twosidesofkeithmoon

[twosidesofkeithmoon]

can people maybe not use me for their fetish material. when I'm AT WORK. AT WALMART

[twosidesofkeithmoon]

THREE. THE FINAL TOTAL IS THREE.

it is very hot and there are many screaming children in this building. I do not want to be here until 10pm

[twosidesofkeithmoon]

this picture has stunned me

[twosidesofkeithmoon]

we are now up to two unsolicited comments about my body today

it is very hot and there are many screaming children in this building. I do not want to be here until 10pm

[twosidesofkeithmoon]

it is very hot and there are many screaming children in this building. I do not want to be here until 10pm

[twosidesofkeithmoon]

Keith Moon interviewed for BBC Two’s Europa, April 19, 1973. [x]

[twosidesofkeithmoon]

have fun with your "slutweed" or whatever, Im fine with my smartweed. [puffs on a corncob pipe while stroking chin thoughtfully] [clearly has a raging erection]

[twosidesofkeithmoon]

[twosidesofkeithmoon]

honestly by the time anyone irl finds out i like a musician i have probably heard 90% of the basic trivia about them out there

[twosidesofkeithmoon]

may the sun shine on yr leg hair often this summer

[twosidesofkeithmoon]

The Who Concert Poster. June, 1974

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happy artfight theme announcement day to those who celebrate

[twosidesofkeithmoon]

so hard not to become the most annoying person on earth if you're a little excitable and just learned a little about a topic literally no one around you has any interest in

[twosidesofkeithmoon]

You can't be parasocial with dead musicians and writers btw. It's called having a soul bond

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This bass line will keep me from being institutionalized

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At a party in Laurel Canyon around 1976–77, in a split-level house with the living room on the lower half, Keith excused himself to go to the car, and upon his return came crashing head over heels down some 30-odd stairs. His friends came rushing to him, convinced he had broken his neck. Instead he burst out laughing. It was a stunt fall he had learned along the way.

Likewise, after a party at Clover studios a year earlier, Jim Keltner had attempted to excuse himself before things got too out of hand, ignoring Keith’s exhortations to stay. But when the session drummer and his wife reached their car, they found Keith flat out alongside it. “He was wearing a white tuxedo on that night, he looked immaculate, and he was just lying there in the dirt. It shocked me. I said, ‘Keith, what are you doing, man?’ I yelled a couple of times real loud at him. I got down close to his face. Then I panicked. I banged his chest, but I couldn’t get anything out of him. I yelled at my wife to go in and, ‘Get someone, anybody, quick.’ She went in but by the time everybody got out, just before everybody got to him, Keith sprang up and said, ‘Let’s go get a drink.’”

Such performances doubling as cries for attention were a routine part of his life, particularly in later years. If lonely for company, he would phone friends and associates, feign illness or overdose, even drop the phone and go into mock seizures in the hope that the person at the other end would stop what they were doing and rush to his rescue, at which point they would encounter a healthy Keith Moon all the happier for seeing them.

“Everyone thinks the essence of Keith Moon was his eccentricity, throwing TV sets from the fourteenth floor,” says ‘Irish’ Jack Lyons. “No it wasn’t. The essence of Keith Moon was the quieter moments when you had him on your own and he was still fucking acting for you. He didn’t have an audience, but you were his audience and you mattered. When you had Keith Moon, you had 100 per cent of him.”