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...Billy Hayes we first meet is, by any measure, an unlikely hero. His self-image is a familiar and obnoxious one: cocky, fool-hardy American punk bopping around the Mideast with his girl and his stash. Played by Brad Davis in his flashy feature film debut, Billy comes off as a hopeless amateur in the contraband business, the kind of sunglassed shmuck who chews gum and smokes a Winston at the same time while a suspicious customs agent checks his bags. Naturally, Billy does not read the papers; otherwise he would have known about the tight security checks at Istanbul...

Author: By Joe Contreras, | Title: Busted at the Border | 11/4/1978 | See Source »

...expression turned to one of total seriousness, her own pride stretching to its grittiest with the extension of her jab, and another, backing her sparring partner (who maintained the most tolerant of all smiles) into a corner, jab, jab, thump. "Beat the shit out of "em" a punk yelled. And she split before she could get too serious...

Author: By David A. Demilo, | Title: Rock 'n Roll Sometimes Forgets | 11/2/1978 | See Source »

...guess you gotta have them around," Joseph A. Incagnoli '80, a punk rocker and non-clubbie, said, "they pay for my education...

Author: By David A. Demilo, | Title: From Pig to Porc: The Changing World of Final Clubs | 10/30/1978 | See Source »

MACHEATH HAS TO be a man of the world who knows how to survive, who's grown a little shabby, a little scruffy, perhaps, but who keeps his sense of style along with his white gloves. Allen C. Kennedy's Mack the Knife sounds like a two-bit punk who got lost in Flatbush and somehow ended up in London, 1830. It's not necessarily a wrong-headed interpretation, but it needs strength, consistency, and a sense of Macheath's age--and Kennedy gives it none of these...

Author: By Scott A. Rosenberg, | Title: Threepennys Worth--Barely | 10/28/1978 | See Source »

Parallel Lines, Blondie's latest, exhibits a new security and ease the group has developed in the last six months. Every song on it shows that Harry and her musicians aren't confused anymore. They drop any connection they had with the stream of deranged, safety-pin punk; and the band no longer seems self-conscious about borrowing from the '50s. One song on the album, "11:59," is perfect: a wonderful mix of lyrics that sound like they have meaning and a hard-driving pop tune that doesn't wear out after three hearings...

Author: By Scott A. Rosenberg, | Title: New Wave's Old Wrinkle | 10/25/1978 | See Source »

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