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Posterazzi Pete Townshend in Mid-Jump Photo Print (8 x 10)

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I don’t exercise. I walk quite a bit, but my hobby of choice is sailing, and that’s not very physical. It’s mainly looking at the wind and trying to figure out where to steer. But that’s my main sport hobby, which I do and I love doing it. I do it as much as I can. I’ve been reading about a Keith Moon biopic for about 20 years. It seems like it’s finally happening now. Bring it up with Roger. He’ll know more about it than I do. But it’s Spitfire films. They are the producers. I’m working with them on a few other things. It looks like it will probably happen soon. When you talk about it as a Keith Moon biopic, it’s going to be the first semi-fictionalized, dramatized Who story. It will be a Who biopic. Somebody is going to have to play Pete Townshend. I’ve read some very, very varied opinions about what my relationship was like with Keith. I view it one way, and another people view it another way. I certainly was never at war with Keith, but neither was I his puppy. I’ve been enjoying working with other musicians, and we’ve been doing that work in my studios. I’ve got two studios in the U.K. I’ve kept myself busy musically. We live in a very polarized society. As musicians, we really sincerely hope that music brings the two sides together. If we can do that, that would be great. If we can’t, so be it.

The idea was that I’d write the songs and record them in my home studio. Roger would put on vocals and we’d put it out. And we’d have a million dollars to share between us. [ Laughs.] You turn 80 in about three years. Do you still want to be onstage then, or do you view that as a time when you might step aside?I’ve been working with a very interesting group called the Bookshop Band. They write songs about novels and fictional books. They’ve done a couple tours of America playing bookshops. In other words, they wouldn’t insure us again until the pandemic was very, very behind us. We’ll do that in 2023, I think … I’m talking about stuff I don’t really know about. I don’t have any guarantees, like everybody else. I don’t really know what’s going to happen next month or the month after. I’m happy that they paid us, but one of the stipulations is that when we travel, we’re not allowed to leave our hotel rooms. We have to travel in a very small bubble. And when we’re at the show, we’re not allowed to leave our dressing rooms. Because I don’t think, at the moment, I need to do that. I think I need to finish The Age of Anxiety… My original idea was the novel would come out, I’d put out an album, and then I’d do an art installation. What actually happened was I put the album out, and then the pandemic hit and there was no question of putting an album out. There’s been a big gap between the publication of the novel and the possibility of putting out an album of music. And so I need to find a new bridge, in a sense, and I’m still thinking that through, getting advice from various people. You know, I think I laughed when you asked that first question because I knew it was going to be the first thing you’d say. I am looking forward to it, but I don’t like touring. I have to be honest with people. I’m not going to bark at people I meet. I like what happens when we tour. I like the whole feeling of it. I’m somebody that if someone says, “Do you want to go to a party? There are going to be a lot of your friends there,” my first response will be to say, “No.” [ Laughs.]

We have no choice, unfortunately. The insurers are the ones making these dictates. This is not the Rolling Stones or Elton John [making these calls]. This is the insurers. They are insisting that they won’t pay out if you cancel because of Covid. That’s the first thing. And secondly, if they do pay out, they only pay out 85 percent. And thirdly, they up their charges from 2.5 percent to 5 percent and now to 8 percent of the gross income on a tour. It’s absolutely brutal. Pete Townshend — vocals, guitars, keyboards, bass guitar, drums, percussion; harmonica on "Day of Silence" Atkins, John (1 February 2000), The Who on Record: A Critical History, 1963-1998, McFarland & Company, ISBN 9780786440979 , retrieved 18 June 2016 I’ve just done the score for Robin Robin, which is an animated film. I think it’s up for a couple of awards. Their work is just fabulous. The Lifehouse demos included are: "Pure and Easy," edited from its original length of 8:35; " Let's See Action"; and (with minor overdubs added) "Time Is Passing." Of these, only "Let's See Action" had seen prior release, as a single by the Who in 1971. [7] The Who's versions of the remaining two Lifehouse songs were eventually released on Odds & Sods (1974) and its reissued version. [8] [9] All of Townshend's Lifehouse demos were eventually released on Lifehouse Chronicles in 2000.

I’d done the demo, by the way. The difference between my demo and his was really the difference in age, the difference in experience, the difference in craft. It’s a masterpiece. It’s the last thing he did, sadly, since he didn’t live long enough to do Faust. He’d learned all the lines, apparently. To be relieved of that responsibility, in a sense … because Roger is of the opinion that he wants to sing until he drops. That’s not my philosophy of life. There are other things that I want to do, still want to do, and will do, I hope. I hope I’ll live long enough to do them. In a sense, one of the things that my generation of musicians has has to cope with is the ground, the moral ground, the political ground, the legal ground, but particularly the moral ground, moving under us to such an extent that we have to accept that our rage against not being noticed after the Second World War was probably a little overdone. With respect for new music for the Who, one of the issues is that when we did … this is quite touchy stuff, so I don’t want to be unkind to anybody. But when I said to Roger, “I’m not going to go on tour with you until you get in bed with me and we make a new album,” we were given a million dollars by Universal/Polydor to make it. Pete Townshend Details Massive 'Who Came First' Reissue - Rolling Stone". Rolling Stone. 20 February 2018.

A lot of the Who’s music is already fairly heavily decorated and dense harmonically anyway, so we’re not like the Stones or the Kinks. With an an album like Quadrophenia, for example, there was brass and there was violins. There were lots of synthesizers on it. On subsequent albums, I’ve always used a lot of synthesizers and keyboards. We kind of cruised through the 1980s, even though our recording career ended in 1982, but we cruised through that period with our music sounding really quite rich. Pete Townshend of The Who has revealed Keir Starmer was the lawyer who challenged him in Townshend’s infamous child pornography case. Pete Townshend: Who Came First — 45th Anniversary Edition". American Songwriter. 18 April 2018 . Retrieved 16 August 2022. What happened was that everything went very well until the people at Polydor suggested that we need a producer. We got a producer [Dave Sardy] in and he spent a million dollars. [ Laughs] He made a great record, of course. I think it was a better record than had I produced it because I certainly wouldn’t have done a lot of the things that he did. I’m very pleased with the record. We did get paid out for our U.K. tour, which was fabulous since we were able to pay some of the debt that we had to people around us and help some of the crew and help some friends and family, and just generally charity stuff that we would normally do as a part of what we do every time we go out on tour. We were able to cover some of that in a period that was otherwise totally dead.verifyErrors }}{{ message }}{{ /verifyErrors }}{{ After trying his hand at different conceptual songs in The Who’s early years, Tommy was the first time Townshend started to hone his craft. Spanning across the album, Townshend takes his audience on a trip through a young deaf, dumb and blind kid’s psyche as he tries to find a place to fit in after closing himself off from the world. Since this marks the first time The Who made such a huge jump towards something ambitious, it’s only natural that the first voice heard on the album is from Townshend.

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