Pete interview in Seud Deutsche, Part 1
brianinatlanta2001 at yahoo.com
Mon Jun 11 06:43:21 CDT 2007
Via Google Translator:
Applause for those Invention of heroin"
Noise as a sign of the psyche: Pete Townshend speaks
an aging, its volume The Who, opera subscription about
bad drugs, and sexual fantasies over Mick Jagger.
Interview: Willi Winkler
Pete Townshend bought as Studio an at least octagonal
Boathouse to the Thames in Richmond. London lies
completely far away in the northeast, but from above
the airplanes on the way lower themselves after
Heathrow. From here Townshend sends 24 hours on the
day with Livestream. In the evening he has a small
Talkshow with his friend Rachel Hunter [sic] and Mick
Jagger's ex-woman Jerry resounds before organized. In
the corner eight guitar boxes are located, over it to
two photos from the Sixties with the still complete
Who. The musician leans at the railing of the terrace
and looks enraptured over the Thames. In the meantime
he looks like an old fur seal, which saw each port of
Sp: Mr. Townshend, you spoke times from your need to
volume, and that noise an expression of your psyche
Pete Townshend: Volume always played a large role for
me. John Entwistle had in former times a tremendous
amplifier, but then one heard only its bass. In
addition, I wanted to be heard. For my Fender guitar I
wanted a strong sound. With us in the proximity had
Jim Marshall his shop, therefore I went to him and
said: "Jim, I wants a sound such as Johnny Applesauce.
I want to be as loud as that." Then Keith Moon came to
the Who, and one could hear only the drums. The noise
was also a fight, in order to bring the public to the
Sp: Why did the public become loud?
Townshend: It always interfered. They wanted to force
us to stop or came on in the middle in a piece on the
stage and demanded another. Or they wanted to begin a
discussion with us. It was the purest jungle. I went
past thus again and again in the shop and said: "Jim,
I need a proper amplifier.", I, "I said Jim need these
condemned weapons! That stimulated his ambition. I
wanted that my work was respected and heard at all,
while Jim was such as Krupp: He wanted to build the
completely large cannon.
Sp: The Big Bertha under the amplifiers.
Townshend: It wanted to sit exactly like the company
Krupp in the background and count the money, while
other in front all off fighting. Thus we invented,
directly both the sound of Mars resounding from the
instrument into the amplifier. We gave the sound then
far at Eric Clapton and Jimi Hendrix, which
transformed it into somewhat much more musical and
Sp: Can one say that it depended the Who more on the
noise than on the music?
Townshend: I always regarded the Who as installation.
That is naturally a subsequent interpolating, but I
had a program. In the early interviews I always
explained: "Long ones we will not make it. We will
destroy ourselves. We ascend and will again fall." I
saw myself as an artist, who would perhaps attend to a
serious activity after the Who as a sculptor. Success
was then debt to the fact that I did not go
nevertheless home, when I mean first guitar smashed
had. "Good," I thought, "I am an artist, and I can
play just as well guitar."
Sp: Thus is the Who rather a coincidence product?
Townshend: We began with the fact that we us the
opposed, about what the others were united. Our first
hit "I Can't Explain" was actually like a Talking
Blues of Bob Dylan, an early version of "My
Generation". Instead of "there-there-dada", was (Pete
Townshend nasal to the words along) "I Can't Explain".
Sp: Thus it sounds actually like Dylan!
Townshend: In the kind such as Dylan, as telling
Songs, saw I made a chance for our music. And then
there the fans were, the Mods of west London. They
came and said: "That is our Song. You should write
more such things."
Sp: The Mods sent a correct delegation and ordered
Townshend: Exactly that. Merry way came they with a
tambourine and a Harmonika, played me somewhat, for
which they wished themselves of me a text. It was
something in the kind (it knocks it on the table):
" My teacher at the art school
had taught to me that the most important for an artist
was the order. Now I had it, I wrote Songs for the
Mods, for people in my environment. "My generation" is
one of it. A Song over the displeasure, the
requirement, to find also a place but with a certain
Sp: "My generation" sounds however reserved, you is
there part of the movement.
