Rock School; Interview With Ben Stein

Adams, Adam Lee, Adamowski, Buehler, Burns, Burns, Burns. Scuse, I fall in love. I've got a fan, so I'll pay. I'm hot for teacher. It's time for school, Rock School. With your hosts, Dr. Joe Burns. Class is in. This is the Rock School Radio Show, Rock School Radio Network. Broadcasting from the campus southeast in Louisiana University. That's right, I'm not in my home studio. I'm back on campus recording this. In fact, my wife's not even with me. Why? Not because she got smart and left me, but because I have a special

Rock School show for you today. I have an interview with Ben Stein to play for you today and some music that Ben Stein likes. Here's the story. If you remember, I don't know, maybe a year ago or so, and all the way back to the beginning of the show, we used to have this clip that started the show that we pulled from Everclear's song, AM Radio. And that was the first thing you heard. Well, again, about a year ago, maybe a little less, maybe 10 months ago, I received this file in my email box from this guy up in Canada. And it was Ben Stein recreating his famous roll call from Ferris Bueller's Day Off. It sounds like this. Adams. Adam Lee. Adamowski. Bueller. Burns. Burns. Burns. You know, I about fell out of my chair when I heard it. And I've had people say to me that's really clever what you did with that

Ben Stein thing. Where did you find him saying burns? So you could, you know, edit it. So it sounds like he's saying your name at the end. Well, he actually is saying my name at the end. That's really Ben Stein and he's really saying my name at the end. Here's how it happened. This guy named Mike Visser is a fan of the show. He's a studio manager at the director's chair, Calgary, Alberta, Canada. If you'd like to see it, it's online at director'schaircalgary .com. Once again, director'schaircalgary .com. Well, Mike Visser is a fan of the radio show and has a connection to Ben Stein. And said, hey, would you redo this so Joe can use it as the beginning of his radio show? And not anything I asked for. It was completely unsolicited on my part. Well, he gave it to me. And of course, I put it in there as the beginning of the radio show. And it's something that I've really cherished and have thanked Mike a hundred times for. Well, Mike was getting together with Ben and they

were going to see each other on vacation. And Mike said, hey, I may very well get the ability to ask Ben Stein some music questions. Now, you, meaning me, you probably know him as this conservative pundit and this guy that worked in the Nixon administration, this speechwriter. But what you don't know about Ben is that he was a hippie. And he was a huge fan of the music of the 60s. You should put together a bunch of questions. Send the questions to me. I'll ask the questions of Ben, record the answers. And then you can edit it all together and make an interview with Ben Stein for the Rock School radio show. And he says, is that anything you're interested in? Well, yeah, of course I'm interested. So I put together a bunch of questions. I ask the people on Facebook. Do you want to ask some questions of Ben Stein? Ben answered some. Ben answered, not answered others. And what I have here are his responses. And I figured I would play those for you

today. So that's what we're doing today. An interview with Ben Stein. We'll begin with this one. I said, Ben, simply tell me what music meant in your young life. Music in my young life meant an enormous amount. I felt as if it was freeing, liberating, energizing, offered the promise of sex and romance. I mean, I first started really paying attention to the music in a big way when I was, oh, a very young kid, six, seven, eight years old, and could memorize and sing a lot of songs. But when rock and roll came on the scene, it was like a nuclear bomb that exploded, it cleared away all the mist of repression. And it was that incredibly wonderful mixture of hillbilly and African -American or Negroes, who used to say in those days, singing that made me feel as if anything was possible. Anything could happen. And once we were dancing, I was a very good dancer when I was young. I was thin, I had good breath. Now I've lost all my breath

through the ass of it. I was a good dancer when I was dancing, listening to rock and roll music. It was just unbelievable. I felt free. I felt of what I would call centuries, millennia of being kept down as a Jew. And even in America, even with a very successful prosperous father, not wildly prosperous, but quite prosperous, I felt kept down as a Jew. But with the music, I felt I could do anything. There's a wonderful book, which I strongly recommend to everyone to read, called We Are Not Afraid, about what music meant to African -Americans, and how it freed them after their weeks, laborious, horrible work, and mistreatment, how free they felt, listening to their rock and roll. And I sort of felt that same way. It's point of time, get up! And now everybody's sitting in the union hall. He's holding time. He's been here this time.

