Word: disks
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Dates: during 1970-1970
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...angle to match the orthodoxy of the times. The isolated exemplar was William Blake: in 1810, in Vision of the Last Judgment, angels danced on his retina: " 'What,' it will be Question'd, 'When the Sun rises, do you not see a round disk of fire somewhat like a Guinea?' O no, no, I see an Innumerable company of the Heavenly host crying 'Holy, Holy, Holy is the Lord God Almight...
...into the big, clean American sound of WUSA, the sound of a decent generation." The disk jockey is a drunken, apolitical animal named Rheinhardt (Paul Newman), whose job is to plug crypto-fascism for good ole WUSA, a right-wing New Orleans radio station. By night he delivers his spiel under the heel of the station's jackboot-minded owner (Pat Hingle). By day he wallows in booze and self-pity ("I had it made and I woke up one morning, I looked down and fell off my life") in the arms of his pathetic paramour, a hooker named...
Some of the most enterprising public service radio programming in recent years has come from the listener-supported FM stations of the Pacifica Foundation. They tackle controversial issues from all sides, broadcast disk jockeys who are knowledgeable as well as funny, and put on first-rate readings from literature. Their news, drawn from their own Washington bureau, has unusual freshness. All this went well at the original Pacifica station in Berkeley, Calif., and at the two newer ones in Los Angeles and Manhattan. But last March, the foundation got into Texas-and trouble...
Author Charlie Gillett begins his story back in the '40s, when the rhythm-and-blues musicians who sang about "rock and roll" were talking about loving, not music. It took some shrewd record producers and a Cleveland disk jockey named Alan Freed to make the term-and the music itself-acceptable to a larger, white audience. The sound came off the streets and was segregated as carefully as the people who listened...
...supported by a major record company (Columbia, RCA Victor, Decca, Capitol). Shamelessly, the majors scoured the catalogues of small, regional record companies for top-notch rock and roll songs, then rerecorded them in what the trade calls "cover" versions, using their own stars. Shamefully, most of the radio disk jockeys-with exceptions like Freed -obliged the big companies by playing their issues. In the end, though, both the record companies and the DJs were foiled. "The audience was determined to have the real thing," writes Gillett, "not a synthetic version of the original. Independent companies, sensing this desire, were eager...