Word: music
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Dates: during 1960-1969
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...mood of melancholy and decay permeates the evening. Each speaker seems to be addressing himself, a form of alienation that succeeds wonderfully in alienating the audience. It may be that Albee had in mind Walter Pater's dictum that "all art constantly aspires towards the condition of music." The kind of music one gets in Box-Mao is the dead space between notes...
...tired of Negroes and their rights. It was a miserable recognition, and on many a count, for if he felt even a hint this way, then what immeasurable tides of rage must be loose in America itself? He was so heartily sick of listening to the tyranny of soul music, so bored with Negroes triumphantly late for appointments, so depressed with Black inhumanity to Black in Biafra, so weary of being sounded in the subways by black eyes, so despairing of the smell of booze and pot and used-up hope in bloodshot eyes of Negroes bombed at noon, that...
...last the music of the Rolling Stones has been enshrined where some of their less charitable listeners have always felt it belonged: on a lavatory wall. The cover of the Stones' latest-and as yet unreleased-album is a photo of a graffiti-covered wall above an unpleasant-looking toilet. The name "The Rolling Stones" appears plainly, as do the title of the album, Beggars' Banquet, and the names of the tunes it contains. Scrawled in smaller letters are sly references by the Stones to themselves and their friends, as well as such phrases as "God rolls...
Boycotted in Chicago. At least one thing can be said for the cover. It suits the spirit of the music inside. The album bristles with the brand of hard, raunchy rock that has helped to establish the Stones as England's most subversive roisterers since Fagin's gang in Oliver Twist.* It also stands in notable contrast to their previous album, Their Satanic Majesties Request, which ventured into the realm of electronic wizardry and psychedelic fantasy charted by the Beatles in Sgt. Pepper. Since that was an alien idiom for the Stones, they sounded pretentious and boring...
...keeping with a widespread mood in the pop world, Beggars' Banquet turns back to the raw vitality of Negro rhythm-and-blues and the authentic simplicity of country music. This is home ground for the Stones and, among white groups, they are all but unbeatable on it. But the album still will not please listeners who lack a taste for musical graffiti. How could it, with songs like the slow, bluesy Stray Cat, addressed to a 15-year-old girl ("Bet your mama don't know you can bite like that")? Or the driving, syncopated Street Fighting...