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TIME: Almanac 1995
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TIME Almanac 1995.iso
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<text id=93TT0148>
<title>
July 12, 1993: Pete, We Can Hear You
</title>
<history>
TIME--The Weekly Newsmagazine--1993
July 12, 1993 Reno:The Real Thing
</history>
<article>
<source>Time Magazine</source>
<hdr>
SHOW BUSINESS, Page 55
Pete, We Can Hear You
</hdr>
<body>
<p>Who's afraid of getting old? With a Tony for Tommy and a terrific
new album, Pete Townshend is in his prime.
</p>
<p>By JANICE C. SIMPSON
</p>
<p> By the time he was 24, Pete Townshend, the guitar-spinning
auteur of the seminal 1960s rock group the Who, had secured
a permanent place in the annals of pop culture. His song My
Generation, with its juvenescent proclamation, "Hope I die before
I get old," had become the anthem of the Woodstock era. And
his "rock opera" Tommy, about an abused child who liberates
himself by becoming a pinball wizard, had been adopted as the
definitive parable of its time by every would-be rock rebel
with a cause.
</p>
<p> Fast-forward more than two decades. Townshend, his hairline
receding and his temples gray, is now well into middle age (48)
and surviving it very nicely, thank you. An eye-popping, updated
production of Tommy is currently the hot ticket on Broadway,
having last month earned Townshend a Tony for best score. And
Townshend has just released Psycho Derelict (Atlantic), a brand-new
concept album that, through a mixture of narrative dialogue
and thematic songs, tells the story of Ray High, an aging rock
star who attempts to stage a comeback. Like Tommy, the new work
is part autobiography, reflecting Townshend's concerns about
the burdens of celebrity, the power of the media and the struggle
for artistic integrity. "I never really ever wanted to be a
celebrity," he explains. "And I constantly try to work out how
it occurred."
</p>
<p> The 11 songs on the new album are nifty. Tracks like the dynamic
opener, English Boy, showcase Townshend's talent for mixing
metaphysical lyrics with hyperphysical music. The dialogue,
presented in the style of a radio drama and performed by actors,
wears out its welcome more quickly. But the dramatic format
appeals to Townshend, whose love for the theater dates back
to boyhood memories of watching from the wings while his musician
parents performed in British music halls. "I'm proud of the
way PsychoDerelict works as an oral piece," he says. "It's
not to everybody's taste, but I knew that wouldn't be the case."
</p>
<p> Starting this week Townshend takes the 63-minute work on tour
to six cities, ending with a concert in New York City that will
be carried nationally on pay-per-view TV.
</p>
<p> Whatever the response to the new work, the success of the Broadway
production of Tommy has made Townshend hip again. Over the years,
there have been symphonic performances and dance interpretations
of Tommy as well as the flamboyant 1975 film version, directed
by Ken Russell. But the Broadway version marks a special coming
of age for the work and its creator. "I've been waiting for
this for a long time," Townshend says. "I felt I only had one
more opportunity, and it had to be the right guy and the right
place."
</p>
<p> He found both in Des McAnuff, artistic director of California's
La Jolla Playhouse. McAnuff's staging, which opened last summer,
quickly sold out and prompted the move to Broadway in April.
Baby boomers who aren't traditional theatergoers are queueing
up for seats and rocking in the aisles. "There's a hunger in
the rock audience," says Townshend. "When you're my age and
you want to go to a concert, you think very hard about whether
it will be a relaxing experience or a disturbing one. So you
tend to go to the movies, to restaurants. You don't go and watch
rock-'n'-roll shows. A lot of people are looking for a doorway
into the theater."
</p>
<p> Old Broadway hands are delighted that Tommy is providing it,
but some of the rock faithful complain that the piece has been
overly domesticated. They say its hero, Tommy Walker, has been
transformed from a '60s rebel into a '90s wuss who at the end
of the evening embraces his dysfunctional family by telling
them, "You don't have to claim a share of my pain--you're
normal after all." Townshend says his critics should grow up.
"What I mean by normality is freedom from disability," he says.
This version of Tommy, he explains, rejects "the great visceral
rock-'n'-roll dream that refused to ever come back down to earth,
that refused to address reality. I'm landed. I'm here back on
earth."
</p>
<p> Right now earth is a pretty pleasant place for Pete Townshend
to be. Once a heavy drinker, he has been largely sober for 10
years, temporarily lapsing about six months ago but recently
straightening out again. His 25-year marriage is in good shape,
and with his two daughters grown he is enjoying a new round
of fatherhood with son Joseph, 3 1/2. This winter, the Young
Vic in London is scheduled to mount a production of The Iron
Man, the 1989 musical that Townshend adapted from a fable written
by British poet Ted Hughes. In the meantime, he is working on
a musical adaptation of playwright Arthur Miller's 1987 autobiography,
Timebends. All of which is enough to give this self-described
dinosaur rocker a new outlook on life. Now, he has decided,
"I don't want to die before I get old."
</p>
</body>
</article>
</text>