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Pete chat (backward w/moderator cut)



Moderator: You've been a wonderful audience. Thanks for all the great
questions. To keep tabs on Pete Townshend, everyone should check out
his
website at www.petetownshend.com.


SS from Texas: What was the biggest artistic or production challenge or
challenges in mounting the BBC broadcast of "Lifehouse"? For example,
was it the scope and number of musicians, the arranging, the auditions,
etc. ?
PT: I would attempt to answer this question but some woman has just
walked in with her dog and is trying to get it to behave. Right....
Good Boy! It's just sat down. My P.A just asked if it needs food? No,
it's had its dinner. Jolly Good. Goodbye SS, and America. Thank you for
this, I enjoyed it.


sharon from Boston: Hi Pete, What made you decide to sell the BBC
Sessions via the internet only. How are sales? Do you plan on selling
your future work through this medium? I purchased the "Lifehouse
Chronicles" through your Eel Pie site. It's wonderful music that takes
me through many years past. It still sounds beautiful.
PT: The Who album has had 450,000,000,000 downloads, mostly in
Wimbledon (a West London suburb).


Jeff Damico from Port Charlotte, FL: Hey Pete, Has the progress of
technology been the main reason you were able to produce Lifehouse at
this time. The original songs released were technologically ahead of
their time and it seems the equipment used today probably made life a
bit easier for you. Keep rockin' Pete. We love you!
PT: I don't think you've got this right. The technology of yesterday is
what I used to produce a fictional Lifehouse. What the technology of
today will allow me to do, if I get time, is to make it REAL


Mike Costello from New Jersey: Have you heard a copy of your brother
Simon's new live/acoustic CD? If so, what do you think of it. He is
fantastic. Can't wait to see The Who this summer.
PT: You know, this is terrible. No I haven;t heard it. Simon is
wonderful, and his son Ben is now a truly world-class drummer. We are
SUCH a talented family. (And gorgeous to boot).


Mariasha from Boston: What's the story behind the song "Sheraton
Gibson" Were you touring? Where was it written?
PT: Oh you are going to feel silly. It was written in the Sheraton
Gibson Hotel. I think in Pittsburgh? I was touring. It was one of about
ten songs I wrote in about two hours beforeR a show after listening to
Bob Dylan's album SELF PORTAIT and feeling inspired. One of the most
important songs was an early version of BARGAIN.


Brian Rozelle from Findlay Ohio: What Keyboards you have in your key
board set up in your studio and do you use any midi equipment?
PT: Main is Synclavier 9600. Then Kurzweill K2500. I always have a D50
for one or two sounds. Other favourites are the new Roland 2080,
Quasimidi, old Prophet 10 (utterly awesome) and Jupiter 8.


Glow Girl Emma-Jane from Liverpool, England: What still drives you to
play live gigs? As fans we all get so much out of them, hearing the
music live and pure like it's meant to be. But you have to go through
so much hassle to get to us, why do you do it. Thanks for the Shepherds
Bush gigs by the way, bestI've been to in my life.
PT: I'm a performer. I suppose I'll always do it. It was great for me
too at Shepherds Bush. Being shouted at, like I was a football player
who'd just fluffed a shot, and being able to shout back without fear
I'd get killed. It's like being at a great party.


Jill from Colorado: How about Roger starring in Psychoderelict?
PT: Too old.

Steve Riggio from Barnes & Noble: The Gateway remix of Who Are You is
awesome. HOw did that come about? What does Gateway mean?
PT: I did this mix for Ted Waitt owner of Gateway Computers because he
used WHO ARE YOU for one of their TV campaigns. The mix was a creative
one derived from the live taping of my solo show in Shepherds Bush in
November 1998. It was done by Jon Carin and Gary Langan.


