I was looking for reviews of RATM's show and ran across this

http://www.latimes.com/entertainment/ne ... &cset=true

which I will not post in full, but this particular segment caught my attention. Does anyone know anything about this? Did you hear it, is there a "studio" version? etc.

This foreshadowed MC Black Thought’s mind-blowing conceptual mash-up of Bob Dylan’s “Masters of War” and “The Star-Spangled Banner.” Dylan’s pointed lyrics fit breathtakingly well with the national anthem’s music - and then the song segued into a more recognizable version that sprawled and sprawled, smoldering with righteous fury and cementing the relevance of this 40-year-old tune.

Please Register or Login
The story you requested is available only to registered members.

Registration is FREE and offers great benefits.

"fuck you i won't do what you tell me."

Thats odd, I never registered or anything and the link works for me...anyway, here is the whole thing


Everybody's got a song of protest
Anticipation was high for Rage Against the Machine, but that didn't mean they were the only band with a political edge on Sunday.
By Natalie Nichols, Times Staff Writer
April 30, 2007


For many, the last day of Coachella was all about the much-anticipated reunion of Rage Against the Machine. But Sunday offered a kaleidoscope of ways to rage against the machine before Zack de la Rocha and Co. took the main stage with their political, revolution-minded music.

Earlier on the same stage, conscious hip-hoppers The Roots mixed a potent cocktail of party and protest. The set offered originals like “Act Too (Love of My Life),” but a recurring motif was live mash-ups, blending classic rock, surf music, disco, funk, and more. This foreshadowed MC Black Thought’s mind-blowing conceptual mash-up of Bob Dylan’s “Masters of War” and “The Star-Spangled Banner.” Dylan’s pointed lyrics fit breathtakingly well with the national anthem’s music - and then the song segued into a more recognizable version that sprawled and sprawled, smoldering with righteous fury and cementing the relevance of this 40-year-old tune.

Willie Nelson and his band had several down-with-the-man moments, including Merle Haggard’s “Workingman’s Blues.” Even U.K. ska-popper Lily Allen voiced rebellion with “Knock ’Em Out,” a kick back at club lads who persist well after “no” has been the repeated answer.

Swedish group Teddybears’ double-drummer-fueled mutant funk was more about outrageousness than outrage. Performing in the overflowing Gobi Tent, some players wore costume bear heads as the band performed in front of clips from classic films (“Taxi Driver,” “This Is Spinal Tap,” “A Clockwork Orange,” etc.) in which principal characters were also given bear heads. Wiggy and fun.

Other raging was of the dance-floor kind, including the appealing electro-punk pop of youthful Brazilian sextet CSS, whose drummer announced at the beginning of their Mojave Tent set that they’d just met Paris Hilton backstage. This apparently was true, and not a joke evoking the group’s “Meeting Paris Hilton,” which melded a tootling toy-music melody with a ginormous rolling beat. In the Sahara Tent, techno hero Richie Hawtin built subtle grooves from floaty electronic champagne bubbles and shimmering beats. Later, fans of world-famous trance DJ Paul van Dyk kicked up a literal dust storm. He conjured up a pulsating tribal thunder, let it dissipate into airy washes that skittered apart like fine particles in the air, then reassembled it with relentless rhythms.

Nobody raged, but French duo Air lost listeners after its Outdoor Theatre set started more than 30 minutes late and many decamped to the high-volume Manu Chao on the main stage. Air’s organic/electronic music burbled from ethereal to muscular, but in this case a little rage went too far, as the louder band partially washed away its pleasant, though slight, sound.