Townshend: Yes, I wrote for a group, but on the other
hand... I wrote then "I'm A Boy", which for the Mods a
strange Song had to be. At that time lived young in
Shepherd's Bush, which experimented with homosexual
relations. There there was a club in London, in which
one could not say, who gay it was and who operated
there as rent boy. David Bowie went there, Mark Bolan,
Rod Stewart, Long John Baldry. Some were bi-sexual,
some homosexual. Mark Bolan told me times that also it
had worked as rent boy, in order to be able to buy
things for tightening. There I noticed that I wrote
over something, which I did not understand. I felt in
the gays municipality in Chelsea, where I lived at
that time, well, but I did not want when gays to
apply, because I (he laughs) was on the search for my
Sp: Are we the not all?
Townshend: The woman, about whom I had always dreamed.
Sp: Beside your manager Kit Lambert gave it at that
time many gays in the music trade: Brian Epstein, the
manager of the Beatles, was gay, and Andrew Oldham,
the manager of the Stones, was at least bi-sexual.
Wasn't music a creative possibility of revealing
itself without doing it openly?
Townshend: Already possible. Think of the Androgyne by
Mick Jagger. If there were ever a gay gene in my body,
then he brought it to the appearance. I have it
observed, and I thought, which is the first man, with
whom I want to fuck, that is he. When young man was he
beautifully and long and narrowly, very erotic simply
only for looking at, at all does not effeminate, it
had a kind gemarterte, athletic femaleness. I was open
for it, but...
it became then nevertheless nothing out of that?
Townshend: I do not want it. Nevertheless: It was at
that time everything possible. Rod Stewart had these
strange long curls at the side, it has it actually
Sp: And marries always grossbusigere women.
Townshend: Perhaps he wants to be on the safe side.
Sp: Tony Blair, which announced its resignation now,
called himself once as a "modern man from the rock n'
roll generation". Are you not in the long run
responsible for Tony Blair?
Townshend: In certain way already. It can be even good
that I still encouraged him to go into Iraq. I do not
have naturally this influence, but I was the opinion
that we should not it do and us everything please let.
Today I know that I was mistaken perfectly. In the
world, in which I grew up, there is completely strange
Sp: That one can do everything?
Townshend: One cannot do it evenly! But the feeling
that... I should not do it, I should from me divert
and from Keith Richards not talk, but if he snorted
himself the ash of his dead father...
Sp: That was nevertheless a joke, I please you!
(Pete Townshend says nothing and makes a face, which
means only one: But, but, he has!)
Sp: That cannot introduce myself I simply!
Townshend: With the arrogance of our generation he can
snort himself also the ash of his father. Then it is
in certain way also correct the fact that he falls
down from a tree and survives that, or allegedly of an
operation at the brain to undergo must. There are no
rules. Pete Doherty can do, what he does and comes
thereby through or perhaps not completely. It does not
depend on it, it is all the same. That can be done at
these people, which already become like Keith Moon
lifetimes icons. But to him he died also.
Sp: Because for the excesses had to pay the price.
Townshend: And over exactly this question - "are we
ready to pay the price for it?" -, everything turns in
the rock n' roll. Our generation had a group to
together-find itself, had to form. We did not have to
separate perhaps at all from the society, but it had
to be clear us that the established principles, on
those the society was based to us, would not help. We
were forced it, as group, to together-remain as a
generation cohort, remained for us nothing at all
different one. And now the drawback comes: If one is
chosen as I, in order to stand on the stage, one will
inevitably always and always speak. Usually the people
say: "Exactly, which is correct, what says!" At the
end one believes, everything that one says, is
automatically correct. What did one accuse Tony Blair?
Townshend: That he believes in all seriousness, what
comes from his mouth, is the truth! It is a
generation-typical illness. An artist from my
generation tempts to dangerous arrogance.
-Brian in Atlanta
The Who This Month!
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