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Ampersand
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puter.)
Name ■■
Address
University or College i 7 -**)
Male Female Age <» M»
Year in School:
Freshman Sophomore
Junior Senior . (II)
While attending school, what are your liv
ing arrangements?
Dorm Apartment House
rental House owner
At home with parents or family
Other (ft)
Please list in order of preference the radio
stations you listen to most often during the
school year?
|. 2. _____ 3 4. None, don't
listen regularly. (17-22)
During an averagr weekday (Mon.-Fri.) for
how many hours do you listen to radio?
None I .ess than I I —
I V*-2 2Va-3 3Vi-4
More than 4 (21)
Which of the following most clearly de
scribes the kind of music you listrn to mail
o/Un?
Progressive/hard rock _____ Top
♦0 Mellow rock Beautiful
music Disco Country .. ■
CI.»sm«.iI __Jaw Other
I2S-21)
Do you currently own a car stereo unit?
Yes No _____ ill)
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If yes, is it:
AM/FM radio only _
Cassette tape player
Kadio and cassette _
R-Track tape player _
Radio and R-Track —
. <271
What brand is your car stereo?
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I2B)
If you do not own a car stereo, are you
considering purchasing one within the next
12 months Yes No . (2*)
Do you own a home stereo or Hi-Fi system?
Yes No (10)
If yes, is it:
Separate component system
(lorn pact unit
Other 01)
Are you considering upgrading your stereo
system within the nest 12 months?
Yes No (12)
Approsimately how many of each of the
following have you purchased in the past M0
days?
Record albums
Pre-recorded R-Track tapes
Pre-recorded cassette tapes _____ (11-11)
Is there a particular music/record store
where you usually purchase albums or
tapes * Yes - . No
If yes. which one
How many movies have you seen within the
past three months* ■ . ■ (17)
[ During the average weekday I Mon -Fri.)
how many hours do you spend watching
letrvismn?
N«uie Less than I I -
I Vj-2 2Vi-1 SVi-4 —
More than 4 — i»i
son's progressive opera, t.inslnn on the Hra<h
/(Miming along in a finely pitched hum
akin to the flutter of hummingbird wing'
Glass' compositions are more like weatlu i
than music. The pulsating monotone of his
pieces effects subtle shifts in mood and
environment, and — depending on what the
listener brings to it—can be either tnedit.i
live or wearing.
Structurally, Glass* music is striking
primarily for what it does not contain. Then
are “parts’* to his “tunes,” but he constructs
such a tightly woven cloth that it's difficult (■
dissect his pieces Melody and harmony. a>
we traditionally know them, are absent. ()n*
has the sense of lieing in the middle of some
thing that’s moving, yet there's no discerm
ble linear direction. Rather than progressing
from beginning to end, his pieces tend l< %
expand and contract.
Written description leads one to expert
Glass' music to be dry, cerebral and aca
demic. which it is not. Although the m<Mid it *
evokes d(M*s have a certain solemnity, at the
same time there’s an undercurrent of light
hearted exuberance that makes hearing it an
energizing, giddy experience, comparable to
tieing pelted with feathers.
For ears ravaged by rock on an average of
four nights a week. Glass' music was clear
water, and. like a silent dog whistle, it makes
us cock our heads and listen for more.
Kristin* McKenna
Linda Ronstadt, Livingston Taylor
Civic Center, lucson, Arizona
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Livingston lav lor was bland and brief. At
times sounding like James, he wandered
through several songs before his AM hit, “I
will Be in Love with You,” and then trailed off
through several more sagging country and
hard-rock tunes.
It was early still when hometown girl
l.inda Ronstadt delivered the Litte Feat
song, “All That You Dream” to a sold-out
(11,000 plus) Tucson audience. F'ollowing
with “Blue Bayou,” which was strained at
first but swelled when she switched to the
Spanish lyrics, she promised an energetic
and special performance for her hometown.
Another bri4en promise . . .
Ronstadt did some exciting numbers:
“Willin’," which mentions Tucson, and “It’s
So Fa»y" got enthusiastic response. “That'll
Be the Day" almost had all the oldsters rock
ing, and “Tumbling Dice” came close; still.
