Word: re
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Dates: during 1960-1969
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THIS MEANINGLESS consensus, however, is not as harmless as it looks. It has, in fact, the potential to undercut anti-war sentiment in two significant ways. It vindicates and humanizes supporters of the administration: See, they say with a complacent shrug, we're not so bad. We, too, oppose barbarism...
...very large engine, yet, at the same time, it is a quiet car. You can be cruising right along, and suddenly, without scarcely noticing it, you're doing 80 miles an hour. It is heavy, but you can't feel it. You can flow into the drift of a rotary, and the tires will squeal with the strain, which will surprise you. You can't feel the road as much as you can feel the focus of God's movie camera on the smoothness of your existence
...could someone not run such a car into a tree one of these days? Americans build their cars so that you forget what you're doing (driving). They build them for the highways between here and New York and between Billings and Bozeman, Montana. The car just doesn't want to slow down for the kind of cooperation with others (who are opponents and rivals) that city driving requires. This frustration is like a lot of other frustrations that this American life puts in our minds. (One of the Hare Krishna people told me after I bought some incense from...
...songs duet; Jagger would yell, "Alright !" and Charlie would respond with masterful drum riffs.) Laid over the percussion are Wyman's restrained bass lines, and this combination provides the thrust and visceral power of the Stones' music. With the drum/bass as floor, the two guitars fight for control, continually re-emphasizing the forward thrust of the bass, while Jagger's alternately sneering and raging tones proclaim through this wall of sound the primal savagery the Stones have always represented. The famous tension of their music is thus really two tensions: the first between guitars; the second between Jagger's voice...
...song that made rock and roll a movement, "Satisfaction," Richard ripping off huge Chuck Berry chords and adding an cery vibrato, Jagger doing an Otis-like "I can't getta no, no, no, no," that faded into "You can't always get what you want" back to "we're gonna get ourselves, some satisfaction," the audience lost on the Stones/Satisfaction myth. "Honky Tonk Women," dedicated to "the loose women in the audience," and closing the set, a limp "Street-Fighting Man." Bam. They split with their hulking guards, leaving the audience too hopped on its own totemic rituals...