The next section focused on the history of US support for South Vietnam under Eisenhower, and the problems of political leadership. It referenced Cardinal Francis Spellman (Archbishop of New York, 1939-1967), who supported LBJ in the 1964 presidential election and controversially backed his Vietnam policy, which drew criticism from within the Church. He had met the South Vietnamese leader Diem in 1950 and supported his leadership.2 The next verse looked at US military tactics, noting the problems with ground troops, the introduction of US air power, and North Vietnamese tunnels (such as along the Ho Chi Minh trail). It also mentioned that the US government wanted negotiations to secure South Vietnam as an independent, non-communist country. Note the reference to Hubert Humphrey, US Vice-President (1965-1969).
Crisis Records, 1610 Wandering Drive, Monterey Park, Calif.; front cover titled "Hey, Hey... LBJ! and other Songs of the U.S. Antiwar Movement sung by Bill Frederick" over a photograph of a large antiwar march with banners reading "Bring the Troops Home" and "Jobs, Homes, Schools – War No More". The back cover, headed "Comes Along Bill Frederick Declaring Peace on War" ("This is a Sing-In! This is a Wry Eye on the Number One Guy"), carries two photographs of Frederick with guitar and sleeve notes signed Joyce Ann Miller with a short paragraph on each song: "Ship Ahoy" grew from a heckler's question at an anti-war demonstration; "Empty" is an interview with an individual Vietnamese citizen; "The Dean Rusk Song" quotes the New York Times of 26 January 1966; "Hitler Ain't Dead" arose from the Dominican crisis; "Just Another Day" from student demonstrations against germ-warfare research at the University of Pennsylvania; "R. and R." gives a G.I.'s view; "Hands Off" is dedicated to G.I.s who opposed the war (Privates Petrick, Johnson, Mora, Samas and Capt. Levy); "Quiet Sound" recalls a silent WSP demonstration of February 1965; "And Freedom Too" quotes President Eisenhower on Indo-China (1953); "Exploitation Blues"; "Hey, Hey, L.B.J." grew from the chant of the April 15th Spring Mobilization in New York and San Francisco; "How Far Have We Come" sums up two hundred years of American history. The notes describe Frederick as a twenty-four-year-old Philadelphian with a degree in physics, working toward a Ph.D. in molecular biology, who sang at teach-ins, rallies and coffee houses along the Eastern Seaboard. [From the record sleeve and labels]
Crisis Records, 1610 Wandering Drive, Monterey Park, Calif.; front cover titled "Hey, Hey... LBJ! and other Songs of the U.S. Antiwar Movement sung by Bill Frederick" over a photograph of a large antiwar march with banners reading "Bring the Troops Home" and "Jobs, Homes, Schools – War No More". The back cover, headed "Comes Along Bill Frederick Declaring Peace on War" ("This is a Sing-In! This is a Wry Eye on the Number One Guy"), carries two photographs of Frederick with guitar and sleeve notes signed Joyce Ann Miller with a short paragraph on each song: "Ship Ahoy" grew from a heckler's question at an anti-war demonstration; "Empty" is an interview with an individual Vietnamese citizen; "The Dean Rusk Song" quotes the New York Times of 26 January 1966; "Hitler Ain't Dead" arose from the Dominican crisis; "Just Another Day" from student demonstrations against germ-warfare research at the University of Pennsylvania; "R. and R." gives a G.I.'s view; "Hands Off" is dedicated to G.I.s who opposed the war (Privates Petrick, Johnson, Mora, Samas and Capt. Levy); "Quiet Sound" recalls a silent WSP demonstration of February 1965; "And Freedom Too" quotes President Eisenhower on Indo-China (1953); "Exploitation Blues"; "Hey, Hey, L.B.J." grew from the chant of the April 15th Spring Mobilization in New York and San Francisco; "How Far Have We Come" sums up two hundred years of American history. The notes describe Frederick as a twenty-four-year-old Philadelphian with a degree in physics, working toward a Ph.D. in molecular biology, who sang at teach-ins, rallies and coffee houses along the Eastern Seaboard. [From the record sleeve and labels]