Linda didn't connect with her rock and roll,
but with, as ever, the torch songs. “Someone
to laiy Down Beside Me” and “Allison" were
two of her best Her voice, which tended to
fade wispily, was strong and clean during
“Desperado."
In her only talk with the audience,
Ronstadt joked about the embarrassment of
having to perform for her parents and their
friends; this, as well as a tired voice and her
near absolute refusal to do any country
songs, hurt het performance
With the help of saxophonist David
SandlMirn. Ronstadt, who wore a blue silk
dress slit to the thigh, was sad and sexy as she
slid through her version of the old Motown
song, “Ooh, Baby Baby." I he band was con
trolled and competent, with particularly
giM»d guitar work by Waddy Wachtel and
Dan Dugmore during “You’re No Good."
Ronstadt ended her second encore with a
jumping “Living in the U.S.A.,” which was
the liveliest, rowdiest song of the evening
And then she was gone, after only 70 min
utes. A lot of the audience seemed satisfied,
but many of us didn't quite get what we had
expected from the prodigal daughter.
David Hancock
Philip Class. Roxy, Los Angeles, CA
A year ago. composer Philip Glass had a hard
time filling MX) seats at U.C.L.A. This year,
in a hold attempt to expand his audience, he
booked four shows at 4M)-seat L.A. rock
showcase, the Roxy, and play ed to enthusias
tic crowds both nights.
A frontrunner in the school of modern
“serious" composers that includes Steve Reich
and Jerry Riley, (Hass' innovations in repeti
tion and the layering of static tones were long
dismissed by both classical and pop worlds as
obscurely avant-garde But, if the response at
the Roxy is any indication, audiences are
finally catching up with him.
With a refreshing lack of fanfare, the unas
suming Glass and his ensemble of six (who
played reed and wtMidwind instruments,
voices and synthesizers) appeared onstage
and abruptly plunged into the first of four
selections from Glass' score for Roliert Wil-
Jerry Rubin. Central Michigan
University, Ml. Pleasant, Ml
As the anemic Seventies creep to an end, *
there seems to lie a growing envy among the
young for the up-against-the-wall radii alism
of a decade ago. with the aging militants of
the Sixties regarded as something between **
nostalgia figures and folk heroes. While
others have downplayed their radical aura,
former Yippie and Chicago hell-raiser Jerry ^
Rubin is fast becoming the elder statesman of
wild-eyed revolutionaries.
Of course. Rubin is no longer the crazed
radical who once struck fear into the hearts ol
paranoid conservatives. He is now a polite,
clean-cut author and lecturer who speaks
on — what else?—political activism.
F'or most of his talk, Rubin traces his ,
career as a rabble-rouser: from demonsti.it-
ing in Berkeley to the “guerilla theater" with
Abbie Hoffman, from pissing on the Penta
gon to rioting in Chicago and more A I- «
though the adventures of Jerry the Radical
are interesting and well told (and certainly
what we political vegetables paid to hear
alMiut), they offer little more than militant
nostalgia. As for life today. Rubin is merci
fully brief.
“Not only am I an authority on the Seven
ties," he modestly slates, “I am a creator of the
Seventies." Apparently Rubin enjoys his
“creation" — be is now into est, yoga and
other self-indulgent lads of the “me decade
While most of the audience was respectful.
Rubin was obviously upset when a handful of
hecklers attacked him for “grabbing the glory
and cashing in on a leaderless revolution
“I am being treated as an image,” Rubin
replies, “not as a person. It’s as if people
don’t expect me to grow as an individual
Perhaps, but it n hard to work up much svni-
pathy when Rubin himself, with his books
and lectures, both perpetuates and exploits
the image he complains about.
In all, Rubin’s speech was vaguely di'torb
ing. but not because he has sold out. NN ho
hasn't? Most disturbing is that at age 40
(don’t trust anyone over V0?) all he has left to
oiler is a radical stroll down memory lane He
may still be interesting, but the Jerry Rubin
of today seems sadly irrelevant.
Brad Flory