In the past decade or so, it’s become fashionable to talk about creativity as the result of freedom, relaxation, and “flow”—that ineffable point where the artist connects with the sources of inspiration deep within the human soul. I, for one, believe in this idea. Art is really about connecting with the spiritual subconscious, and all of us have the ability to channel this source (although very few of us are willing to put in the work that is also required to develop it).
But not enough has been written about the role of conflict in creativity. Specifically, the role of rivalry, competition, and—yes—jealousy, at its most venomous and sincere. The history of art is, in some ways, a history of rivalries. Picasso and Matisse. Faulkner and Hemingway. The Eagles and Fleetwood Mac. Rivals have a way of inspiring each other, of spurring each other on in ways that “healthier” forms of motivation just can’t reach. The greatest rivalries of all are, perhaps, those that exist within a rock-and-roll band. Would Lennon have been as good without McCartney breathing down his neck? Richards without Jagger? Henley without Frey?
Such internal rivalries are more intense because they also bring the family dynamic to bear. A rock band is like a family, and the members are like siblings. They love each other, but they hate each other, too. Worst of all, they know each other’s weaknesses. Which buttons to push.
Surely one of the greatest rock rivalries of all time is that between Roger Daltrey, the mesmerizing lead-singer for The Who, and that band’s lead guitarist and resident genius, Pete Townshend. As in any rivalry, one competitor eventually gets the upper-hand—in the judgment of history, at least—and that is also the case with Daltrey and Townshend. Daltrey has long been acknowledged as a brilliant singer, but it’s Townshend who gets the real credit for The Who’s iconic status. After all, Townshend is the writer of the pair, the creator of all the band’s great hits, including the classic rock opera Tommy.
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Ash Clifton, Writer 