A Quote by Peter Hook
In the late '70s, the conditions that bands had to endure were, shall we say, not as civilized as they are today. People were a lot more aggressive back then. So there was definitely a lot of suffering for your art. But I would argue that was a good thing. Generally, people make better music when they suffer.
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When I was a kid, a lot of my parents' friends were in the music business. In the late '60s and early '70s - all the way through the '70s, actually - a lot of the bands that were around had kids at a very young age. So they were all working on that concept way early on. And I figured if they can do it, I could do it, too.
We were too young to know better, and none of us were very aggressive people. It would have helped a lot if just one of us had been aggressive enough to say no.
Experimental film by the '70s had become much more mainstream after 'Bonnie and Clyde' and stuff in the late '60s, when you were seeing bigger movies where people were exploring the medium a lot more.
There were a lot of times where there was a great deal of fodder recorded and played, because there was a market for it - just as there is today. And there were more bad bands than there were good bands - I think that should always be remembered.
We were just trying to make the films that we could get made, and to push the envelope. We didn't realize how far we had pushed the envelope. That all came later. That all came from books and articles about the golden age of the '70s. Believe me, to a lot of us, it was no golden age. The studio heads were very powerful then. They would fire guys right and left. They would look at your dailies and tell you what was wrong with them... a lot of stuff that doesn't go on today. Young filmmakers who are successful today, they don't often have that to put up with.
Back in Kuwait, I had started listening to a lot of English language music: western music, I would say - Kate Bush and Radiohead - and I loved Chet Baker, Etna James, a lot of singers and a lot of bands.
It's almost a social grace to get into the art world, and I'm very wary of it. Art was good in Berlin in the late '70s - there was a lot more guts to art when the Neo-Expressionists were starting up; it was real slapdash; it has real heart to it - but it seems so cold and heartless in America. It's a buyer's market.
People are making a lot of music and higher and higher quality. I can't say the same thing for how people are listening to music. People are hearing music through terrible speakers, little computer speakers, there's a lot to get back to in terms of hi-fi and people listening to better quality, technically better quality music.
I often explain it to people that if you listen to a Who record and then go see the Who live, it's like two different bands. That's how Humble Pie worked. We were definitely a lot more ferocious live because of the energy that the entire population of us had.
Does art have to have high foot traffic to get funded in a recession? A lot of people, I am sure, would say absolutely not. And those postmodern art-loving loners surely would argue that even if one person likes a piece of art, that would make a museum worthwhile.
Sometimes you have to wonder if there isn't an ejector seat built into having a popular-music career. We were lucky when we started. We were already old when we started - you could have described our first album as "aging Brooklyn guys." We were in our late 20s. We weren't octogenarians, but a lot of bands were already younger than us. Fortunately, we've held on to our manly good looks.
I saw. I wanted to start my own store so people would know that what they were buying was real. There were bootlegs around at the time that had my name on the cover, but the music had nothing to do with me. I'm not trying to compare myself to [Jimmie] Hendrix, but back in the '70s, there were some Hendrix bootlegs.
The U.K. voted for Brexit and a lot of weak-willed, lily-livered people will say 'yeah but the people did not know what they were voting for, they had no idea of what this was going to entail.' Those are the people who are saying 'lets get a second referendum, let's make the people aware this time that there is, in fact, a lot more to this.'
We wanted to more richly experience why we were alive, not just make a better life, and so people went in search of things. The great thing that came from those that time was to realize that there was definitely more to life than the materialism of the late sixties and early sixties. We were going in search of something deeper.
I could tell Hugo was convinced that he would get to walk back up these stairs: after all, he was a civilized person. These were all civilized people. Hugo really couldn't imagine that anything irreparable could happen to him, because he was a middle-class white American with a college education, as were all the people on the stairs with us. I had no such conviction. I was not a wholly civilized person.
People are bringing a lot more of that funk element into their music, you know, with Bruno Mars and Mark Ronson - that's one that you never thought you would hear something like that on the radio again 'cause it just sounds so much like the Back Bay and what they were doing with music back then.
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