Crisis Records, 1610 Wandering Drive, Monterey Park, Calif.; front cover titled "Hey, Hey... LBJ! and other Songs of the U.S. Antiwar Movement sung by Bill Frederick" over a photograph of a large antiwar march with banners reading "Bring the Troops Home" and "Jobs, Homes, Schools – War No More". The back cover, headed "Comes Along Bill Frederick Declaring Peace on War" ("This is a Sing-In! This is a Wry Eye on the Number One Guy"), carries two photographs of Frederick with guitar and sleeve notes signed Joyce Ann Miller with a short paragraph on each song: "Ship Ahoy" grew from a heckler's question at an anti-war demonstration; "Empty" is an interview with an individual Vietnamese citizen; "The Dean Rusk Song" quotes the New York Times of 26 January 1966; "Hitler Ain't Dead" arose from the Dominican crisis; "Just Another Day" from student demonstrations against germ-warfare research at the University of Pennsylvania; "R. and R." gives a G.I.'s view; "Hands Off" is dedicated to G.I.s who opposed the war (Privates Petrick, Johnson, Mora, Samas and Capt. Levy); "Quiet Sound" recalls a silent WSP demonstration of February 1965; "And Freedom Too" quotes President Eisenhower on Indo-China (1953); "Exploitation Blues"; "Hey, Hey, L.B.J." grew from the chant of the April 15th Spring Mobilization in New York and San Francisco; "How Far Have We Come" sums up two hundred years of American history. The notes describe Frederick as a twenty-four-year-old Philadelphian with a degree in physics, working toward a Ph.D. in molecular biology, who sang at teach-ins, rallies and coffee houses along the Eastern Seaboard. [From the record sleeve and labels]
Crisis Records, 1610 Wandering Drive, Monterey Park, Calif.; front cover titled "Hey, Hey... LBJ! and other Songs of the U.S. Antiwar Movement sung by Bill Frederick" over a photograph of a large antiwar march with banners reading "Bring the Troops Home" and "Jobs, Homes, Schools – War No More". The back cover, headed "Comes Along Bill Frederick Declaring Peace on War" ("This is a Sing-In! This is a Wry Eye on the Number One Guy"), carries two photographs of Frederick with guitar and sleeve notes signed Joyce Ann Miller with a short paragraph on each song: "Ship Ahoy" grew from a heckler's question at an anti-war demonstration; "Empty" is an interview with an individual Vietnamese citizen; "The Dean Rusk Song" quotes the New York Times of 26 January 1966; "Hitler Ain't Dead" arose from the Dominican crisis; "Just Another Day" from student demonstrations against germ-warfare research at the University of Pennsylvania; "R. and R." gives a G.I.'s view; "Hands Off" is dedicated to G.I.s who opposed the war (Privates Petrick, Johnson, Mora, Samas and Capt. Levy); "Quiet Sound" recalls a silent WSP demonstration of February 1965; "And Freedom Too" quotes President Eisenhower on Indo-China (1953); "Exploitation Blues"; "Hey, Hey, L.B.J." grew from the chant of the April 15th Spring Mobilization in New York and San Francisco; "How Far Have We Come" sums up two hundred years of American history. The notes describe Frederick as a twenty-four-year-old Philadelphian with a degree in physics, working toward a Ph.D. in molecular biology, who sang at teach-ins, rallies and coffee houses along the Eastern Seaboard. [From the record sleeve and labels]
Crisis Records, 1610 Wandering Drive, Monterey Park, Calif.; front cover titled "Hey, Hey... LBJ! and other Songs of the U.S. Antiwar Movement sung by Bill Frederick" over a photograph of a large antiwar march with banners reading "Bring the Troops Home" and "Jobs, Homes, Schools – War No More". The back cover, headed "Comes Along Bill Frederick Declaring Peace on War" ("This is a Sing-In! This is a Wry Eye on the Number One Guy"), carries two photographs of Frederick with guitar and sleeve notes signed Joyce Ann Miller with a short paragraph on each song: "Ship Ahoy" grew from a heckler's question at an anti-war demonstration; "Empty" is an interview with an individual Vietnamese citizen; "The Dean Rusk Song" quotes the New York Times of 26 January 1966; "Hitler Ain't Dead" arose from the Dominican crisis; "Just Another