Moderator: Pete Townshend chats live on Wednesday, May 24th at 1pm ET about his Lifehouse project and the just released album LIFEHOUSE ELEMENTS. Feel free to enter your questions now. The Auditorium will save your questions until the chat begins. Long Live Rock!
Moderator: We're celebrating the release of Pete Townshend's LIFEHOUSE ELEMENTS, an album of highlights from Townshend's long-anticipated "Lifehouse" project, which inspired such Who classics as Baba O Riley, Behind Blue Eyes, and Won't Get Fooled Again. Click here to order your copy.
Moderator: Today is Wednesday, May 24th and at 1 PM ET Pete Townshend will join us online to chat about his "Lifehouse" project and his just-released CD, LIFEHOUSE ELEMENTS. Feel free to enter your questions for Pete now by clicking on the Submit Question button. The Auditorium will save your questions until the chat begins. We look forward to hearing from you and are counting down the minutes until Pete joins us live.
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. Labryinths 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.
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?
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.
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.
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.
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.
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.
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.
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?
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.
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.
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.
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.
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: 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.
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.
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!
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.
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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
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?
Susan Schearer from Pennsylvania: Do you plan on using the Les Paul SG special on The Who's upcoming tour?
PT: Maybe.
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?
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.
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.
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?
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.
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!
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.
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.
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!
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.
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.
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!)
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.
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.
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).
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.
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.
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 for the latest.
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.
Sentimentalist from Liverpool: Did you write Glittering Girl about anyone in particular?
PT: No..... it was a word-game.
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.
Helen from England: <> 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?
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.
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.
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.
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 the 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!
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.
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.
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.
Jill from Colorado: How about Roger starring in Psychoderelict?
PT: Too old.
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, best I'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.
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.
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.
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).
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
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).
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.
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.
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