjoy a light moment ("Good Morning Starshine"). The tribe pays tribute to an old mattress ("The Bed"). Claude is left alone with his doubts. He leaves as the tribe enters wrapped in blankets in the midst of a snow storm. They start a protest chant and then wonder where Claude has gone. Berger calls out "Claude! Claude!" Claude enters dressed in a military uniform, his hair short, but they do not see him because he is an invisible spirit. Claude says, "like it or not, they got me."
Claude and everyone sing "Flesh Failures". The tribe moves in front of Claude as Sheila and Dionne take up the lyric. The whole tribe launches into "Let the Sun Shine In", and as they exit, they reveal Claude lying down center stage on a black cloth. During the curtain call, the tribe reprises "Let the Sun Shine In" and brings audience members up on stage to dance.
(Note: This plot summary is based on the original Broadway script. The script has varied in subsequent productions.)
Early productions[edit]
Broadway[edit]
Hair opened on Broadway at the Biltmore Theatre on April 29, 1968. The production was directed by Tom O'Horgan and choreographed by Julie Arenal, with set design by Robin Wagner, costume design by Nancy Potts, and lighting design by Jules Fisher. The original Broadway "tribe" (i.e., cast) included authors Rado and Ragni, who played the lead roles of Claude and Berger, respectively, Kellogg as Sheila, Washington as Hud, Eaton and Plimpton reprising their off-Broadway roles as Jeanie and Crissy, Melba Moore as Dionne, Curry as Woof, Ronnie Dyson (who sang "Aquarius" and "What a Piece of Work is Man"), Paul Jabara and Diane Keaton (both Moore and Keaton later played Sheila).[29] Among the performers who appeared in Hair during its original Broadway run were Ben Vereen, Keith Carradine, Barry McGuire, Ted Lange, Meat Loaf, La La Brooks, Mary Seymour (of Musique), Joe Butler, Peppy Castro (of the Blues Magoos), Robin McNamara, Heather MacRae (daughter of Gordon MacRae and Sheila MacRae), Eddie Rambeau, Vicki Sue Robinson, Beverly Bremers, Bert Sommer, Dale Soules and Kim Milford.[29] It was the first Broadway show to have a regular ticket price of $50, with 12 of the seats at this price for sale to large corporations from July 1968. The top price when it opened was $11.[31]
The Hair team soon became embroiled in a lawsuit with the organizers of the Tony Awards. After assuring producer Michael Butler that commencing previews by April 3, 1968, would assure eligibility for consideration for the 1968 Tonys, the New York Theatre League ruled Hair ineligible, moving the cutoff date to March 19. The producers brought suit[32] but were unable to force the League to reconsider.[33] At the 1969 Tonys, Hair was nominated for Best Musical and Best Director but lost out to 1776 in both categories.[34] The production ran for four years and 1,750 performances, closing on July 1, 1972.[29]
Early regional productions[edit]
The West Coast version played at the Aquarius Theater in Los Angeles beginning about six months after the Broadway opening and running for an unprecedented two years. The Los Angeles tribe included Rado, Ragni, Ben Vereen (who started as Hud and then replaced Ragni), Willie Weatherly (who played Berger and Claude), Ted Neeley (who replaced Rado), Meat Loaf, Gloria Jones, Táta Vega, Jobriath, Jennifer Warnes and Dobie Gray.[5]
There were soon nine simultaneous productions in U.S. cities, followed by national tours.[5][35] Among the performers in these were Joe Mantegna, André DeShields, Charlotte Crossley and Alaina Reed (Chicago),[36] David Lasley, David Patrick Kelly, Meat Loaf, and Shaun Murphy (Detroit)[37] Kenny Ortega and Arnold McCuller (tour),[38] Bob Bingham (Seattle)[39] and Philip Michael Thomas (San Francisco).[40] The creative team from Broadway worked on Hair in Los Angeles, Chicago and San Francisco, as the Broadway staging served as a rough template for these and other early regional productions. A notable addition to the team in Los Angeles was Tom Smothers, who served as co-producer.[41] Regional casts consisted mostly of local actors, although a few Broadway cast members reprised their roles in other cities.[42] O'Horgan or the authors sometimes took new ideas and improvisations from a regional show and brought them back to New York, such as when live chickens were tossed onto the stage in Los Angeles.[42]