So get with, don't quit. Get up! Do the party with your partners. I'm in a big boss line. But here we do that. You want to look good, fine. So get with, don't quit. Get up! Now you turn to the left. But I'll say to you, turn to the right. But I'll say it all now, to you. Yeah, yeah, the little baby, now hop. Oh, oh, baby. Oh, oh, baby. Oh, oh, baby. Do it, baby. Oh, baby. Oh, baby. Do it. Gonna see this easy. You know, she lives next door. She's turned on the corner. She's

taken my floor. Yeah, I just kept with it. Don't quit. Get up! Do the party with your partners. I'm in a big boss line. But here we do that. So get with, don't quit. Get up! Yeah, do the party with her. I'll say to you, turn to the right. But I'll say it all now, to you. Yeah, yeah, the little baby, now hop. Yeah, yeah, the little baby. Oh, oh, baby. Oh, baby. Oh, baby.

Oh, baby. When I was given the opportunity to ask questions of Ben Stein and was told that he was a hippie, the first thing it did was go online and start looking at pictures of him. You can find it pretty easily. Ben Stein is a young man and he had hippie hair. There's no two ways about that. In the 60s were where the hippies were. And I immediately think of Woodstock when I think of hippies. And I've seen the Woodstock movie. And I kind of heard in the statements that, man, music's going to change the world. And with this music, things are going to happen. So I asked Ben Stein through Mike Visser. I said to him, what was the perception in terms of music of the young people in the 1960s? Did they really believe that the music they were listening to could change the world? Did they believe that? No, no. So let me give it to you straight, OK, since we're all old pals here. The hippie movement was entirely about getting high and having sex. It had nothing. Politics was nothing. They could have been marching for the American Nazi party. As

far as they were concerned, it was a way of telling girls it was all right for them to have sex. As far as they were concerned, it was a way of saying it's all right to get high. And so the music really had very little to do with any kind of ideological cause. It could have been any ideological cause. And in fact, Bob Dylan, this is one of the great, great stories of music, which I don't think I've ever told you. Maybe I have, is Bob Dylan started off singing at times they are a change in, which was probably the best anthem of the civil rights movement there's ever been, except for the actual black spiritual we shall overcome. And he wound up singing, now he now sings when he performs, not always, but sometimes dixie. And so it was all about what was entertaining. It would get you somewhere at the moment. But I have to say, when we heard the times are changing, we felt something, we felt something, but it was mostly something that was going to get us to have some girl like

us spend time with us. I remember very vividly, there was a song, by Crosby Stills National, called Ohio, Ten Soldiers of Nixon's Drumming. We're finally on our own this summer, I hear them coming for dead in Ohio. Do you know that song? It's an incredibly great song. And I can remember singing that song to a group of students at Yale Law School just standing up and defying the teachers who were bullying us. It was during, it was right after the shooting of Kent State. I remember singing that. And the girls of the class all swimming, and I think, oh boy, boy, got paid now. Music Ten Soldiers of

Nixon's Drumming. We're finally on our own this summer, I hear the drumming for dead in Ohio. I got to get down to it. Soldiers are cutting us down. Should have been gone long ago. What if you knew her and found her dead on the ground? How can you watch when we know? Music Ten Soldiers of Nixon's

Drumming. We're finally on our own this summer, I hear the drumming for dead in Ohio. I got to get down to it. How can you watch when we know? Music Ten Soldiers of Nixon's Drumming. We're finally on our own this summer, I hear the drumming for dead in Ohio. How can you watch when we know?

As a follow -up to the question about hippies, Ben was a fan, obviously, of the music he grew up with, as is everyone. You remember the music that was part of your childhood as the most? The 60s are seen as such a golden age of music. I wanted to ask him, Ben, did you know it? Did you sense it? Did you feel that at that time that the music of the 60s was the golden age of music as we believe it is today? The absolute golden age of music. Unbelieve us, the golden age of everything. It was the golden age of everything. It was just the best time to be alive. There's ever been. It was the best time to be alive. There's ever been. I mean, we had World War II, the hardest of World War II, and then we had in the starting of the mid -50s, early 50s, mid -50s, the best times we've ever had. And by the time I was in law school, which was late 60s,

it was paradise. By the time I was in college, it was paradise. I mean, it had gone from being a fearful, depressing, violent time, to being a glorious, open, wonderful time. And the music was a part of that. It didn't cause it, but it was symptomatic of it. But it was not the music that caused us to have mass prosperity. It was not the music that caused the invention of marijuana, but it was the music that accompanied. The music was the theme song of a very happy generation. Now we're old, but we listen to the music, and we love it still. I find it very, very freeing even now to hear it. I'm 70 years old, and when I hear the songs that were popular and that made me snap to attention when I was in the 50s and 60s, 1950s and 1960s, it still makes me snap to attention. Music Music

