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...coming of the Beatles in the mid-Sixties changed all that, as it changed almost every facet of white pop music. As the Fab Four progressed from writing most of their own material to writing all of it, rock fans began to show somewhat less interest in the style of performance and more interest in the actual quality of the song as a piece of writing. Accordingly, a Lennon-McCartney song recorded by a mediocre group (such as "Bad to Me" by Billy J. Kramer and the Dakotas) would become more popular than a rehashed oldie by the Beatles themselves...

Author: By Andy Klein, | Title: Bonnie Raitt | 11/23/1971 | See Source »

Michael Useem, assistant professor of Sociology, said that the article suffered from "the assumption that one facet of reality can explain the entire picture." Useem also said that what in the first part of the article Herrnstein says is only a potentiality, in his predictions he treats as actuality...

Author: By David R. Caploe, | Title: Herrnstein in 'The Atlantic' Predicts American Meritocracy | 9/24/1971 | See Source »

Michael Useem, assistant professor of Sociology, said that the article suffered from "the assumption that one facet of reality can explain the entire picture." Useem also said that what in the first part of the article Herrnstein says is only a potentially, in his predictions he treats as actuality...

Author: By David R. Caploe, | Title: Herrnstein in 'The Atlantic' Predicts American Meritocracy | 9/22/1971 | See Source »

Center of Culture. Beyond the architectural controversy, there was another facet to the debate. When the fishmongers and vegetable sellers moved out of Les Halles, artists and entrepreneurs moved in, offering everything from avant-garde theater and Marxist book shows to pop concerts, films, art exhibits, puppet shows and flea markets. The fish pavilion has become, of all things, a roller rink. In all, 2,000,000 people have visited the transformed market...

Author: /time Magazine | Title: FRANCE: Folding the Parasols of Paris | 7/12/1971 | See Source »

Most important, Mann's treatment of the unconsummated affair of man and boy was a metaphor for Europe's decaying society. But Visconti takes the veneer and calls it furniture. With infinite tedium, he pores over every facet of Tadzio's Botticelli visage; with stupid distortion, he makes the boy, played by Bjorn Andresen, a flirt whose eyes flash a come-on to his helpless elder, like some midnight cowboy off the Via Veneto. He even concocts an elaborate bordello scene in which Aschenbach is shown as a heterosexual failure-a moment that proves as barren...

Author: /time Magazine | Title: Cinema: Soul Destroyed | 7/5/1971 | See Source »

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