Day" from student demonstrations against germ-warfare research at the University of Pennsylvania; "R. and R." gives a G.I.'s view; "Hands Off" is dedicated to G.I.s who opposed the war (Privates Petrick, Johnson, Mora, Samas and Capt. Levy); "Quiet Sound" recalls a silent WSP demonstration of February 1965; "And Freedom Too" quotes President Eisenhower on Indo-China (1953); "Exploitation Blues"; "Hey, Hey, L.B.J." grew from the chant of the April 15th Spring Mobilization in New York and San Francisco; "How Far Have We Come" sums up two hundred years of American history. The notes describe Frederick as a twenty-four-year-old Philadelphian with a degree in physics, working toward a Ph.D. in molecular biology, who sang at teach-ins, rallies and coffee houses along the Eastern Seaboard. [From the record sleeve and labels]
Crisis Records, 1610 Wandering Drive, Monterey Park, Calif.; front cover titled "Hey, Hey... LBJ! and other Songs of the U.S. Antiwar Movement sung by Bill Frederick" over a photograph of a large antiwar march with banners reading "Bring the Troops Home" and "Jobs, Homes, Schools – War No More". The back cover, headed "Comes Along Bill Frederick Declaring Peace on War" ("This is a Sing-In! This is a Wry Eye on the Number One Guy"), carries two photographs of Frederick with guitar and sleeve notes signed Joyce Ann Miller with a short paragraph on each song: "Ship Ahoy" grew from a heckler's question at an anti-war demonstration; "Empty" is an interview with an individual Vietnamese citizen; "The Dean Rusk Song" quotes the New York Times of 26 January 1966; "Hitler Ain't Dead" arose from the Dominican crisis; "Just Another Day" from student demonstrations against germ-warfare research at the University of Pennsylvania; "R. and R." gives a G.I.'s view; "Hands Off" is dedicated to G.I.s who opposed the war (Privates Petrick, Johnson, Mora, Samas and Capt. Levy); "Quiet Sound" recalls a silent WSP demonstration of February 1965; "And Freedom Too" quotes President Eisenhower on Indo-China (1953); "Exploitation Blues"; "Hey, Hey, L.B.J." grew from the chant of the April 15th Spring Mobilization in New York and San Francisco; "How Far Have We Come" sums up two hundred years of American history. The notes describe Frederick as a twenty-four-year-old Philadelphian with a degree in physics, working toward a Ph.D. in molecular biology, who sang at teach-ins, rallies and coffee houses along the Eastern Seaboard. [From the record sleeve and labels]
Crisis Records, 1610 Wandering Drive, Monterey Park, Calif.; front cover titled "Hey, Hey... LBJ! and other Songs of the U.S. Antiwar Movement sung by Bill Frederick" over a photograph of a large antiwar march with banners reading "Bring the Troops Home" and "Jobs, Homes, Schools – War No More". The back cover, headed "Comes Along Bill Frederick Declaring Peace on War" ("This is a Sing-In! This is a Wry Eye on the Number One Guy"), carries two photographs of Frederick with guitar and sleeve notes signed Joyce Ann Miller with a short paragraph on each song: "Ship Ahoy" grew from a heckler's question at an anti-war demonstration; "Empty" is an interview with an individual Vietnamese citizen; "The Dean Rusk Song" quotes the New York Times of 26 January 1966; "Hitler Ain't Dead" arose from the Dominican crisis; "Just Another Day" from student demonstrations against germ-warfare research at the University of Pennsylvania; "R. and R." gives a G.I.'s view; "Hands Off" is dedicated to G.I.s who opposed the war (Privates Petrick, Johnson, Mora, Samas and Capt. Levy); "Quiet Sound" recalls a silent WSP demonstration of February 1965; "And Freedom Too" quotes President Eisenhower on Indo-China (1953); "Exploitation Blues"; "Hey, Hey, L.B.J." grew from the chant of the April 15th Spring Mobilization in New York and San Francisco; "How Far Have We Come" sums up two hundred years of American history. The notes describe Frederick as a twenty-four-year-old Philadelphian with a degree in physics, working toward a Ph.D. in molecular biology, who sang at teach-ins, rallies and coffee houses along the Eastern Seaboard. [From the record sleeve and labels]
