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...herself a credit for "Musical Concepts," has laid on a score that is only supposed to give the impression of rock 'n' roll. Instead, it will probably put off her fans and cause undue mirth among audience members who know the difference between Paul Williams and Phil Spector. If Streisand and Peters condescend to the music, they graciously allow rock audiences the chance to cheer for true genius. A concert sequence, where the debuting Barbra brings a hostile rocker audience to their feet with the wonder of her funkiness, is a milestone of piquant absurdity, equivalent, perhaps...

Author: /time Magazine | Title: Cinema: Barbra, a One-Woman Hippodrome | 1/3/1977 | See Source »

...because it was an epiphenomenon itself, sort of unconventional, just like the people and stories it covered, and the best of its practitioners was Tom Wolfe. When Wolfe wrote about stock car racers and the good ole boys around them, or Las Vegas with its plasticine madness, or Phil Spector, his was the most accurate stuff around, because he had the sense that what he was describing was now and new and likely to last about as long as confetti after a parade...

Author: By Joseph Dalton, | Title: Epiphenomenous Bosh | 12/16/1976 | See Source »

...hear a string bass, and I hear a trumpet," and, according to Landau, "that was it." Finally the album came together as real roadhouse rock, made proudly in that tradition. The sound is layered over with the kind of driving instrumental cushioning thai characterized the sides Phil Spector produced in the late '50s and '60s. The lyrics burst with nighthawk poetry...

Author: /time Magazine | Title: The Backstreet Phantom of Rock | 10/27/1975 | See Source »

...Philadelphia district attorney. Arlen Spector propose to attack the problem of homosexual rape in local jails...

Author: By Seth M. Kupferberg and Tom Lee, S | Title: The Joyce-Maynard-is-21,-The-Sixties-Are-History Quiz | 4/14/1975 | See Source »

...music has never been an easy profession for women. Recognition and glamour are common enough, but women looking for artistic control and financial leverage are usually thwarted. The Crystals and the Ronettes were high on the pop charts in the early '60s, but Phil Spector, multifaceted rock tycoon, wrote the lyrics, produced the records and pocketed most of the profits. In the '60s the men who sold pop music saw women as petulant screamers (Lesley Gore) or filigreed folkies (Judy Collins). Occasionally, women defied the image makers. Janis Joplin and Grace Slick escaped briefly from San Francisco psychedelia...

Author: /time Magazine | Title: Rock 'n' Roll's Leading Lady | 12/16/1974 | See Source »

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