Jeff Damico from Port Charlotte, Fl: Hi Pete, I really enjoyed your
video diary entries during the Lifehouse rehearsals. Any plans to
continue with making video entries to keep us up to date? Thanks,
Jeff-Your biggest fan.
PT: Yes yes yes. I enjoyed doing it. I hope to make some on the road.



Wilson Beavers from Atlanta: Pete,Thanks for what your music has ment
and continues to mean to my life. you inspired me to take up guitar at
age fourteen after buying Quadrophenia. I too have developed tinnitus
in the last few years. (not blaming you!) and play mostly acoustic now.
In the ad for Blues to The Bush you appear to bo playing more electric
with amps onstage, how are you coping with your tinnitus and how is
your hearing in general these days? Thanks again Hope to see you in
Atlanta!
PT: My ears are ringing again. Stupid of me I know. But I've stopped
worrying about this. I can't go out with my old Who buddies and hide in
a corner any more. I trust God has a reason for all this.


Alan from America: It is my experience that there is a core group of
devoted Who fans that travel from show to show, when The Who is on
tour. In the seventies you said that you felt a kinship with these
fans. Do you still feel he same way about seeing the same faces at
every show?
PT: Not so sure. In the old days we were young. Now when I look out I
see old people. But then so do the audience!


David Schulman from Burbank, California: Pete, The Baba Box is
fantastic. Where did you get the amazing footage that is on the CR-ROM?
PT: Thank you. I am lucky in that I administer a Meher Baba film
arcgive, I have access to a lot of wonderful film footage. Meher Baba
was aware that film was a great medium for finding his followers, and
allowed lots of movies.


Oliver from New York: Pete, one of my alltime favourites of yours (and
The Who, of course) is "How many friends". Why was it played so rarely
live - if ever?
PT: I suppose it was quite a bleak, angry song.


Shanna from Penn: How does it feel to listen to Emma's work?
PT: I can't tell you how strange it is. Her voice is so beautiful.


Helen from England: <<Favourite album is probably SONGS FOR SWINGING
LOVERS. >> So can we expect a few Sinatra covers on the tour, then? ;)
PT: I like Sinatra. Maybe Roger is not such a fan. Doesn't he prefer
Johnny Cash?

Shanon from Atlanta: Just curious what you think of the new Pearl Jam
album? Especially the song Soon Forget which Eddie thanks you for.
PT: I just got it for my birthday and haven't heard it yet.


Sentimentalist from Liverpool: Did you write Glittering Girl about
anyone in particular?
PT: No..... it was a word-game.


Alan from America: There is a large market for older live material. Do
you intend to market any *older* live material through your website,
eelpie.com?
PT: Sadly, we don't hold as many tapes as bootleggers. What is quite
incerdible is that people were taping concerts way before portable
equipment was easy to buy. More recenbtly we've recorded everything of
course.


Jennifer from New York: I heard that the Lifehouse Method set is being
delayed so that there will eventually be a computer element from which
you will formulate our personal "notes", and eventually incorporate
them into Lifehouse. Can you tell me more about this, and is it
necessary to buy the set off your website in the future to participate?
Thanks.
PT: Please search <www.petetownshend.com> for the latest.


Kate from England: I loved the Sadler's Wells concert, and it made me
go in search of the radio script, but the ending seems to me very
pessimistic - far more so than what I can make out of the original
version. Am I misreading it? Is it really so bleak? And has it got
worse over the years?
PT: You're right. The radio version is bleak. But there is a reason for
that - the concert itself is not described in the latest version. It is
there that the music does its work. So you have to believe the future
holds the key.



Carolina Pumarejo Mart nez from Tamaulipas,Mexico: Do you think that
virtual encounters can substitute the real ones? That they can be more
exciting? That's your point of view?
PT: What do you mean by virtual encounter? If you mean an e-mail
exchange, I find them mostly disturbing - but I love e-mail. E-mail
leads us into a different way of speaking. This chat for example leads
me to speak in a different way I would if I was actually talking. If
you mean however the AOL handjob, then I would prefer that to an
encounter with a heroin-addicted hooker who was abused by her
grandfather and thus believes all men are inherently evil.