Music Music Music Music

Music Music There's another question I asked of Ben Stein. I had

always heard, or I have heard this theory at least, that 60s music was so much better, or was the Golden Age of music, or however you want to put it, because it was a music that had something to rebel against. The music had not just idea of love, or this, or that, but there was specifically something to rebel against. And I asked him about that. Was the music so good because it was a music that was based in a rebellion? Well, we definitely had something to rebel against, but I think mostly it was just better. I mean, people sang better, the music was better, there wasn't this horrifying clanger of noise, which young people call music. Let me give you an example. When I was a young lad in junior high school in high school, there was a very small radio station near my house called WDON. It was owned and run by a young man, hardly any older than we were, Dave DON, Dillard. And his father was a wealthy man who'd given DON the

station as a gift. And he played great rock and roll, and I mean all after he started, at 3 .30 when he got out of school, he played till we had ever kind of license, only permit you to play till dusk. And we, every kid in high school, listen to that station all the time. And every song was great, okay, every song. And I just, I worshiped DON Dillard. Okay, now snap forward to when we put on wind bends times money in 1996 or 1995, maybe it was. And Jimmy Kimmel, who's become an enormous, enormous star, was a disc jockey for a radio station, a punk rock radio station in LA. And he said, come over and visit my studio sometime. And I went over there, and the music was so horrible. I said, you've purposely selected us to upset me. This can't be the real music, it can be realistic. You're just doing this to tease me. And he said, no, these are the real songs. And they're horrible, just unspeakably horrible. Now Jimmy's a genius, and Jimmy knows what good is, but the music was horrible.

Now today, today's music, it has nothing to rebel against. You know, it's like a very famous quote in under communism. Everything was forbidden, and everything mattered. And in capitalism, in 2015, nothing is forbidden, and nothing matters. We need to take a break now on rock school, but we'll be back in just a minute, and hear more from Ben Stein. He'll talk about who he believes may be the greatest musician of his day. In fact, maybe the greatest musician ever. Can you guess who it is? Back in a minute on rock school. Coming out of the break, once again, I'd like to thank Mike Visser, Studio

Manager of the Director's Chair, Calgary, Alberta, Canada. See them online, director'schaircalgary .com, for getting me in touch with Ben Stein, and having him answer the questions for this rock school radio show. So, who does Ben Stein like? Who does he consider one of the greatest musicians, if not the greatest musician? Well, according to Mike Visser and, of course, to Ben Stein, it's Bob Dylan. And I said, tell me about Bob Dylan, and hearing his biggest music for the first time in the 60s. See, I heard Bob Dylan after everybody knew what Bob Dylan was, and after he had been called the voice of a generation. And I had to find out, what was it like to hear Bob Dylan's music for the first time? A brand new album by Bob Dylan comes out. And there's the music for the first time. What was it like to hear a cultural impact as it was happening? I had a friend named Marvin Goldberg, who had a light blue

triumph TR -3 sports car. And he and I were driving on the road to Dallas Airport, which at that time, and outside Washington was just completely deserted. And there was a folk music station called W .A .V. and he said, there's this great guy they play him every few minutes. His name is Bob Dylan. And he sang, I believe, the song he sang at that moment, was the times they are changing. And I remember thinking, holy smoke, this we have got it made, we are all set. It was like inheriting money. It was like, it was that good. It was like inheriting money to be the inheritor of that kind of musical eloquence. Freedom, power. It was like inheriting money. And believe me, I've inherited money. I know it was like it's a great feeling. We miss your parents, but it's a great feeling. I'm gathering our people wherever you're on. And adding myth that the waters around you have grown And accepted that soon you'll be drenched to the

bone. If your time be with what's saving Then you better start swimming or you'll sink like a stone For the times they are changing. I'm writers and critics who'll prophesize with your opinions And keep your eyes wide the test won't come again And don't speak too soon for the wheels still in spin And there's no telling who let its name in For the loser and I will be later to win For the times they are changing. I'm senators, congressmen, please

heed the call Don't stand in the doorway, don't lock up their hall Or he that gets hurt or the he who has stalled They battle outside raging We'll sing shake your windows and rattle your walls For the times they are changing. The mothers and fathers throughout the land Then don't criticize what you can understand Your sons and your daughters are beyond your command Your old road is rapidly aging Please get out of the new one of your candle and your hand For the times they are changing. The line it is drawn, the cursed is cast

