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...pretty hard to be both. Beginning around 1965, however, rock's big stars became a new breed of living oxymoron: it was possible to become rich and even powerful by striking extravagant poses of contempt for the rich and powerful. In theory, ''selling out'' was a major cultural felony, but in fact it was almost impossible to be convicted. For the mass audience, icons like Mick Jagger and John Lennon retained their outlaw tang even after they acquired palatial residences and took up with socialites...

Author: /time Magazine | Title: SPECTATOR ROCK AND ROLL DEJA VU | 7/21/2008 | See Source »

...Night features collaborations between rappers and rockers, including one by Seattle rapper Sir Mix-A-Lot and local band Mudhoney. "Alternative and rap grew out of the same thing," says Sir Mix-A-Lot. "We both did our thing in a basement, and it grew and grew until the major labels took notice...

Author: /time Magazine | Title: ROCK'S ANXIOUS REBELS | 7/21/2008 | See Source »

...things that I think has really affected the underground negatively," says Bill Wyman, columnist for a Chicago alternative newspaper, "is this whole idea that this is 'our' little scene, it's for us, we play really loud music, we don't want fans, we don't want major record deals, it's uncool to be popular and to publicize your band...

Author: /time Magazine | Title: ROCK'S ANXIOUS REBELS | 7/21/2008 | See Source »

...videos for the time being. Some critics of the band claim its members have handled their fame poorly. "I've heard Eddie Vedder complain about MTV, as if he had been bound and gagged to make the video for Jeremy and forced to sign a record contract with a major label," gripes Alternative Nation's veejay, who goes by the name of Kennedy. Her advice: "Don't bite the hand that feeds you, and if you're not hungry, get the hell out of the kitchen...

Author: /time Magazine | Title: ROCK'S ANXIOUS REBELS | 7/21/2008 | See Source »

...sometimes verge on eccentricity, and of Beethoven sonatas and Schumann fantasies that often threaten to collapse beneath their own structural weight. The highlight of the set is his 1965 Carnegie Hall concert, with a nervous Horowitz skirting disaster in the opening Bach-Busoni Toccata, Adagio and Fugue in C Major before righting himself and going on to give one of the most thrilling live performances in the history of recorded sound. Another impressive recital is the 1968 television concert, which features Horowitz's best, most graceful reading of Schumann's gentle Arabeske as well as a thundering Scriabin Etude...

Author: /time Magazine | Title: THE GREATEST PIANIST OF ALL? | 7/21/2008 | See Source »

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