Daniel from New York: An obvious one: What is your favorite album? Or,
if this is easier, what have you been listening to recently?
PT: Favourite album is probably SONGS FOR SWINGING LOVERS. Lately I've
been listening to that, and LARGO (by Eric Bazillian, Taj Mahal, Willie
Nile and others).



Howard from Philadelphia: Hi Pete...cant wait to see you in Philly July
7! My question is will we ever get the opportunity to hear you play in
concert songs from Chinese Eyes? Songs like "Somebody Saved Me, Slit
Skirts", etc. are incredible moving songs that deserve to be played
more often, and especially live.
PT: Thanks. Not with The Who.



Dave Witonsky from Denver, CO: Pete: In creating these many great songs
over the years is it the words of the song that precede the music or is
it the music that formulates first? Also, can you describe the
collaborative process of introducing a song to The Who and how it
starts as something of your creation to a song that eventually becomes
a recording by The Who? Thanks,
Dave
PT: Both ways. These days Dave, I just don't seem to write songs any
more. Not often. I haven't introduced a song to The Who for 18 years.
I;ve forgotten what happens.



ben from idaho: What is your average day like and what are you doing
after the chat?
PT: Today I woke around 0800 and drove into a massive traffic jam on my
way to a medical. I couldn't reach the clinic so came home at about
1100. I answered some mail, signed some cheques, met up with a friend
and we spent the day recording some songs. I have listened to my
daughter Emma's new CD (Which is pretty great), and some mixes Bobby
Pridden did of my show in Shepherds Bush. I spoke to my manager Bill
about the forthcoming tour. I also spoke to my wife about a friend's
birthday today (not Bob Dylan!)



Shanon from Atlanta: Would you ever consider doing a "Storytellers"
type
tour? Just you and a guitar.
PT: What, like Bob Mould or Taj Mahal? At least they get a bottle of
water. Steve Riggio (of Barnes & Noble dot com) and I went to see Taj
together in 1993, it was great and boozy night just before I went back
on the water wagon again. Answer? Probably not. I found VH1
Storytellers really hard work.


Joe Cozz from New Jersey: Lifehouse is great. The songs are recorded
over many years but they are seemless. Does it feel different to you
when you sing them. When you listen to a song you wrote at 25 do you
see the flaws in it or do you say damn that was good.
PT: Both things happen. The song I was most surpised by when performing
at Sadlers Wells was GREYHOUND GIRL. It is sublime to play live.



Doug C from Richmond, VA: It seems that lately (past 5-10 years) you
have become more comfortable with, and positive about, the Who s place
in rock history. You appear to be more willing to discuss, and even
musically revisit yours and the WHO s musical past. It this a fair
observation? If so, what did it take to become more at peace with these
feelings? (or did you just simply grow up? . . . sorry, just being a
little cheeky here!)
PT: No you're right. I grew up. In one vital respect - I realise now
that I can't control the way The Who is valued by its audience. I felt
that by stepping away from The Who (and even talking a lot about our
mistakes) I could distance myself from my own past. Now I know that was
foolish, like changing football teams when your local team is losing!



Doug C from Richmond, VA: The recent animated movie "The Iron Giant",
as well as your 80 s album "The Iron Man", was based after the Ted
Hughes children story. Were you approached to use your music in this
project, and why wasn t it used? What s the story?
PT: I took the story to WB. They bit. They hired the brilliant animator
Bar Bird, who was dead set on avoiding a Disney style musical (which I
happen to like) with songs etc. So although we did not argue over this,
he is a great film-maker, I stood down. Iron Man still has potential as
a great stage musical or even an opera.



