Word: townshend
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Dates: during 1970-1979
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...riaen and faded together. Hendrix was never flash because he had a certain lyrical as well as musical genius. His genius aside. Clapton was too humble to be flash. Alice Cooper and Ian Anderson? Theatrics. David Bowie and Rod Stewart? Rock star trips. Steve Marriott? Punk arrogance, and Peter Townshend, for all his onstage pyrotechnics, has been sneaky serious ever since perfect placement of that primal teenage stutter on "My Generation...
...with...." because Tull's not much more than that now. I started to fall out with the band when they tossed out Mick Abrahams in late '69, Tull's stage act is equal parts music and theater. But then, so's their studio act. Sometimes I'd rather see Townshend smash guitars. November 1st and 2nd at BOSTON GARDEN. Tickets...
Between 1898 and 1910, Shaw, with all the exuberance of a honking Stanley Steamer, was making his belated run toward greatness. Marriage to the well-dowried Charlotte Payne-Townshend in 1898, when he was already 41, relieved him at last of journalism's curse, the deadline. As if illustrating his own theory of the life force, Shaw hurled himself into writing plays. Man and Superman, Caesar and Cleopatra and Major Barbara are among the choicest products of these years. At their dashing best, the letters read like mini-prefaces to the plays, minor skirmishes in the battle against...
...culture proudly announced that it was just a young Yahoo America, that those long hair types you folks been fearing out there just want their drugs and music, courtesy of MGM or Warner, it doesn't matter. The ballgame was over for the Vulgar Marxists; that's what Peter Townshend was saying as he clubbed Abbie Hoffmann off the stage (no, it's not in the movie). The game metaphor had won out. Politics is a game, see, and if you play politics you play their game. Controlling your own life is a Western myth, man, part of the free...
...most gimmick-prone groups in all rock. The Who's favorite pre-Tommy stunt was to smash their guitars, loudspeakers and drums at the end of every set. At the Met, save for their own vaudeville antics onstage (Singer Roger Daltrey twirling his mike like a lasso, Peter Townshend playing his guitar with showy windmills of his right arm), there was no drama, no staging, no characterization. So little, in fact, that though The Who played only two-thirds of the complete work at the Met, no one, not even the critics, seemed to notice...