Zitat des Tages von Pete Townshend:
I saw the Internet as being something which would allow power mongers to control us, and that we would willingly go to that if it promised us salvation - if it promised to show us who we were and let us find ourselves as we had, uniquely in our generation, through rock music.
Some of our early work was two minutes twenty when it actually came out on vinyl, very, very, very short. Sometimes if you made a three-minute record they would make you do an edited version for radio, particularly in America.
I know how it feels to be a woman because I am a woman. And I won't be classified as just a man.
A lot of my audience are in their 50s. But they want me to pretend to continue to be pretending.
What theatre started to look at much earlier than any other form was the internal operations of ordinary people, sometimes using mythic models in order to tell the story.
It wasn't just about flashing lights and pinball machines blowing up and things like that. It was about using encores, bringing back the good songs and using techniques that I knew about from rock performance.
I only really started to go to plays and to be interested in drama 20 years ago when as an artist I was already well-rounded. I think I'm more disciplined today.
What we learned quite early on is what was really important to early British pop that we produced-and this is where we were distinct from almost everybody else in this respect-is that it had to reflect exactly what the audience wanted us to say.
I have terrible hearing trouble. I have unwittingly helped to invent and refine a type of music that makes its principal proponents deaf.
What I took back, because of my exposure to the Jewish music of the 30s and the 40s in my upbringing with my father, was that kind of theatrical songwriting. It was always a part of my character. This desire to make people laugh.
I was born with a plastic spoon in my mouth.
I used to try and make up visually for what I couldn't play as a musician. I used to get into very incredible visual things where, in order just to make one chord more lethal, I'd make it a really lethal looking thing, whereas really it's just going to be picked normally.
Even modern English people are imperious, superior, ridden by class. All of the hypocrisy and the difficulties that are endemic in being British also make it an incredibly fertile place culturally. A brilliant place to live. Sad but true.
I think I probably would have enjoyed to keep my own private pain out of my work. But I was changed by my audience who said your private pain which you have unwittingly shown us in your early songs is also ours.
Everything that I had done creatively related to two or three incidents that happened to me when I was a child that I'd forgotten. Everything, absolutely everything.
It's sad when people break up.
A lot of writing I do on tour. I do a lot on airplanes. At home, I write a lot, obviously. When I write a song, what I usually do is work the lyric out first from some basic idea that I had, and then I get an acoustic guitar and I sit by the tape recorder and I try to bang it out as it comes.
As a young man, every bone in my body wanted to pick up a machine gun and kill Germans. And yet I had absolutely no reason to do so. Certainly nobody invited me to do the job. But that's what I felt that I was trained to do. Now no part of my upbringing was militaristic.
If I told you what it takes to reach the highest high you'd laugh and say nothing that simple, but you've been told many times before messiah's point you to the door though no one's got the guts to leave the temple.
I'm only interested in rites of passage stories.
He is the king. If it hadn't been for Link Wray and 'Rumble', I would have never picked up a guitar.
Early British pop was helped tremendously by the writing of Bob Dylan who had proved you could write about political and quite controversial subjects. Certainly what we did followed on from what was happening with the angry young men in the theatre.
Bob Dylan did the first really long record - Like A Rolling Stone - I think it was four minutes.
But what was interesting about what the Who did is that we took things which were happening in the pop genre and represent them to people so that they see them in a new way. I think the best example is Andy Warhol's work, the image of Marilyn Monroe or the Campbell's soup can.
I just could not believe that 30 years later we're still looking at people who are supposed to write little 2-minute pop that when they actually try to do something that's a little bit more they regard it as pretentious.
I needed to give back, give back, give back. I felt guilty about my success. I felt uncomfortable about how easily I had been delivered this extraordinary life that I had.
We tried not to age, but time had its rage.
I bought a Dutch barge and turned it into a recording studio. My plan was to go to Paris and record rolling down the Seine.
I've learned a huge amount because I've been tested and, more importantly, I've been trusted.
It's an ordinary day for Brian. Like, he died every day, you know.
I felt that The Who had ended because we'd lost touch with our original Shepherd's Bush audience.
I don't view the fans in the way that most performers do. As a mass of people who have paid money, I know what they want. It's a very, very, very, very, very low common denominator.
The problem for me, still today, is that I write purely with one dramatic structure and that is the rite of passage. I'm not really skilled in any other. Rock and roll itself can be described as music to accompany the rite of passage.
In order to have faith, or follow any other organized religion, I'd have to suspend a degree of disbelief.
In a sense, the god we trust politically is a slightly different god than the one we bring into the fray when we enter a rock concert. One of the things I can say with absolute conviction is that I worship that god.
Keith Moon is not interested in jazz and won't ever be a jazz drummer because he's more interested in looking good and being screamed at.