Curt from SF: Enjoyed BBC sessions, especially the chance to hear more
of young Keith's drumming. How about working with Zak, any comparisons
to be made between the two? Thought he was outstanding on Quadrophenia
tour...
PT: Zak is a great Keith Moon student, but I like it when we start to
fire up together with Zak's own style. He is brilliant, and very, very
different to Keith in many ways. Roger says Keith followed the vocal
line. Such conceit. Keith followed EVERYTHING.



Steve Riggio from Barnes & Noble.com: On behalf of Barnes & Noble.com
and your many fans, I'd like to thank you for your generous time and
lively discussion. Best of luck with the release of LIFEHOUSE ELEMENTS
and with the upcoming Who tour.
PT: Oh my God, it's STEVE RIGGIO. Of Barnes & Noble. They sell BOOKS.
And COFFEE!



Susan Schearer from Pennsylvania: Hi Pete. Thanks for doing this chat!
What is the status of the theatre version of Psychoderelict?
PT: Being written as we speak. The actor Peter Gallagher is working on
it with the director Ethan Silverman.



Mike O'Brien from Massachusetts: Where was the picture taken for "Who's
Next" of The Who pissing on a monolith?
PT: On Mars. I was so hungover I didn't know wher I was. Somewhere in
Lancashire?



Howard from NYC: Do you plan to perform thr Lifehouse concert in
America ? or even bring the concept to Broadway ?
PT: Going to make a small film (which will be a kind of script-demo)
first. 


David Schulman from Burbank, California: Hi Pete, The classical music
on
Lifehouse is beautiful. did you compose the music? Regards, David
PT: I did. I put down the parts on keyboard first, then - with the help
of two orchestrators (Rachel Fuller and Sara Loewenthal) I progressed
them to paper. I am probably confident enough now to orchestrate
without help, but I will always have what I do checked by professors or
professionals.

Dave Gaviota from Simi Valley, CA: I find it intriguing why Rory
Gallagher (same era as Who, Stones, Beck, Zep, Clapton etc.) never was
accepted by the public... great chops and songs, total musician. Did
you know him and have any comment on his contribution to music? Thanks,
Dave
PT: He was a great man in many ways. I never met him though.You know,
some people don't become HUGE because they are too SMART! They hold
back a little (like my brother Simon?) so they can remain true to
themselves> Maybe Rory was like that?



Susan Schearer from Pennsylvania: Do you plan on using the Les Paul SG
special on The Who's upcoming tour?
PT: Maybe.



Bjorn Ciggaar from The Netherlands: Pete, what's the story behind your
latest song "Can You Help The Ones You Really Love"? I loved hearing it
live at Sadler's Wells. I reckon you played that song on a Fylde at
Sadler's Wells?
PT: Fylde it was. The story behind the song is this - if you had found
YOUR Lifehouse (a place you felt your journey might end in joy and
fulfilment) would you be able to persuade your parents to join you?



Alan from America: Is The Who likely to perform any club dates(such as
the recent shows at Chicago House Of Blues and London Shepherd's Bush
Empire) on the upcoming tour?
PT: Sorry, no



Carolina Pumarejo Mtz from Tamaulipas,Mexico: You are an excellent
guitar player. And you know it. What is the source of inspiration when
you're playing? Who are your favorite guitar players?
PT: Thank you. My inspiration is simply the love of the way music
creates a time within time - a great player (or any instrument) ends up
feeling he is actually a part of God's clock. My favourite guitar
player is probably Pat Martino.