It was rare for so many productions to run simultaneously during an initial Broadway run. Producer Michael Butler, who had declared that Hair is "the strongest anti-war statement ever written", said the reason that he opened so many productions was to influence public opinion against the Vietnam War and end it as soon as possible.[43]
West End[edit]
Hair opened at the Shaftesbury Theatre in London on September 27, 1968, led by the same creative team as the Broadway production. The opening night was delayed until the abolition of theatre censorship in England under the Theatres Act 1968 so that the show could include nudity and profanity.[44] As with other early productions, the London show added a sprinkling of local allusions and other minor departures from the Broadway version.[45]
The original London tribe included Sonja Kristina, Peter Straker, Paul Nicholas, Melba Moore, Annabel Leventon, Elaine Paige, Paul Korda, Marsha Hunt, Floella Benjamin, Alex Harvey, Oliver Tobias, Richard O'Brien and Tim Curry. This was Curry's first full-time theatrical acting role, where he met future Rocky Horror Show collaborator O'Brien.[46] Hair's engagement in London surpassed the Broadway production, running for 1,997 performances[45] until its closure was forced by the roof of the theatre collapsing in July 1973.[47]
Early international productions[edit]
The job of leading the foreign language productions of Hair was given to Bertrand Castelli, Butler's partner and executive producer of the Broadway show.[48] Castelli was a writer/producer who traveled in Paris art circles and rubbed elbows with Pablo Picasso and Jean Cocteau. Butler described him as a "crazy showman ... the guy with the business suit and beads".[49] Castelli decided to do the show in the local language of each country at a time when Broadway shows were always done in English.[48] The translations followed the original script closely, and the Broadway stagings were used. Each script contained local references, such as street names and the names or depictions of local politicians and celebrities. Castelli produced companies in France, Germany, Mexico and other countries, sometimes also directing the productions.[48] The first European production opened in Stockholm, Sweden, on September 20, 1968, with a cast including Ulf Brunnberg and Bill Öhrström,[50] produced and directed by Pierre Fränckel[51] and choreographed by Julie Arenal,[52] and ran for 134 performances until March 1969.[53]
A German production, directed by Castelli,[48] opened a month later in Munich;[54] the tribe included Donna Summer, Liz Mitchell and Donna Wyant. A successful Parisian production of Hair opened on June 1, 1969.[55] The original Australian production premiered in Sydney on June 6, 1969, produced by Harry M. Miller and directed by Jim Sharman, who also designed the production. The tribe included Keith Glass and then Reg Livermore as Berger, John Waters as Claude and Sharon Redd as The Magician. Redd was one of six African-Americans brought to Australia to provide a racially integrated tribe.[56][57] The production broke local box-office records and ran for two years, but because of some of the language in the show, the cast album was banned in Queensland and New Zealand. The production transferred to Melbourne in 1971 and then had a national tour. It marked the stage debut of Boston-born Australian vocalist Marcia Hines.[57] In Mexico the production was banned by the government after one night in Acapulco.[58] An 18-year-old Sônia Braga appeared in the 1969 Brazilian production.[59]
Another notable production was in Belgrade, in the former Yugoslavia, in 1969. It was the first Hair to be produced in a communist country.[60] The show, translated into Serbian, was directed by female producer-director Mira Trailović at the Atelje 212 theatre.[61][62] It featured Dragan Nikolić, Branko Milićević, Seka Sablić and Dušan Prelević.[63] Over four years, the production received 250 performances and was attended by president Tito.[61] Local references in the script included barbs aimed at Mao Zedong as well as Albania, Yugoslavia's traditional rival.[48]