Crisis Records, 1610 Wandering Drive, Monterey Park, Calif.; front cover titled "Hey, Hey... LBJ! and other Songs of the U.S. Antiwar Movement sung by Bill Frederick" over a photograph of a large antiwar march with banners reading "Bring the Troops Home" and "Jobs, Homes, Schools – War No More". The back cover, headed "Comes Along Bill Frederick Declaring Peace on War" ("This is a Sing-In! This is a Wry Eye on the Number One Guy"), carries two photographs of Frederick with guitar and sleeve notes signed Joyce Ann Miller with a short paragraph on each song: "Ship Ahoy" grew from a heckler's question at an anti-war demonstration; "Empty" is an interview with an individual Vietnamese citizen; "The Dean Rusk Song" quotes the New York Times of 26 January 1966; "Hitler Ain't Dead" arose from the Dominican crisis; "Just Another Day" from student demonstrations against germ-warfare research at the University of Pennsylvania; "R. and R." gives a G.I.'s view; "Hands Off" is dedicated to G.I.s who opposed the war (Privates Petrick, Johnson, Mora, Samas and Capt. Levy); "Quiet Sound" recalls a silent WSP demonstration of February 1965; "And Freedom Too" quotes President Eisenhower on Indo-China (1953); "Exploitation Blues"; "Hey, Hey, L.B.J." grew from the chant of the April 15th Spring Mobilization in New York and San Francisco; "How Far Have We Come" sums up two hundred years of American history. The notes describe Frederick as a twenty-four-year-old Philadelphian with a degree in physics, working toward a Ph.D. in molecular biology, who sang at teach-ins, rallies and coffee houses along the Eastern Seaboard. [From the record sleeve and labels]
Crisis Records, 1610 Wandering Drive, Monterey Park, Calif.; front cover titled "Hey, Hey... LBJ! and other Songs of the U.S. Antiwar Movement sung by Bill Frederick" over a photograph of a large antiwar march with banners reading "Bring the Troops Home" and "Jobs, Homes, Schools – War No More". The back cover, headed "Comes Along Bill Frederick Declaring Peace on War" ("This is a Sing-In! This is a Wry Eye on the Number One Guy"), carries two photographs of Frederick with guitar and sleeve notes signed Joyce Ann Miller with a short paragraph on each song: "Ship Ahoy" grew from a heckler's question at an anti-war demonstration; "Empty" is an interview with an individual Vietnamese citizen; "The Dean Rusk Song" quotes the New York Times of 26 January 1966; "Hitler Ain't Dead" arose from the Dominican crisis; "Just Another Day" from student demonstrations against germ-warfare research at the University of Pennsylvania; "R. and R." gives a G.I.'s view; "Hands Off" is dedicated to G.I.s who opposed the war (Privates Petrick, Johnson, Mora, Samas and Capt. Levy); "Quiet Sound" recalls a silent WSP demonstration of February 1965; "And Freedom Too" quotes President Eisenhower on Indo-China (1953); "Exploitation Blues"; "Hey, Hey, L.B.J." grew from the chant of the April 15th Spring Mobilization in New York and San Francisco; "How Far Have We Come" sums up two hundred years of American history. The notes describe Frederick as a twenty-four-year-old Philadelphian with a degree in physics, working toward a Ph.D. in molecular biology, who sang at teach-ins, rallies and coffee houses along the Eastern Seaboard. [From the record sleeve and labels]
Crisis Records, 1610 Wandering Drive, Monterey Park, Calif.; front cover titled "Hey, Hey... LBJ! and other Songs of the U.S. Antiwar Movement sung by Bill Frederick" over a photograph of a large antiwar march with banners reading "Bring the Troops Home" and "Jobs, Homes, Schools – War No More". The back cover, headed "Comes Along Bill Frederick Declaring Peace on War" ("This is a Sing-In! This is a Wry Eye on the Number One Guy"), carries two photographs of Frederick with guitar and sleeve notes signed Joyce Ann Miller with a short paragraph on each song: "Ship Ahoy" grew from a heckler's question at an anti-war demonstration; "Empty" is an interview with an individual Vietnamese citizen; "The Dean Rusk Song" quotes the New York Times of 26 January 1966; "Hitler Ain't Dead" arose from the Dominican crisis; "Just Another