John from NYC: Will you ever do another "non-concept" solo album again
(like Chinese Eyes-one of my favorites?
PT: Chinese Eyes is a concept album I'm afraid. Glad you like it
though.



robert friedman from San Francisco: I saw you, i feel at your height of
touring at fillmore west and the who ruled the world for me. You have
mentioned your influence of Terry Riley can you explain that influence.
PT: Yes, we all got a little fried. Terry is a minimalist, but also a
very spiritual man. I think that must have reached me.



cp from TN: Why have you (like Billy Joel and Paul McCartney) found
more joy in classical composition lately? I think that "Quadrophenia"
is the most beautiful piece of music I've ever heard.
PT: It's not more joyful, I suppose it's just something else, at least
for me. I still work on rock sound textures all the time. But if I'm
not old (and I'm not) my ears are a little worn. Crashing out 400 hours
of Quadrophenia mixes in 1973 left me with a seriously depleted hearing
reserve. The gentle sounds of a string orchestra soothes me. Notice
that I don't write much (yet?) for brass, woodwind or percussion.


Calum McNeil from St. Catharines, ON.: You played "the song is over" at
your Lifehouse shows in February, a song which you have never played
live with the Who. Would you consider playing it with the group during
the summer? If not, why?
PT: We will play all kinds of surprises this tour.



Daniel from New York: Perhaps this is an old quesiton, but i'd like to
ask: How do you account for your transition from writing/playing more
R&B oriented material to pop and art rock in the mid-1960s? How do
these two genres relate and what features distinguish them for you? Why
go from James Brown covers to the Who "Sell Out"?
PT: Group control. When I started to write I took control from Roger.
We both loved James Brown, but my own writing was more influenced by
Kinks, Stones, Beatles, Beach Boys etc.



Cathy Petty from Maryville, TN: Did you find composing the "classical"
portions on disc 4 to be any more or less challenging or interesting
than the rest?
PT: I found the composing easy. What was interesting was the recording
process, meeting classical musicians and finding them to be completely
into what I do in pop, rock and orchestral writing. The sextet at the
heart of the London Chamber Orchestra may well include my Hinterland
Rag in their chamber repertoire. I'm kind of smug.



Kevin from Virginia: Hi Pete. I am a big fan of yours and I am a
theatre
director (and will be directing Tommy this summer). Do you have any
plans to put Quadrophenia or Lifehouse on stage like you did with
Tommy?
PT: Yes of course! Quadrophenia is currently with a young British
writer
called Joe Penhall for submission to teh National Theatre here.



Heather from Washington, PA: I can't wait to see the Who in concert.
What are you most looking forward to about the new tour?
PT: Being able to sleep late most mornings.
Jill Jackson from Ft. Lupton, Colorado USA: Because of Quadrophenia, I
ended up in London at the age of 19 just to stand in the rain on
Goldhawk Road - What artist or artists warped your mind when you were
young? (and I mean that in the nicest way).
PT: Oh God. Embarassing. Acker Bilk.



John Urbaniak from Seattle: Hi Pete, One of my favorite songs of yours
is "Bargain". Could you please give some insight on this song and how
it relates to the "lifehouse".
PT: It's about one of the characters being prepared to truly gamble on
the possibility of a spiritual pay-off to being a 'good' person.



Lenora McCoy from Chicago, IL: Out of the many Who songs and solo songs
you've written, which is your favourite? And what is your favourite
song off the new Lifehouse box set?
PT: Behind Blue Eyes



Ken Klavon from Metuchen, N.J.: Pete, as a lifelong devoted follower of
your work, I think your writing is the best rock music has ever seen.
Do you plan on doing anymore conceptual albums in the future -- maybe
even with The Who? Thanks.
PT: I plan on trying to write some songs. What I hope to do
conceptually is make small films. I am really excited about the new
MiniDv technology for the Mac.



Ray Mota from San Jose, Ca: Good afternoon Mr. Townshend. What are your
views on your music being traded illegaly on the internet by such
programs like Napster where alot of your music can be downloaded for
free. Thanks and see ya in L.A., Mountainview, and Sacramento. Cheers,
Ray
PT: I love being the one who is in the right!



Whofan20 from Pennsylvania: How much of an impact did Meher Baba have
on
Lifehouse? Does he still impact your work to this day?
PT: Meher Baba influenced my view of the spiritual STRUCTURE of
creation. His was a non-poetic explanation of human consciousness and
our journey. But I must be careful not to try to sepak for this great
master. Search for Him on the internet of you need more info.