By 1970, Hair was a huge financial success, and nineteen productions had been staged outside of North America. In addition to those named above, these included productions in Scandinavia, South America, Italy, Israel, Japan, Canada, the Netherlands, Switzerland and Austria.[35] According to Billboard, the various productions of the show were raking in almost $1 million every ten days, and royalties were being collected for 300 different recordings of the show's songs, making it "the most successful score in history as well as the most performed score ever written for the Broadway stage."[64]
Critical reception[edit]
Reception to Hair upon its Broadway premiere was, with exceptions, overwhelmingly positive. Clive Barnes wrote in the New York Times: "What is so likable about Hair ... ? I think it is simply that it is so likable. So new, so fresh, and so unassuming, even in its pretensions."[75] John J. O'Connor of The Wall Street Journal said the show was "exuberantly defiant and the production explodes into every nook and cranny of the Biltmore Theater".[137] Richard Watts Jr. of the New York Post wrote that "it has a surprising if perhaps unintentional charm, its high spirits are contagious, and its young zestfulness makes it difficult to resist."[138]
Television reviews were even more enthusiastic. Allan Jeffreys of ABC said the actors were "the most talented hippies you'll ever see ... directed in a wonderfully wild fashion by Tom O'Horgan."[139] Leonard Probst of NBC said "Hair is the only new concept in musicals on Broadway in years and it's more fun than any other this season".[140] John Wingate of WOR TV praised MacDermot's "dynamic score" that "blasts and soars",[141] and Len Harris of CBS said "I've finally found the best musical of the Broadway season ... it's that sloppy, vulgar, terrific tribal love rock musical Hair."[142]
A reviewer from Variety, on the other hand, called the show "loony" and "without a story, form, music, dancing, beauty or artistry. ... It's impossible to tell whether [the cast has] talent. Maybe talent is irrelevant in this new kind of show business."[143] Reviews in the news weeklies were mixed; Jack Kroll in Newsweek wrote, "There is no denying the sheer kinetic drive of this new Hair ... there is something hard, grabby, slightly corrupt about O'Horgan's virtuosity, like Busby Berkeley gone bitchy."[144] But a reviewer from Time wrote that although the show "thrums with vitality [it is] crippled by being a bookless musical and, like a boneless fish, it drifts when it should swim."[145]
Reviews were mixed when Hair opened in London. Irving Wardle in The Times wrote, "Its honesty and passion give it the quality of a true theatrical celebration – the joyous sound of a group of people telling the world exactly what they feel." In the Financial Times, B. A. Young agreed that Hair was "not only a wildly enjoyable evening, but a thoroughly moral one." However, in his final review before retiring after 48 years, 78-year-old W. A. Darlington of The Daily Telegraph wrote that he had "tried hard", but found the evening "a complete bore – noisy, ugly and quite desperately funny".[146]
Acknowledging the show's critics, Scott Miller wrote in 2001 that "some people can't see past the appearance of chaos and randomness to the brilliant construction and sophisticated imagery underneath."[65] Miller notes, "Not only did many of the lyrics not rhyme, but many of the songs didn't really have endings, just a slowing down and stopping, so the audience didn't know when to applaud. ... The show rejected every convention of Broadway, of traditional theatre in general, and of the American musical in specific. And it was brilliant."[65]
Subsequent productions[edit]
1970s[edit]
The first college production took place in 1970 at Memphis State University (now the University of Memphis) in Tennessee, led by theater department director Keith Kennedy.[173][174] The cast also participated in the Atlanta International Pop Festival in 1970.[175] WMC-TV produced a 1971 documentary chronicling the production.[176]
A Broadway revival of Hair opened in 1977 for a run of 43 performances. It was produced by Butler, directed by O'Horgan and performed in the Biltmore Theater, where the original Broadway production had played. The cast included Ellen Foley, Annie Golden, Loretta Devine, Cleavant Derricks and Kristen Vigard.[177] Newcomer Peter Gallagher left the ensemble during previews to take the role of Danny Zuko in a tour of Grease.[178] Reviews were generally negative, and critics accused the production of "showing its gray".[179] Few major revivals of Hair followed until the early 1990s.