The slow one now will later be fast As the present now will later be fast The order is rapidly fading And the first one now will later be last For the times they are changing. So hearing Bob Dylan to Ben Stein was like inheriting money Well, again I wasn't around when Bob Dylan was putting out the brand new music And being a person who does this kind of radio show One of the first things that pops into my mind every time I think of Bob Dylan was of course the new port folk festival Where Bob Dylan went from folk acoustic instruments to electric instruments So I had to ask Ben Stein, what do you think about that? The change from folk over to electric instruments Bob Dylan summed it up himself so

incredibly well He said I was playing acoustic, I loved it, it was great, I had fans, it was great Then I switched to playing electric and I played like a rolling stone And the audience went crazy and women were screaming and jumping up and down And I knew from then on I didn't want to be a folk singer under the rock star And everyone wants to be a rock star Who doesn't want to be a rock star? Who in his right mind would choose not to be a rock star? I mean I don't mean necessarily a literal rock star But a rock star in a sense that you get wildly outsized adulation and praise And money and girls for your work Once upon a time you'd been so fine, do the bunch of diamonds in your brand Then you,

people call, say be wed, doll, you're bound to fall, you thought they were all I can't you, you used to laugh about, ever find a head worth Hang it out, now you don't talk so loud Now you don't seem so proud about having the best grounding You're next to me, oh, how does it feel? How does it feel to be without home? Like a complete unknown, like a rolling stone I know you're gone to define a school alright

Miss Loli but you know you're only used to get Houston is Nobody's ever taught you how to live out on the street And now you're gonna have to get used to it You say you never compromise with a mystery trend But now you realize he's not selling any alibi As you stand to the vacuum of his eyes And say do you want to make a deal? How does it feel? How does it feel? Three on your own, with no direction home

A complete unknown, like a rolling stone Are you never turned around to see the frowns on the juggles and the clowns when they all did? Tricks for you Never understood that it ain't no good You shouldn't let other people get your kicked for you You used to ride on a chrome horse with your diplomas Who carried on his shoulder in, Tommy's cat Ain't it hard when you discover that? He really wasn't where it's at

After he took from you everything He could feel How does it feel? How does it feel? How do you have your own, with no direction home? Like a complete unknown Like a rolling stone Oh, the princess, all the people and all the pretty people They all break and thinkin' that day Got it made Extinging all precious gifts But you better take it down and ring You better pron it, babe

You used to be so amused And Napoleon and Rakes And the language that he used But now he calls you, you can't refuse When you ain't got nothin', you got nothin' to do You're invisible now, you got no secrets You can't feel How does it feel? How does it feel? How does it feel? To be on your own With no direction home Like a complete unknown Like a rolling stone In my list of

questions for Ben Stein I thought we were talking about the 60s a great deal And I wanted to ask him a question about music that was before the 60s And I wanted to ask him a question about the music of today So I started with a question beforehand Ben, were you a fan of the King of Rock and Roll? Did you like Elvis Presley? Huge Elvis fan, huge Elvis fan I don't know if you can hear through the walls here I was just listening to Elvis this morning I don't think you can The walls are pretty good here But I love Elvis I just love Elvis I don't just like him I love him And you know I've met him I've told you about how I met him Let me tell you that story Because that is really an amazing story My father was a high official at the White House He was chairman of the Council of Economic Advisors And my father, although a brilliant unbelievable brain no intellectual Just so smart it just would take the paint right off the walls He loved Nixon too And one day I think it was in 71 or 72 Before I was full -time with the White House My father and I were having lunch at the White

House mess Which was not a mess at all It was a mess I've pouted after a mess all in a Navy ship A mess room in a Navy ship And my father said to me Would you recognize Elvis Presley if you saw him in person? And I said of course And my father said he's sitting right behind you And I said no that's impossible And I said well have a look So I got up, turned around I turned around as Elvis Presley Having lunch with Bob Haldeman And Bob Haldeman was Dickson's Chief of Staff And a very feared guy But a great guy And I walked over just one step I was just one step away Said Mr. Presley I said my name has been Stein I would like to know that there are billions of fans of yours in the world Everyone in the world is your fan But I'm your biggest fan And he just said thank you very much And that was that But I made Elvis Presley And threw a party in the county jail The prison members there They began

to wait The members jumping down the jump again to swing You should have heard you knocked out jail back See that rock Everybody let the rock Everybody don't say a fuck What's there to do with the jail out of rock Spine and murder played it in a sack It's a phone Little Joe would blow it on the slide drum bone From above and hell I know a crash boom bang The whole rhythm's such a wild and purple gang Let the rock Everybody let the rock Everybody don't say a fuck What's there to do with the jail out of rock Now I'm a 47, said the number three Are you the cutest jailbird I ever did to see I sure would be delighted with your pop and knee Come on and do the jail out of rock Everybody let the rock Everybody let the rock Everybody don't say a fuck What's there to do with the jail out of rock

