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...serious music as rock ("There's nothing reprehensible in atonal music played over a boogaloo rhythm"), hoping to find a permanent place for it. At 29, Zappa has now disbanded the leading underground rock group in the U.S. "I got tired of playing for people who clap for all the wrong reasons," he says. "Those kids wouldn't know music if it came...

Author: /time Magazine | Title: Rock: Mephisto in Hollywood | 10/31/1969 | See Source »

...YEARS AGO Ernest May faced a small revolt in his American diplomacy course. A radical critique by four students charged that History 164b aided the Vietnam war and strengthened support for American foreign policy. The students accused May of reinforcing anti-Communist cold war mystique and substituting "semi-official clap-trap" -the memoirs of Sherman Adams for example-for analysis of U. S. economic motives...

Author: By Ruth Glushien, | Title: Profile Ernest R. May | 10/18/1969 | See Source »

...final touch: he refilled the star's coffee mug. Even those in the back of the studio audience heard the clink of ice cubes in his cup. Iced coffee, an associate suggested, but surely the whole house knew damn well it was Johnnie Walker Red Label. As the clap board proclaimed, this was the Joe Namath Show, Take...

Author: /time Magazine | Title: Talk Shows: Broadcast Joe | 10/17/1969 | See Source »

Like Dylan, whose lyrics and ethos are scattered through the magazine, Mungo abandons the city of the mind, the building blocks, the ideologies, and goes down home. He tells stories of himself, his mother, and father, Aunt Assie and Uncle John, a kid who got the clap at B. U., Auntie Irene, and these are nicer. "Luckies cost a quarter of a pack at Meister's, where you had to explain it was for your auntie Irene." He tells us he's "smiling a whole bunch" these days...

Author: By Rufus Graeme, | Title: From the Shelf The New Babylon Times | 10/9/1969 | See Source »

...turned out, no one need have worried. The Devils was cheered at Santa Fe. There was even help from an unexpected source: precisely at the moment when one of Penderecki's characters shouted "God is dead!" there came a clap of thunder and a storm enveloped the theater. The audience was as impressed by the opera as by the incident. But despite its effectiveness, The Devils seemed episodic, eclectic, and the complex Penderecki (pronounced Pen-der-ete-key) score sometimes trod meekly behind the drama instead of forcefully alongside it. What gave absolutely no grounds for complaint were...

Author: /time Magazine | Title: Opera: The Devils and Reardon | 8/22/1969 | See Source »

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