Die Welt on Berlin

[Brian Cady]

http://www.welt.de/data/2006/07/14/958183.html

(Google language - you know the drill)

The generation contract 
The Who, the mother of all rock volume, up-arose again
and by Germany on the way
of Michael Pilz

It was an enticing idea, it should something large
become. 17,000 humans were invited into a Wäldchen at
the citizen of Berlin outrocks of a town, in order to
celebrate itself The Who, the mother of all rock
volume, and as proven rock historians. Old and young.
It is again very much of rock the speech. The idea was
not divided by the market: Humans did not buy 17,000
tickets. The event shrank to the usual concert in an
empty depot. So that scarcely 5000 predominantly older
rule in washed route T Shirts of 1981 or 1997 does not
lose itself in the forest, but may itself with 35
degrees in the partially bestuhlten Treptower arena
together urge. "It is one shit-resounds", entrüstet
themselves the guitarist Pete Townshend. "However it
is ours shit-resounds!" 

Therefore it always went with The Who. The world is
like it is, but one maintains the more beautiful
music, steps better attraction in feature and above
all louder. As the survivors, to that one regards
volume, which 61jährige Pete Townshend and the
62jährige Roger Daltrey climb, friendly on the stage
as Veteranenprosa. When Pete Townshend fastens the
guitar for "I Can't Explain" and Roger Daltrey
in-roars into its microphone and hurls it like a
leaving, one believes each mean history from the
sixties.

No material values become more devastate, no
amplifiers or accommodations. The music works however
still violent enough. "The Seeker", "Anyway, Anyhow,
Anywhere", "The Kids of acres Alright", it schüchtert.
Or it provides for this grimmige euphoria, which
promises rock music, but redeems too rarely. At the
Urhymne "My generation" even flies an individual
half-full pledge cup toward stage. And if Daltrey in
the famous song verse master ELT that he hopes to die
before does not schmunzelt anybody. None is than he it
here before 40 years was older.

Not 17,000 thus and no people celebration, which
reminds of the contract, which applies in the rock
between generations. The Who did not only gehuldigt
the Rhythm & Blues like the Rolling Stones. They
already played it in the frühren Sechzigern as wild
noise. Innumerable young British riot volume, which
make music at present the Sommerfestivals bereisen and
for German high school students, updates of "My
generation" supply. Nothing is invented, that is the
contract again. One encounters also on increased
historical conciousness and reverence before the age.
But obviously with far less Inbrunst, than The Who
assumed on the occasion of the concert journey. 1982
had explained itself the group for dissolved. All the
more spectacular so far the comebacks failed, ever
more largely than now in Berlin and Bonn and Ulm.

The Who is not pure Riege for Nostalgiker. Who by the
offer in Plattenladen, by which Popkultur feels
overtaxed and of the Pophistorisierung, by The the Who
comprehensively informed. Even youngest mode victims
would find here an explanation for the puzzling
indication, which sticks on their Täschchen. The
blue-white-red target symbolizes the Mod movement,
which gave it again and again since the Sechzigern.
The Who were the first large volume of this movement
of a stilversessenen lower layer. Of it "My tells
generation" like the T-Shirt, which carries Pete
Townshends brother at the supporting guitar.

One sees the physical tribute, which this volume had
to pay in four decades, at the clearly younger
musicians in the back area. 1978 died the virtuose
Schlagzeuger Keith Moon at drugs; today Zak star key
imitates it, the son of Ringo rigid. 2002 deceased the
finger-finished bassist John Entwistle at
cocaine-conditioned cardiac infarct; it immediately
replaced by Pino Palladino. On the stage Pete
Townshend carries today headphone, it is its hearing
aid.

At the spoken life's work of the group the entire rock
music can be studied. It perfected 1967 in "The Who
Sell Out" the category "Psychedeli consumer
criticism". They used Synthesizer not as advanced
culture reference, but as serving instrument, which
proves "Baba O'Riley" again impressively. Before Punk
and Metal they were as the loudest volume authentic
with 120 decibels, carry out them also today still.
 
They invented the rock opera around 1969, in order to
represent the large Obsessionen of a recent mankind,
from youth to star fame, from alienation to rage. One
would have to be deaf and blind like Tommy, their
opera hero, in order not to take that from the songs
themselves in this tristen hall. To "they thunder pin
ball Wizard" and finally "lake ME, Feel ME". Both
Songs remind again of Woodstock 1969, when Pete
Townshend stepped only the cameraman, then the guitar
to a Hippie covered and at the end ritually into the
amplifier rammed and zerhackte it.

Some waits longingly for it. But Pete Townshend turns
off its after guitar getaner Schwerstarbeit with the
propeller arm only carefully. It would be nonsense,
incessantly means of production too becomes lumpy to
strike. At first it was "auto+destructive art", that
had it learned from its art school teacher Gustav
butcher, and it fit release by the noise. But in
Woodstock the guitars were numbered already, Pete
Townshend struck the always again repaired wrecks
divide. It lets it be simple today and takes for it
its bebrillten singer into the arm. Ten thousands
missed a large gesture of the Verweigerung, perhaps
the latter.

Articles appeared at the Friday, 14 July 2006



-Brian in Atlanta
The Who This Month!
http://www.thewhothismonth.com

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