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...about to become the new Queen of Rock. Her rise stems most immediately from her success as a soloist on a March-April national tour with her friend James Taylor (TIME cover. March 1), as well as the joyful delights to be found in a new King album, Tapestry (Ode). In less than two months, Tapestry has become the No. I album in the U.S., and a coupling of two of its songs, It's Too Late and I Feel the Earth Move, the No. 1 single...

Author: /time Magazine | Title: Music: King as Queen? | 7/12/1971 | See Source »

Intrigued by overexposure to the airline's familiar radio and TV ad, Balanchine commissioned Jazz Composer Roger Kellaway to write a score based on its musical theme. Then he set out to design what might be called a dance-ode to an airline terminal. Between takeoff and landing (complete with last-minute baggage scramble) there is a series of typically flowing Balanchine duets for three couples, vaguely identified as young marrieds, two hippies and a brace of space-age jet-setters. By far the best is an earthy, bluesy number for Frank Ohman and German-born Karin von Aroldingen...

Author: /time Magazine | Title: Music: Effervescent Foolery | 6/28/1971 | See Source »

...these go wrong: Henry often becomes a cipher; the SPFC scene is both cruel and whimsical in a mix that doesn't mesh; and I even may be mistaken about the purpose of the songs the girls were singing: I am told that one of them, Tom Eyen's "Ode to a Screw," passes for chic these days...

Author: By Michael Sragow, | Title: Films From Fair to Middling | 5/20/1971 | See Source »

...theme could have been one more excuse to laugh or cry at the kind of song and dance that dazzled a less sophisticated generation. But in its staging, and above all in its music and lyrics, Follies is astonishingly futuristic?more modern, really, than that calculated rock-beat ode to the counterculture, Hair...

Author: /time Magazine | Title: Show Business: The Once and Future Follies | 5/3/1971 | See Source »

...cultural remembrance of things past. Familiarity breeds content. Nonetheless, it is the singer who glorifies the song. Perhaps Siobhan McKenna's finest moments come in the two greatest Joyce monologues, "Anna Livia Plurabelle," from Finnegans Wake, and Molly Bloom's closing reverie from Ulysses. One is an ode to a river, the other to a woman. In Miss McKenna's delivery, the two are linked in a cascade of sounds and moods-drowsy, restless, tactile, sensuous-that, with a mounting lyrical intensity, evoke the eternal waters of life...

Author: /time Magazine | Title: The Theater: Saints of the Word | 3/8/1971 | See Source »

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