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ENOUGH OF SUBSTANCE: Lamont's style evolved from years of writing for that most homogenized of magazines, Time. Campus Shock is a Time cover story filled with water and wood pulp, a distended magazine article--the very titles wail with the self-justifying banshee pitch of the media-hyped Big Story: "Campus Shock," "Sexual Anarchy," "Grade Frenzy." And the vignettes, written in the best lurid style of not even Time, but True Detective...

Author: By Paul A. Attanasio, | Title: Foreign Correspondent | 7/6/1979 | See Source »

...Becaus0e the Night" marked the end of Patti Punk, a performer whose appeal was strong but limited. It marked the end of her raw scream-and-simmer tactics at the microphone too, because smooth, technosyncratic, polished albums mean similar concerts. The days when you could see Patti Smith wail out with Lenny Kaye at The Rat or The Bottom Line are gone. She was known to spit at her audiences, to jump on tables and kick drinks into the abyss. Patti Smith is now banned from The Bottom Line...

Author: By David A. Demilo, | Title: The Street Symbolist Finds Her Ark | 5/8/1979 | See Source »

...Runner." Sure to be a legend of rock and roll, this track alone justifies the rather extravagant price which decorates the album jacket. Opening with the terrific backbeat and acid guitar which became the signature of the band. "Johnny B. Goode" leaps up an emotional notch when that manic wail of a lead vocalist begins to shrick...

Author: By Paul A. Attanasio, | Title: Kill Rod Stewart | 4/4/1979 | See Source »

...soon becomes apparent that Rotten knows maybe five words to the song--but who the hell knows the words to "Tumbling Dice," or could ever understand Bo Diddley? Rotten fills in with a banshee wail, like an infant tossed in boiling water. He begins a dialogue with the band: "It's fuckin' awful. Stop it. It's fuckin' awful. Oy oy Steve, Road Runner...

Author: By Paul A. Attanasio, | Title: Kill Rod Stewart | 4/4/1979 | See Source »

...accoustical panels grouped in blocks of three. A whole wall can be flat, or any triad of panels can jut out, changing the sound. In fact they can all move at once. This phenomenon clearly had more impact than Boulez intended. The room seemed to sway, and a wail like a sea storm turned the Espace briefly into a heaving ship. Annoyed, Boulez turned quickly to four more practical demonstrations. By altering the configuration of the panels, the same passage of music could be made to sound dry (with no reverberance) or resonant, bright or grave (accenting the deep tones...

Author: /time Magazine | Title: Music: The Night the Walls Moved | 10/30/1978 | See Source »

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