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...overflows with self-important people who think they are making a difference, pulling the strings and waging the real war. For all we know, they are. But The Spike fails to prove it. It doesn't sufficiently create that someone-is-watching-you quality, it does not suck you in and scare you; it makes you feel like a captive audience to a spectacle you've seen before. Evil was never so banal

Author: By Laurence S. Grafstein, | Title: Don't Touch That Story--It's Unpatriotic | 9/10/1980 | See Source »

...overflows with self-important people who think they are making a difference, pulling the strings and waging the real war. For all we know, they are. But The Spike fails to prove it. It doesn't sufficiently create that someone-is-watching-you quality, it does not suck you in and scare you; it makes you feel like a captive audience to a spectacle you've seen before. Evil was never so banal

Author: By Laurence S. Grafstein, | Title: Don't Touch That Story--It's Unpatriotic | 9/8/1980 | See Source »

...rock and roll paean to gay bars. Homosexuality is presented here, as it has always appeared to straights, as an act of desperation. There's really no question of Jagger's orientation; when asked by High Society magazine whether he was at least bisexual, he replied, "I don't suck cock, and I've never had my prick in any guy's ass," which would seem to answer the question. There is another reference to the Hellenic detour elsewhere, on "Let Me Go," when Jagger moans, "Maybe I'll become a playboy, hang around in gay bars, and mooooooooove...

Author: By Paul A. Attanasio, | Title: The Man Who Loved Woman | 9/8/1980 | See Source »

...chicken prices will go up 15% in three weeks. Cotton yields in some parts of Texas will probably be about 30% less than last year's. In South Texas, ranchers burned expensive propane gas to sear the needles off prickly pear cactus so that cattle could eat and suck water from the plants...

Author: /time Magazine | Title: Business: The Long Dry Summer | 8/4/1980 | See Source »

Hollywood is stuck making films without purpose, films that suck on the scars of the wounds we suffered in the sixties, films that have to discover every Lost Generation that wanted to stay Lost. Heart Beat tries to take us back to Haight Street and Greenwich Village, to throw color on the black and white legend of Jack Kerouac, to show us in elegiac tones where we came from and to tell us in loud whispers where we can still go. It's time, Hollywood says, for us to see the truth about Kerouac and the Cassadys...

Author: By David Frankel, | Title: 'The Mad Ones' | 7/8/1980 | See Source »

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