Word: kopkind
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...origin. John Cassavetes's Woman was made on a relative shoestring and without big studio backing--it might not make it to Youngstown. Ohio or Kallapol, either--although It's at the Cheri here. If you missed Chuck Stephen's review of it in yesterday's Crimson, or Andy Kopkind's fine piece about it in The Real Paper last week (with a great title--"Mabie's Mad Againe"), you ought to know that It's about a working class woman gone insane in the L.A. suburbs. Cassavetes, who made Husbands Faces, and Shadows, concentrates not on the origins...
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...
...Stone saw that theatrical caper break the 'choreographed' confrontations of Committeemen and Communists that punctuated his own haunted Fifties," Kopkind writes. "By refusing to dance the part of fearful, trembling witness, Rubin and his troupe helped destroy an all-too-hallowed set piece...
...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...