Moderator: LIFEHOUSE ELEMENTS is finally here! Click this link to order
your copy of Pete Townshend's conceptual masterpiece. We're offering
the CD for $13.99.



Adrienne from Delaware: I read something about Gibson making a Pete
Townshend Les Paul Special, can you give me some more information about
this?
PT: The are making a Les Paul SG special, like the one I played on LIVE
AT LEEDS and at Woodstock. These are fantastic, simple instruments, and
sound utterly gorgeous.



Richard Broadbent from Emmitsburg, Maryland, USA: Hope you enjoyed your
birthday and are enjoying Bob Dylan's birthday today! Except for the
(Fishman?) piezo bridge and control, are those Eric Clapton Strats you
are playing these days pretty much the stock item? They certainly sound
cool on your latest recordings, no doubt to your credit! Enjoying the
Lifehouse recordings very much, thanks. Be well.
PT: Yes, they are standard guitars. I copy Eric all the time. I can't
help it. I buy cars like him, jackets like him, and I even go to
Antigua a lot like him. Seriously, we are both prats.



Adrienne from Delaware: What is your favorite kind of acoustic guitar
to
play?
PT: Small body English guitar called a Fylde, made in Lancashire.
Perfect.



colin price from oxford, uk.: Pete, In light of many of the subjects in
Lifehouse seeming quite day to day in these times ie internet etc, are
you tempted to sit down and write a new peice which, again looks at the
future. It would be very interesting to find out in years to come if
you predicted right (again)! Many thanks for years of great music.
PT: No more predictions. Except of course for my latest and last, that
very soon all machines will be made out of synthesized flesh rather
than metal or plastic.



Brain from Huntsville: When did you first realize your 'Grid" concept?
Does it date back to the original post-Tommy Lifehouse days? Because
even at the Pyschoderelict timeframe, it was extremely visionary to
today's Internet.
PT: I hit on it clumsily in 1970. In Tommy, I achieved the hero's
spiritual isolation by making him deaf, dumb and blind. In Lifehouse I
achieved the same isolation for the entire human race by placing the
majority of them on a worldwide grid via which they experienced all
their entertainment and important educational life experiences.



Andrew Hubsch from Barnes & Noble.com: What is your take on "cool
Britannia"? Any substance to the hype? What is your sense of the
England of tomorrow?
PT: There is little substance. What is good about Britain today is
simply that there is some style that runs beyond a few sacred streets
and magazines. We have learned how to live.



Joe Giorgianni from New York, NY: How many guitars have you destroyed
over the years?
PT: At a rough guess about 200. I have given away about 150, so the
balance is almost perfect. Once or twice I've broken a truly great
guitar. That still hurts when I think back. But, I wonder if I'd be
today if I hadn't convincd myself that my first manifesto was a good
one?

JT from Boston: 1. Looking back at what you have done over your life,
what are you most proud of and what are you least proud of, both
professionally and personally? 2. How has your relationship with your
fans evolved over time? What impact do your fans have on you
professionally and personally?
PT: 1. Most proud of being a good father. Least proud of being a
wavering husband. 2. Since I've opened a web site I realise I have less
fans than I thought. But those I have are REAL friends. I don't mean
that I know them all by name, or we play golf, but they show me
unconditional affection, support and love. I used to feel fans put me
under pressure. Now I realise they do quite the opposite if they feel I
need space. I feel greatly indulged, and graced by my fans. This sounds
cheesy, but it's true. Even fans who criticize me, or say that despise
me, seem to engage me in a way that indicates they have (or want) a
real involvement with me. That is what art is. So I am an artist
BECAUSE of my fans recognition of my value to them, not just because I
say so.