Side, side, side, we're sitting on the block It's toned Keepin' on and on The water's said nobody don't you be no squire You can't find a pot and use a wood and a jail out of rock Everybody let the rock Everybody in the room say a fuck What's there to do with the jail out of rock Shipped ahead and sat in the books for heaven's sake No one's lookin' out of jazz to make a break But it turned to shift the idea satin' next to next I'm gonna stick around a while to get my kickin' right Everybody let the rock Everybody in the room say a fuck What's there to do with the jail out of rock Man, do the jail out of rock Man, do the jail out of rock Man, do the jail out of rock We have to take one more

break here on the Rock School Radio show We'll be back to wrap up our interview with Ben Stein Back in a minute on Rock School Rock School Radio I decided to ask Ben Stein about the music of

today We've talked about the 50s, talked about the 60s Does Ben listen to any of the music of today And if so, what does he think of it? I listen to music all day long I think there are very few people who listen to music as much as I do And I can't make headroom tale out of today's songs Except for rap songs Rap songs, I find, do have something to say What they have to say is heart breaking, which is the worship of money It's way more about money than about sex It's largely about sex, it's way more about money But our songs were not about money I don't remember any big rock and roll hits that were mostly about making money There was one called Money Honey But that was nothing like the kind of hits that the rap stars have So, I don't think this is a much in the way of music nowadays I mean, it's not just coincidence that apparently the big, very successful radio stations are very largely oldies stations What

Honey, she has what Honey, what Honey If you want to stay here with me I was clinged at the screen and was so hard -pressed I called the woman that I love the best I finally got my baby by my hand past three She said I like to know what you want with me But you want it, but you want it But you want it, but you want it But you want it, but you want it If you want to get along with me She can scream and say to what's wrong with you From this day on our romance is through I said tell me baby, face to face I'll cook another man take my place I said I like to know what you want with me Money

Honey But you want it, but you want it If you want to get along with me Help Now I've learned my lesson and now I know The sun may shine and the winds may blow A wind may come and a wind may go But before I say I love them so I want it, but

you want it If you want to get along with me And you want it, but you want it If you want to get along with me And you want it, but you want it If you want to get along with me Blatantly Bob Dylan was the artist that had that much impact on Ben Stein But here's a question Was there any other artist, any other single artist that stood out to Ben Stein Was there another shot out of the blue, a bolt out of the sky Like Bob Dylan That made Ben Stein sit up and take notice And actually there was And it was a woman But I remember very, very well Monterey Pop I'm not the Newport

Jesuits I remember Monterey Pop Where Janice Joplin sang That was incredible I mean that was absolutely incredible I mean when Janice Joplin burst on the scene That was unbelievable I mean that was just again like another nuclear bomb exploding That she was by far the dominant woman rock and roll artist By far, by a million miles There were other great ones The Supremes, Martha the Vendela's The Surrals They were all great But Janice Joplin Oh my gosh, she's unbelievable I mean it's like comparing the Sun with an electric light bulb It's

on my wings, we should try We'll see the end of it Check out my heart With home around the world Hey, don't hold me Yeah And it don't hold me I don't know, I don't believe I'm mixing up on us Check this home around the world Hey Don't hold me Hey And it doesn't

hold me And it doesn't hold me It's gone Rain is rain And it doesn't matter You don't never change And it doesn't shake above all that And it holds real well And it doesn't hold me And it doesn't hold me We're gone on the world We're gone on the world Let's take him above all that is on our world We're gone on the world We're gone on the world We're gone on the world And it don't hold me When you're brought up You can't even make it How much you love me I can't even make it They don't want me, they don't want me They don't want me, they don't want me I'm worried, it's a sick of a body And I hold it out while Don't

