Read Who I Am: A Memoir By Pete Townshend
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Ebook About “Raw and unsparing...as intimate and as painful as a therapy session, while chronicling the history of the band as it took shape in the Mod scene in 1960s London and became the very embodiment of adolescent rebellion and loud, anarchic rock ‘n’ roll.” — Michiko Kakutani, New York TimesOne of rock music's most intelligent and literary performers, Pete Townshend—guitarist, songwriter, editor—tells his closest-held stories about the origins of the preeminent twentieth-century band The Who, his own career as an artist and performer, and his restless life in and out of the public eye in this candid autobiography, Who I Am.With eloquence, fierce intelligence, and brutal honesty, Townshend has written a deeply personal book that also stands as a primary source for popular music's greatest epoch. Readers will be confronted by a man laying bare who he is, an artist who has asked for nearly sixty years: Who are you?Book Who I Am: A Memoir Review :
I really enjoyed this book and had trouble getting it out of my head after reading it. Being a big Who and Townshend music fan for decades, I never spent time researching much about Pete's life. It was honest and revealing. He admits his failures as a father while his children were young and he was off living the life of a rock star while his wife Karen had to do everything at home. He included a heartbreaking letter from his then young daughter asking him to please move back home so she could have a daddy like her friends. How many guys would say in retrospect that an ex deserved her generous divorce settlement? He was very open about his addictions (mostly alcohol), sexuality, tough upbringing, relationships, failures, and how all of this affected his life and the band. He pisses away money on houses, boats, and rock star life to the point of being nearly broke until well past when he should have been a wealthy man. As a detached observer, not having lived through what he did (good and bad), it would be easy to not like the guy. But give him credit for being willing to lay it out there. Of course, while his personal life was messy like many artists, his contribution to rock history is epic. It is stunning to think through everything he wrote and recorded from the late 60's to the early 80's. Who's Next and Quadrophenia are both top 10 all time rock albums in my book. His solo work, particularly Empty Glass, was excellent. He wrote books, plays, worked as an editor at a major London publishing company, brought Tommy to Broadway and won a Tony, etc. etc. The book could have spent more time on the creative process he went through to write and create the songs for those major albums -- it is a little breezy in that respect. There is a lot of name dropping, and it is hard at times to keep track of everyone he's talking about. But as a true fan it touched me with its breadth and honesty. I wish him well and hope he never stops producing whatever interests him. Then I broke out several Who albums that I hadn't listened to in a long while and enjoyed that thoroughly. 65 year old professional who has little use for popular culture, drugs, or bleeding hearts these days. Why is that important? Because at this point in my life the only popular music I still listen to constantly, at least from the "old days" is the Who. Everything - most of everything else - dates itself.Now the Who and Townshend are partially interchangeable. Obviously, White City is Pete and Who are You is The Who. But i'll refer to them interchangeably. Beethoven was beethoven, but if it wasn't for Kleiber and the Vienna or von Karajan and berlin we wouldn't know what he sounded like.The Who/Townshend are the Beethoven of popular music. (one thing I do wish is that Pete would realize that R & R was really a vehicle for him to make music that transcended the Rock label). I've long ago concluded the beatles were musically overrated, although they belong at the top of the heap as far as musical history. LIkewise the Stones, who I adored but seem to have been a caricature of themselves for decades, plus technically they were marginal. Plus, I just can't get the idea of Pete wanting to F Jagger out of my mind's eye. Say what you will about Jagger...to most men he's always been pretty gross to look at...Tommy was the Eroica symphony. Like the Eroica, it changed everything. Suddenly, despite the superficial adolescence of the plot (although I didn't realize until reading this book how much more to it there was than a blind kid who played pinball), popular music was more than just popular. This was seriously good music, transcendent, and more than just melody and rhythm.Who's Next I guess is the Fifth. Because I think the Fifth is the most perfect "rock" album ever produced.Quadrophenia is the 9th. Because most people think that the 9th is the Greatest of Beethoven's symphonies. Indeed, Quadrophenia in its original and London configurations is simply the best "rock" album ever produced. Nothing comes close. So how do I reconcile the contradiction that Who's Next and Quadrophenia are both "the best"? I don't. Quadrophenia gets the 9th nod because of its scope. Who's Next gets the Fifth because of it's perfection and power.Couple things:I enjoyed Pete's revelations of his flaws and imperfections. They continue to plague him to this day. He should know we completely buy his innocence about the child porn nonsense, because we intrinsically knew from the early moments of Tommy that this was autobiographical. I wish him well in exorcising the abusive ghosts that tormented him. And he should know how repulsive the media is.I also think, like other great artists (and BTW I put composers at the top of the heap, because music is fundamentally abstract whereas "art" e.g. painting is visual and writing is visual/auditory - both tangible - whereas music doesn't exist until someone takes up an instrument or voice....-that Pete doesn't even appreciate his own greatness in some ways. I also think he was too close to the Who to look at it from a "fans" perspective and realize the greatness of that agglomeration of talent. I don't think he ever quite understood that keith moon wasn't just a terrific drummer. In some ways, he made the Who. All you need to do is listen to the Who's work without him. While some of it is ascendant - another tricky day, athena, cache cache, Who are You, EMinence Front, Sister Disco - you can tell by his absence what an astonishing addition Moon's drumming was. His music was one of a kind, and no one before or since ever approached his drumming. Technically - oK, yes, I get it...Rich, Peart, Billy Cobham, etc etc. But IMHO they were still just keeping time.Likewise, to see that the Ox was considered the greatest bassist of all time was not surprising, and I'll never forget my college girlfriend's (who sang in the university chorale) astonishment at Daltrey's voice. If Paul McCartney was playing bass for the who, and Freddie Mercury or Eddie Vedder was singing lead with Elvin Jones playing drums, it just wouldn't have been the same.Townshend would never fool anyone that he was Steve Howe or Clapton or Eddie van Halen. He was no shredder. But what he did was make his guitar fit into the music better than most anyone else. He was making music, not just playing guitar. The guitar wasn't the focus of the group. The chords, the feedback, the totality of the music - that is what he brought to the stage. but what he brought to the Who and to us was an agglutination of the greatest music since...well...Dvorak? Tchaikovsky?From a skeptics viewpoint, his book also kind of gave credence to the theory that gay and bisexual people are broken; they were abused, because what I get from this book is that pete is actually a raging heterosexual. His searching and confusion and repression of Uncle Ernie made him misinterpret his feelings for other men (I love my best friends but I sure don't want to shtup them....). It also I think shows how vulnerable he was to the excesses (nauseating excesses, frankly) of R & R. But much of his life was a life of confusion, searching, evaluating, and anguish.But he self realizes quite a bit; he points out early in the book how he doesn't seem to emote around others tragedies, although he does feel them. He just seems to remove himself and moves on. He also gets that he was a bit, as he describes it, of a spoiled "prat". He gets a pass for that. You don't pack that kind of talent into a normal psyche. I heard a musical historian once say that Franz Haydn and Antonin Dvorak were the only major composers who were more or less normal (I can certainly by that, although I wonder what Handel and Bach's peccadilloes were...?)The book is not as magnificently written as his lyrics, but then it was a memoir. It gives a view into the life of this musically talented titanic artist and I am the better for his music and creativity. Live long Pete, be happy, exult in your life and accomplishments and keep pouring them out there. I'm glad he's beaten some of his demons. 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