of airplay. It reached No. 119 on Billboard'''s national "Hot Prospect" listing before being pulled from some radio stations because of its lyrics, which sarcastically suggested that "smoking marijuana is more fun than drinking beer". It was the closest Ochs ever came to the Top 40. Joan Baez, however, did have a Top Ten hit in the U.K. in August 1965, reaching No. 8 with her cover of Ochs's song "There but for Fortune", which was also nominated for a Grammy Award for "Best Folk Recording". In the U.S. it peaked at No. 50 on the Billboard charts—a good showing, but not a hit. Although he was trying new things musically, Ochs did not abandon his protest roots. He was profoundly concerned with the escalation of the Vietnam War, performing tirelessly at anti-war rallies across the country. In 1967 he organized two rallies to declare that "The War Is Over"—"Is everybody sick of this stinking war? In that case, friends, do what I and thousands of other Americans have done—declare the war over."—one in Los Angeles in June, the other in New York in November. He continued to write and record anti-war songs, such as "The War Is Over" and "White Boots Marching in a Yellow Land". Other topical songs of this period include "Outside of a Small Circle of Friends", inspired by the murder of Kitty Genovese, who was stabbed to death outside of her New York City apartment building while dozens of her neighbors reportedly ignored her cries for help, and "William Butler Yeats Visits Lincoln Park and Escapes Unscathed", about the despair he felt in the aftermath of the Chicago 1968 Democratic National Convention police riot. Ochs was writing more personal songs as well, such as "Crucifixion", in which he compared the deaths of Jesus Christ and assassinated President John F. Kennedy as part of a "cycle of sacrifice" in which people build up heroes and then celebrate their destruction; "Chords of Fame", a warning against the dangers and corruption of fame; "Pleasures of the Harbor", a lyrical portrait of a lonely sailor seeking human connection far from home; and "Boy in Ohio", a plaintive look back at Ochs's childhood in Columbus.Schumacher, pp. 110, 160, 214–215, 223–224. A lifelong movie fan, Ochs worked the narratives of justice and rebellion that he had seen in films into his music, describing some of his songs as "cinematic". He was