Word: kopkind
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Dates: during 1970-1979
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Writing in the current Ramparts, Andrew Kopkind notes I.F. Stone's perception that the outrageous performance of Jerry Rubin, decked out in "Paul Revere drag," before the House Un-American Activities Committee in 1966 was a turning point...
Secondly, Kopkind labels radio rock, record rock and TV rock dehumanizing simply by association when he claims their combination lessens the quality of the art. This is the worst kind of purism. There has never been a time when wide-accessibility imitations of live rock weren't the foundation of the industry. The whole concept of live performances grew out of a popular desire to see what we were listening to Finally, "an upbeat emotional experience" isn't the issue; appreciating the music is. Here Kopkind shows his own ignorance of the industry. Because it is the audience performer music...
Alica Cooper is another step, or perhaps the culmination of the trend towards a more theater-oriented rock. Kopkind stumbled inadvertently on the core of the matter when he stated, "Cooper belongs to the Theater of the Absurd as well as the Theater of Cruelty." The second label is debatable alone, but Kopkind undercuts his statement with the clause that follows, "with live warm humans around in a concert hall, Cooper is funnier than he is scary...
...deny that the simulcast system has problems. The most flagrant is its tendency to overload its hour and a half show with acts. As big a problem is the tendency, in the first show at least, to mix white-oriented and black-oriented acts. Kopkind's point about the apparent change in audience to white for Bo Diddley's set is easily explainable. His lack of understanding of it does nothing but further display as ignorance introduced by his demand for the concert as "upbest emotional experiece." Bischnees does not guarantee a black audience. There are any number of examples...
...Kopkind's final statement on audience participation leaving rock could only have been made by a man who missed Ten Years. After, Grand Funk at the Garden, Jeff Beck, or someone who's a confirmed sopor freak. He claims that there audience participation leaving rock could only have been made by a man who missed Ten Years After, Grand Funk at the Garden, Jeff Beck, or someone who's a confirmed sopor freak. He claims that there is no opportunity for interfacial action between people and their music makers." I believe that the same audiences no longer care about...