Moderator: The mark of great artists can often be measured by asking
what the culture would be like if they never came on the scene. If Pete
Townshend had never picked up a guitar and pen, rock would never have
been the same. Experience his genius with LIFEHOUSE ELEMENTS. Click
here to order.


ken shuldman from ken.shuldman@ny.ddb.com: Last Friday I attended a
show at the Bottom Line in New York City. It was a tribute to the 60's
British pop show Ready, Steady Go. To me, the high points of the
evening were when the band and guest performers ripped into early Who
material like So Sad About Us, Tattoo and The Kids Are Alright. The
performances and the response was electric. Why do you think that music
still has such a powerful hold on people? And does it have a hold on
you too?
PT: These old songs are little jewels really. I'll never be able to
write with such innocence again, and The Who won't ever be able to
recover such fire. So yes it holds me too. This was precious time in
many ways. It was quite easy to do new things.


Katy K from Lincoln, NE: Are you still involved in book publishing? I
understand that you were an editor with Faber & Faber at one time. As a
Pete Townshend fan and university press publishing person, I'm curious
about your interest and ideas in the realm of books. Much thanks!
PT: Technically I've never been fired from Faber and Faber and still
have a role as a consultant editor.


Peter Fiskio from Tampa, FL: Hello, Pete, Are you still planning to
complete your autobiography, and if so, any idea on a completion date?
PT: I'm afraid I put it down. My publisher (LIttle, Brown) were
wonderfully supportive, and I found writing about my childhood very
natural. But when I reached Who years (1959/60) I started to panic.
There is, you see, so much documentary evidence that suggests that the
way I remember things is wrong! I need to do more research, speak to
friends, find out whether I can really write down what I remember
without being dishonest or careless over the truth. I will pick it up
again very soon.


Kevin Michaels from Long Island, New York: Why has the Lifehouse
project been so important to you all these years? What was the main
stumbling block in completing it?
PT: I never let anything go. I will die with a suitcase full of old
unfinished songs. An artist is (among other things) someone who
FINISHES
things.


Jon Pywell from London England: Hi Pete The whole of Lifehouse has
blown me away. loved the sadlers wells gigs and the Chronicles box set,
but my
personnal favorite tracks are the acoustic ones i.e Mary,Can you help
the one you really love and the acoustic Behind Blue Eyes on
chronicles. Any plans for you to record a totally acoustic album (new
or old songs) to sell on the net, just you and the Gibson, a sort of
unplugged but with class. Im sure all your fans would love to hear one.
RESPECT Jon
PT: Thanks. I plan regular webcasts from my London video studio that
may well be acoustic.


Alan Cyr from Xenia, Ohio: Pete, There seems to be an extinction of
serious rock and roll and pop songwriting since the mid 70's, such as
rock operas and concept albums. If looking back historically, do you
feel that pop and rock music has been cheapened by over-simplified
music formulas and commercial objectives?
PT: Pop can never be cheapened in my view. It is after all a transient,
ever-changing form, reflective by nature. Is not what you call
'over-simplified' perhaps just tightly defined form, boundaries and
style?


Steve Riggio from Barnes & Noble.com: Good afternoon Pete. Most Who
fans are familiar with the composers, musicians and songwriters who
have influenced and inspired you. I'd like to begin by asking about the
literary influences on your songwriting style and storytelling craft.
Who are your favorite writers and how have they influenced your
songwriting/storytelling craft?
PT: I've said all this before.But here goes. I like Jorge Luis Borges.
Labryinth was the first book of his I read when I was about 20. Later I
started to really enjoy George Eliot. Modern American writing has
always been an interest. I enjoyed all the Salinger books. Then all of
Fitzgerald. I have read Hudson, enjoy the poetry of Whitman, O'Hara,
and so on. Playwright has to be Miller. His own family story seems to
me to be a typical one: father out on the road....... mother doting on
the idea of family, the NOTION of family, and not always the real
little people in the family. I don't think Miller blames (as I do!) he
explains.



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