1980s and 1990s[edit]
A 20th anniversary concert event was held in May 1988 at the United Nations General Assembly to benefit children with AIDS.[180] The event was sponsored by First Lady Nancy Reagan with Barbara Walters giving the night's opening introduction.[181] Rado, Ragni and MacDermot reunited to write nine new songs for the concert. The cast of 163 actors included former stars from various productions around the globe: Moore, Vereen, Williams and Summer, as well as guest performers Bea Arthur, Frank Stallone and Dr. Ruth Westheimer. Ticket prices ranged from $250 to $5,000 and the proceeds went to the United States Committee for UNICEF and the Creo Society's Fund for Children with AIDS.[181]
A 1985 production of Hair mounted in Montreal was reportedly the 70th professional production of the musical.[35] In November 1988, Michael Butler produced Hair at Chicago's Vic Theater to celebrate the shows' 20th anniversary. The production was well received and ran until February 1989.[181] From 1990 to 1991, Pink Lace Productions ran a U.S. national tour of Hair that included stops in South Carolina, Georgia, Tennessee and Kentucky.[181] After Ragni died in 1991, MacDermot and Rado continued to write new songs for revivals through the 1990s. Hair Sarajevo, AD 1992 was staged during the siege of Sarajevo as an appeal for peace.[35] Rado directed a $1 million, 11 city national tour in 1994 that featured actor Luther Creek. With MacDermot returning to oversee the music, Rado's tour celebrated the show's 25th anniversary.[182] A small 1990 "bus and truck" production of Hair toured Europe for over 3 years,[182] and Rado directed various European productions from 1995 to 1999.[116]
A production opened in Australia in 1992[183] and a short-lived London revival starring John Barrowman and Paul Hipp opened at the Old Vic in London in 1993, directed by Michael Bogdanov.[184][185] While the London production was faithful to the original, a member of the production staff said the reason it "flopped" was because the tribe consisted of "Thatcher's children who didn't really get it".[186] Other productions were mounted around the world, including South Africa, where the show had been banned until the eradication of Apartheid.[187] In 1996, Butler brought a month-long production to Chicago, employing the Pacific Musical Theater, a professional troupe in residence at California State University, Fullerton. Butler ran the show concurrently with the 1996 Democratic National Convention, echoing the last time the DNC was in Chicago: 1968.[188] A 30th Anniversary Off-Off Broadway production was staged at Third Eye Repertory. It was directed by Shawn Rozsa.[189]
2000s and 2010s[edit]
In 2001, the Reprise! theatre company in Los Angeles performed Hair at the Wadsworth Theatre, starring Steven Weber as Berger, Sam Harris as Claude and Jennifer Leigh Warren as Sheila.[190] That same year, Encores! Great American Musicals in Concert ended its 2001 City Center season with a production of Hair starring Luther Creek, Idina Menzel and Tom Plotkin, and featuring Hair composer Galt MacDermot on stage playing the keyboards.[191] An Actors' Fund benefit of the show was performed for one night at the New Amsterdam Theater in New York City in 2004. The Tribe included Shoshana Bean, Raúl Esparza, Jim J. Bullock, Liz Callaway, Gavin Creel, Eden Espinosa, Harvey Fierstein, Ana Gasteyer, Annie Golden, Jennifer Hudson, Julia Murney, Jai Rodriguez, RuPaul, Michael McKean, Laura Benanti and Adam Pascal.[192]
In 2005, a London production opened at the Gate Theatre, directed by Daniel Kramer. James Rado approved an updating of the musical's script to place it in the context of the Iraq War instead of the Vietnam War.[193] Kramer's modernized interpretation included "Aquarius" sung over a megaphone in Times Square, and nudity that called to mind images from Abu Ghraib.[194] In March 2006, Rado collaborated with director Robert Prior for a CanStage production of Hair in Toronto,[195] and a revival produced by Pieter Toerien toured South Africa in 2007. Directed by Paul Warwick Griffin, with choreography by Timothy Le Roux, the show ran at the Montecasino Theatre in Johannesburg and at Theatre on the Bay in Cape Town.[196] A two-week run played at the Teatro Tapia in Old San Juan, Puerto Rico, in March 2010, directed by Yinoelle Colón.[197]
Michael Butler produced Hair at the MET Theatre in Los Angeles from September 14 through December 30, 2007. The show was directed and choreographed by Bo Crowell, with musical direction from Christian Nesmith.[198][199] Butler's production of Hair won the LA Weekly Theater Award for Musical of the Year.[200]
Cultural impact[edit]
Popular culture[edit]
The New York Times noted, in 2007, that "Hair was one of the last Broadway musicals to saturate the culture as shows from the golden age once regularly did."[18] Songs from the show continue to be recorded by major artists. In the 1990s, Evan Dando's group The Lemonheads recorded "Frank Mills" for their 1992 album It's a Shame About Ray, and Run DMC sampled "Where Do I Go" for their 1993 single "Down With the King" which went to No. 1 on the Billboard rap charts and reached the top 25 in the Billboard Hot 100 chart.[247][248] In 2004 "Aquarius", from the 1979 film version, was honored at number 33 on AFI's 100 Years ... 100 Songs.[249]
Notes
Bibliography