Day" from student demonstrations against germ-warfare research at the University of Pennsylvania; "R. and R." gives a G.I.'s view; "Hands Off" is dedicated to G.I.s who opposed the war (Privates Petrick, Johnson, Mora, Samas and Capt. Levy); "Quiet Sound" recalls a silent WSP demonstration of February 1965; "And Freedom Too" quotes President Eisenhower on Indo-China (1953); "Exploitation Blues"; "Hey, Hey, L.B.J." grew from the chant of the April 15th Spring Mobilization in New York and San Francisco; "How Far Have We Come" sums up two hundred years of American history. The notes describe Frederick as a twenty-four-year-old Philadelphian with a degree in physics, working toward a Ph.D. in molecular biology, who sang at teach-ins, rallies and coffee houses along the Eastern Seaboard. [From the record sleeve and labels]
Crisis Records, 1610 Wandering Drive, Monterey Park, Calif.; front cover titled "Hey, Hey... LBJ! and other Songs of the U.S. Antiwar Movement sung by Bill Frederick" over a photograph of a large antiwar march with banners reading "Bring the Troops Home" and "Jobs, Homes, Schools – War No More". The back cover, headed "Comes Along Bill Frederick Declaring Peace on War" ("This is a Sing-In! This is a Wry Eye on the Number One Guy"), carries two photographs of Frederick with guitar and sleeve notes signed Joyce Ann Miller with a short paragraph on each song: "Ship Ahoy" grew from a heckler's question at an anti-war demonstration; "Empty" is an interview with an individual Vietnamese citizen; "The Dean Rusk Song" quotes the New York Times of 26 January 1966; "Hitler Ain't Dead" arose from the Dominican crisis; "Just Another Day" from student demonstrations against germ-warfare research at the University of Pennsylvania; "R. and R." gives a G.I.'s view; "Hands Off" is dedicated to G.I.s who opposed the war (Privates Petrick, Johnson, Mora, Samas and Capt. Levy); "Quiet Sound" recalls a silent WSP demonstration of February 1965; "And Freedom Too" quotes President Eisenhower on Indo-China (1953); "Exploitation Blues"; "Hey, Hey, L.B.J." grew from the chant of the April 15th Spring Mobilization in New York and San Francisco; "How Far Have We Come" sums up two hundred years of American history. The notes describe Frederick as a twenty-four-year-old Philadelphian with a degree in physics, working toward a Ph.D. in molecular biology, who sang at teach-ins, rallies and coffee houses along the Eastern Seaboard. [From the record sleeve and labels]
Crisis Records, 1610 Wandering Drive, Monterey Park, Calif.; front cover titled "Hey, Hey... LBJ! and other Songs of the U.S. Antiwar Movement sung by Bill Frederick" over a photograph of a large antiwar march with banners reading "Bring the Troops Home" and "Jobs, Homes, Schools – War No More". The back cover, headed "Comes Along Bill Frederick Declaring Peace on War" ("This is a Sing-In! This is a Wry Eye on the Number One Guy"), carries two photographs of Frederick with guitar and sleeve notes signed Joyce Ann Miller with a short paragraph on each song: "Ship Ahoy" grew from a heckler's question at an anti-war demonstration; "Empty" is an interview with an individual Vietnamese citizen; "The Dean Rusk Song" quotes the New York Times of 26 January 1966; "Hitler Ain't Dead" arose from the Dominican crisis; "Just Another Day" from student demonstrations against germ-warfare research at the University of Pennsylvania; "R. and R." gives a G.I.'s view; "Hands Off" is dedicated to G.I.s who opposed the war (Privates Petrick, Johnson, Mora, Samas and Capt. Levy); "Quiet Sound" recalls a silent WSP demonstration of February 1965; "And Freedom Too" quotes President Eisenhower on Indo-China (1953); "Exploitation Blues"; "Hey, Hey, L.B.J." grew from the chant of the April 15th Spring Mobilization in New York and San Francisco; "How Far Have We Come" sums up two hundred years of American history. The notes describe Frederick as a twenty-four-year-old Philadelphian with a degree in physics, working toward a Ph.D. in molecular biology, who sang at teach-ins, rallies and coffee houses along the Eastern Seaboard. [From the record sleeve and labels]