Roger daltrey woodstock12/25/2023 Pete was in the middle of his repertoire of moves when he stuck the guitar through the ceiling. “The only difference was a new collapsible stage, which was a few inches higher than the upturned beer crates we usually performed on. “The first time a guitar died was an accident,” Daltrey writes. Kibblewhite, Daltrey claims that Townshend lied about the artistic underpinnings of his guitar-smashing habit, which was born instead out of a desire to impress a group of women after a slip-up during a gig in September 1964. Townshend and Moon’s unpredictable onstage antics quickly became a staple of the band’s shows and one source of conflict between Townshend and front man Roger Daltrey. Those poor Rickenbackers never saw it coming. Townshend was an equal-opportunity destructionist, purportedly preaching the gospel of auto-destructive art taught to him by art theorist Gustav Metzger, founder of the Destruction in Art Symposium. On an amp? On the ground? On another amp? Doesn’t matter. During gigs, in fits of either rage or ecstasy, he would take the head of the guitar and fling its body … anywhere that could reasonably break it in half. Smithereens! If you don’t know too much about the art of instrument destruction, it’s exactly as you’d imagine, except surprisingly more balletic in Townshend’s case. Along with Keith Moon’s penchant for demolishing drum kits and annihilating hotel rooms, one of the fundamental tenets of the Who’s legacy as a band was Pete Townshend’s pure, unadulterated love for smashing guitars into smithereens.
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