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Show Page Thirty from page 29 Wood enjoying the luxury- of cordless guitars and microphones seemed to always be on the move rocking and roaming about the massive stage, the music was surprisingly accurate. e After an hour and a half of playing, the noticeable mistakes of Richard and Wood could be counted on one hand. And Jagger's track record was even more impressive virtually all of the lyrics had been not only audible but intelligible. Indeed, the music itself was grand. But it was Jagger's theatrics which made the performance phenomenal . . . , ; The Daily Utah Chronicle Openings - - full-bor- Si Hi v i onsidering that a Rolling Stone encore is about as rare as a good Barry Manilow song, a small miracle of sorts occurred when they returned to the e Boulder stadium stage following a thunderous ovation. Just a week before, Jagger had told Rolling Stone, "We never play encores. We play the show and go home. I hate planned encores." But for reasons of their own, in an apparently unplanned move the Stones came back onstage that Sunday evening to do just one more. And what a One More it was the anthem of adolescent sexual frustration through which the Stones made their first indelible mark on rock, "(I Can't Get No) Satisfaction." e In the most stunning performance I have ever witnessed, Jagger compressed all the pranks, dances, theatrics, and other assorted antics he had displayed in the previous 90 minutes. He danced and ran from side to side of the huge stage, clowning, mugging, falling, crawling, gesturing and mouthing mild obscenities, waving, pointing, staring, laughing, and. most of all, manipulating. Jagger, as he had all afternoon, seemed fascinated with testing the limits of the crowd's adulation: in finding out exactly what the crowd would do for him. Through suggestive gestures he incited successive sections of the audience to go bananas. And, for the most part, that's exactly what they did. It seemed to be an almost sexual game with Jagger taking renewed delight with each new conquest of the audience's actions. By the encore, Jagger's rapport with the throng was so strong that nrryone all 60,000 in the stadium was up dancing and clapping a few bars into "Satisfaction." By the time that number ground to a glorious halt both Jagger and the audience were physically spent . . . 1978 The raw, raunchy, unrestrained spirit of the music is perfec tly in tune with the frustrations, hopes, and anxieties of adolescence and young adulthood, a fact that has become clear only in the past few years. It has only been during this decade that the music has stood solely on its own merits. Prior to the '70s there traditionally had been two driving forces behind the music charismatic stars (Elvis, the Beatles) and or social relevance (Vietnam protest songs are probably the best example). Now, however, the music subsists almost totally because of its seemingly perfect accord with the passions, problems, emotions and desires of adolescence. But there is at least one substantial inherent drawback to roc k's harmonious relationship with the adolescent psyche it tends to not only complement but amplify and inflame the frustrations and neuroses which often accompany the transition into adulthood . . . five-minut- is nf nr here's chance tliat Doug Junkie is dead today. a pretty good the Teenage The last time the Duke and I saw him he was being carried unconscious through the crowd by a team of medics. As they were leaving, one asked, "Do you know this kid?" "U'e talked to him for a little while in line this morning but I don't really know much about him," I answered. "His name's Doug and I think maybe he shoots junk or something." "Yeah." the paramedic answered, "I noticed the needle marks. You know anything else about him?" "Well, he tried to sell us some Angel Dust this morning. He's in pretty bad shape, huh?" "Yeah, he's barely got a pulse tight now." "Do you think he'll make it?" "He might." three-minut- "If I stuck a knife m my heart, Suicide right on the stage, Would it be enough for your teenage lust? Would it help to ease your pain?" "I Know It's Only Rock V Roll, But I Like It," The Rolling Stones other band better exemplifies o of vitalitythe sheer exuberance rock better than the Rolling Stones, the "I don't continually question my reason to live it's just a state of being. I'm just here. The real what is question you're doing with the living you're doing and what you want to do with that living." Mick Jagger, June 1978 5 concluded as the Duke and I slowly made our way out of the stadium. " And it is precisely because of that energy that rock will endure longer than most of us suspect. I f rdf APPOINTMENT REGISTRATION WILL BE CONDUCTED: September September 12, Tuesday Aaaa-And- 8:00-10:0- e Andf-Bal- d Bale-Bel- 10:00-12:0- 0 0 Belm-Br- i 2:00-4:0- 0 Brj-Ca- s 4:00-6:0- 0 Gra-Hal- 8:00-10:0- z 10:00-12:0- l Halm-Has- noon p.m. Clas-Cra- p.m. p.m. Dax-Eri- c 2:00-4:0- 0 Erid-Gar- n 4:00-6:0- 0 0 - Hasl-Hu- f 2:00-4:0- 0 Hug-Jon- 4:00-6:0- 0 e September Nelt-OkOla-Pat- Rapq-Sal- t d noon 0 2:00-4:0- 0 0 4:00-6:0- 10:00-12:0- n Crao-Da- 12:00-2:0- Jonf-Kin- 15, p.m. p.m. p.m. 0 Friday 8:00-10:0- Kinh-Lar- 10:00-12:0- a.m. noon 0 1 12:00- 2:00 Larl-Mag- e - 2:00-4:00-- Magf-Mer- r Mers-Nel- s p.m. p.m. p.m. Smiu-SteStes-TaTac-Van- r 8:00-10:010:00-12:0- b 4 p.m. 00 p.m. 00 p.m. itSt'' x&sy'"' w'CjsA'M1 noon 0 12:00-2:0- t a.m. 0 0 Vanc-Wh- i 2:00-4:0- 0 Whi-Zzz- 4:00-6:0- 0 z September 20, Wednesday 8:00 10 00 a.m. noon 10:00-12:0- (OPEN) 0 0 September 19, Tuesday a.m. 0 12:00-2:0- p p.m. p.m. p.m. Monday 10:00-12:0- t Patu-Rap- Sale-Smi- 18, 8:00-10:0- z 8:00-10:0- r September a.m. noon 0 12:00- 2:00 k a.m. noon a.m. September 14, Thursday Garo-Gq- Wednesday Cat-Ga- 0 12:00-2:0- l 13, 12:00-2:0- 2:00- 4.00 4:00- 6:00 - p.m. p.m. p.m. p.m. p.m. p.m. IBsallllcstst Ballet will save a dance Wivst for you...if von ask. I or iiiirm.nioii call iic-k'- i Iail Orders: I'.O. U .:s:s-:t:t:t:- s i:j.Hi,Sall l.ako ilv, 1 tali ll 17 |
