Word: n
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Dates: during 1970-1979
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Switching frequencies from opera's Luciano Pavarotti (Sept. 24) to rock 'n' roll's The Who-subject of this week's cover story-is not too much to ask of a music editor. But add responsibility for editing major stories on the movies' Kramer vs. Kramer (Dec. 3), television's Mork (March 12), ballet's Gelsey Kirkland (May 1, 1978), and the job calls for Martha Duffy. As senior editor of TIME's Cinema, Music, Dance, Show Business, Television and Theater sections for the past five years, she is in effect...
...Oneida, N...
Flushing, N...
...rock fan can recite the litany of tragic burnouts; whether Pete succumbs remains a matter of strength and a certain kind of sure footed brinkmanship that until now has kept Townshend writing and The Who performing true lifeline rock 'n' roll. The members of The Who know what this music means, know its power and its necessary mutability. They also know what it means to the kids, not just a quick charge and an antic rush in a minute of concert footage but a change as potentially profound as any art can work, and even more immediate. All of this...
...roots in the teaching of the Indian mystic Meher Baba, to whom Townshend is devoted. Tommy, which became the most widely known Who work, was a two-record "rock opera" about a deaf, dumb and blind pinball champ who was raised into a kind of pop artifact and rock-'n'-roll godhead. It sold more than 2 million copies, bought the band out of years of accumulated debt from broken instruments, leveled hotel rooms and erratic U.S. touring. It also brought the members of The Who a flash of stateside fame they had not previously known. Before Tommy they...