want me, yeah I have one more question for Ben Stein Before I ask it, one more time Let me say thank you to Mike Visser, Studio Manager, the Director's Chair, Calgary, Alberta, Canada, Get him online at director'schaircalgary .com It's the one I think most people want to know Even if you have a cursory knowledge of Ben Stein It's the one that people on Facebook ask It's the one I'm interested in because it's the one that explains why Ben Stein was asked to do the introduction to the show Ben, how in the world did you get that part in Ferris Pueller's Day Off? I'll let you answer, but first, thanks for listening, classes dismissed That was the luckiest break of my entire life Aside from meeting my wife and every fall in love with me That was the luckiest break of my life I was friends with

a very, very wonderful young man About my age dad, we were both young I'm Steve Green, he worked at Werner Brothers He introduced me to a found in Michael Chinnitz Michael was at the time, had deputy, had a production universal It's a huge job And then he became head of the John Hughes company And he asked if I wanted to be in a movie A John Hughes movie, and I was to ad lib Just off camera call the role Adams, Adam Lee, Adamowski, Buehler, Buehler, Buehler And I did that off camera, and the student next just laughed so hard That John Hughes said, do it on camera and add a scene If something you know, don't write it down, just do it off the top of your head And since supply side economics at the moment was a very controversial subject I did a little take about supply side economics And off we were, they were off to the races And I changed my life And that day, there was one day, there was one day's work But maybe not even a full day, probably not even a full day It changed my life, totally changed my life It was, it was like winning the

lottery It was like, just like having my wife, it was like winning the lottery, only better Music Early one morning, the sun was shining I wasn't laying in bed Wondering if she'd changed it all If I had was still red Her folks, they said our lives together She was gonna be red They never did like mama's homemade dress Papa's bang put words on thinking of And I was standing over side of the road Right falling on my shoes Heading out for the East Coast Lord knows I've paid some dues Getting through Tangled up in blue She was married and we first met Soon to be divorced I helped her out of the jam I guess But it

used a little too much force We drove that car as fast as we could I abandoned it out west It's wet up on the dark side night But the green in one bed And she turned around And looking at me, I was walking away I heard a say, oh my shoulder will be To get something on the avenue Tangled up in blue I had a job in the great north woods Working as a cook for a spell But I never did like it all and much And one day the axe just fell So I drifted down and knew only So I'd look at what I'd be employed Working for a while on a fishing boat Right outside of the Delecroy But all the while I was alone The past was close behind I've seen a lot of women But she never escaped my mind Not just

blue Tangled up in blue She was working in a topless place And I stopped involved here I just kept looking at the side of a face And the spotlight so clear Later on when the crowd bent out I just about to do the same She was standing there And back in my chair I said Tim, I don't know your name I murdered something underneath my breath She studied the lines of my face I must admit felt a little uneasy When she bent down the top of the legs It was up my shoe Trying to love in blue She let her burn around the stove And I bugged me and prayed I thought you'd never say hello She said you'd look like a silent time And she

opened up a book of poems And handed it to me Written by Italian poet From the 13th century And everyone of them were trying to And go like fun and cold Pouring off of every page Like it was written in my soul But me to use Time to love in blue I lived with him on a huge street A basement down the stairs That was music in the cafes of night And revolution in the air And he started in the feeling with slaves And something inside of him died She had the cell of a thing She owned and froze up inside And when it finally about to fell out I became withdrawn The only thing I knew how to do Was to keep on keeping on Like a bird that flew Trying to love in blue

So now I'm going back again I got to get to her somehow All the people used to know That I'm in illusion coming out Some are mathematicians Some are commoners' wives Don't know how it all started I don't know what they knew of their lives But me I'm still on the road And it's going on a journey We always refuse Say we just sell it So my different point of view Trying to love in

blue Well I gave it all A child of God He was walking along The road And I had to step down And where are you going Mr. Coleman Say I'm going down Do you ask us I'm going to join in And I'm going there I got to get back To my land And set my soul Don't leave me We are scholars We are scholars We are people And we don't call it And we'd like to get ourselves Activity God We're a great kind of woman Beside it I have come to lose the smile And I feel myself And I call in

something turning And maybe it's the time of the year Yes, I'm learning It's the time of the year And I don't know And I forgot It's going on a journey We are scholars We are scholars We are people And we don't call it And we'd like to get ourselves Activity God Oh We are scholars We are scholars We are people And we don't call it And we've got to get ourselves

Activity God By the time we got through One storm We werearis And numbers Wall And everywhereildes так And Azerbaijan And that dreams our song Obama I'm a dead man, you're trying Shotgun in the sky Turning into butterflies Above our nation We are stars We are stars We are stars We are stars And we back to get our sand Back to the sky We are stars