Why 激しく揺する 星／主役にするs will always die young and never learn

One evening nearly 30 years ago, I ran into The Who's drummer Keith Moon in a rather smart club in London's King's Road.

To be honest, Keith and I hadn't always got on, but on this occasion he was すぐに over-friendly and 主張するd we had a drink together. He was also already manic and 明確に out of it.

Always keen to be the centre of attention, when our drinks （機の）カム he tried to throw his 負かす／撃墜する his throat without the glass touching his lips.

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But, when he just spilt it, he decided to 投げ上げる／ボディチェックする an assortment of pills and 要約する／（宇宙ロケットの）カプセルs one after the other into the 空気／公表する and tried to catch and swallow them in the manner of a 成し遂げるing 調印（する）.

He caught a few and he 行方不明になるd a few. Only he knew what they were - if indeed he did know. Needless to say, a bouncer pretty quickly showed him the door. And off he went 抗議するing loudly.

I never saw him again because, a few weeks later, he died of a 麻薬s overdose after …に出席するing a 審査 of a film about dead 激しく揺する icon Buddy Holly with Paul and Linda McCartney. At his 検死 it was 報告（する）／憶測d that there were 32 要約する／（宇宙ロケットの）カプセルs of 麻薬s in his 団体／死体, some undigested.

Some images stay in your mind for ever, and Keith Moon's 成し遂げるing 調印（する） trick has always seemed to me to symbolise with 脅すing brutality the 宝くじ of life in the 急速な／放蕩な 小道／航路 of 激しく揺する music.

He was, like several artists I （機の）カム across, and others I've 観察するd since, carelessly living on the 辛勝する／優位 of 災害. And, by 押し進めるing the 激しく揺する'n'roll lifesty le to the 限界, he paid the 刑罰，罰則.

So you can see why I thought the results of a 調査する published yesterday that 激しく揺する musicians are twice as likely to die young as the 残り／休憩（する） of the 全住民 was blindingly obvious.

現実に, for me, there was a 特に unhappy irony in Keith's death as we'd got to know each other through a couple of films I'd written, and in which he'd appeared.

They were That'll Be The Day and Stardust: stories about a boy (played by David Essex) who becomes a 激しく揺する 星／主役にする, and who finally dies - yes, you've guessed it - from a 麻薬s overdose. Somehow, Keith hadn't got the message.

When 生産者 David Puttnam and I 始める，決める out to make those films we didn't decide upon the 悲劇の ending of our main character accidentally. On the contrary, the 早期に deaths of famous 激しく揺する 星／主役にするs were all around us.

In the course of a few weeks in 1971, I'd written obituaries on Jimi Hendrix, Janis Joplin and Jim Morrison of The Doors, all of whom had been just 27 when they'd died - 明らかに the most likely age for 激しく揺する 星／主役にするs to die young.

You couldn't have met a nicer, quieter guy than Jimi Hendrix, and although on the three occasions I met Janis Joplin she was probably the worse for drink, I couldn't help but like her.

A plain girl, whom 非，不，無 of the boys in her 禁止（する）d fancied, she （機の）カム across as sad, lonely and as 攻撃を受けやすい as she was talented.

When we made Stardust, David Puttnam and I, then both young fathers, and both 平等に anti- 麻薬s, perhaps thought we might make a difference if we portrayed 劇的な the 悲劇の waste of a young, talented life.

If we did, we were naive, because the 名簿（に載せる）／表（にあげる） of 激しく揺する 星／主役にする fatalities, either under the 影響（力） or because of 麻薬s, has grown horribly through the dec 広告s since then.

Mama Cass and Nick Drake in 1974; Tim Buckley in 1975. A year later it was the turn of Paul Kossoff of 解放する／自由な, and Elvis in 1977. Then there was Sid Vicious of the Sex ピストルs, Bon Scott of AC/DC, John Bonham of Led Zeppelin and Kurt Cobain of Nirvana.

Although Keith Moon's 同僚 in The Who, bass player John Entwistle, 生き残るd until the age of 57, it was a 麻薬s overdose that got him in 2002.

The 名簿（に載せる）／表（にあげる） is long, and while not all the 死傷者s have been famous 指名するs, we all know and love the songs they wrote. People like guitarist Danny Whitten who wrote 棒's Stewart's 攻撃する，衝突する I Don't Want To Talk About It, and Tim Hardin who gave us If I Were A Carpenter - both 犠牲者s of ヘロイン overdoses.

While there are exceptions, 麻薬s have undoubtedly played a large part in the 広大な 大多数 of 早期に 激しく揺する'n'roll deaths. In fact, our image of 激しく揺する 星／主役にするs and their 麻薬 deaths have become so entwined that the satirical film Spinal Tap even joked about it.

When asked in the movie what happened to their drummer the members of the fictitious 禁止（する）d reply that he "choked on vomit - someone else's vomit." It was an unpleasant joke for sure, but one that had been 生成するd by the legions of 検死s on the deaths of 麻薬-addled 激しく揺する 星／主役にするs.

But what is it about 激しく揺する 'n' roll that attracts so many young musicians to flirt with 悲劇? Is the ethos of "live 急速な／放蕩な, die young, leave a good-looking 死体" really such an attractive career prospectus?

明白に not.

In the beginning, when boys 選ぶ up their guitars and dream about girls, sex and stardom, the 危険 of 偶発の death must seem a million miles away.

But 麻薬s and drink have long been a part of the mix in popular music. Billie Holiday died, 老年の 44, in 1959 of cirrhosis of the 肝臓; while Hank Williams was a 犠牲者, 老年の 29, in 1953 of an overdose of morphine.

No one 始める，決めるs out to die young, but the 誘惑s and 圧力s 直面するd by young performers - kids often scarcely beyond their A-levels - should never be underestimated.

Many are living beyond the frontiers of everyday society, in a 高くする，増すd, rarefied, often gruelling atmosphere of 小旅行するing, where success can be instant and 圧倒的な, and 失望 lonely and 破滅的な.

The 広大な／多数の／重要な 大多数 of 激しく揺する 星／主役にするs 生き残る, grow rich and middle-老年の, and look 支援する on their youthful follies with both amusement and amazement, and some, perhaps, with a nod of 感謝 to their 後見人 angels. But for a 重要な enough number this is not the 事例／患者.

We know that some musicians take 麻薬s to give themselves 信用／信任 before they step on 行う／開催する／段階; then there are the 麻薬s to come 負かす／撃墜する again when they get off 行う／開催する／段階, or other 麻薬s to help them stay awake enjoying themselves for days on end. Soon it's a habit and, for some, a problem.

In an 産業 awash with quickly earned money and 力／強力にするd by instant gratification, the 麻薬-麻薬売人s circle like the 血-lusting sharks they are, anxious to get a 削減（する） of 税金-解放する／自由な cash and soft living.

It's 平易な to see how musical ambition can be コースを変えるd and talent can be 妨害するd.

I don't suppose Amy Winehouse and Pete Doherty, and all the others who bring 麻薬s into their lives to the detriment of their talent, are spending their time 試みる／企てるing Keith Moon's 成し遂げるing 調印（する） tricks with the 麻薬s they take. Not in a literal sense, anyway.

But, 伴う／関わるd in that same 宝くじ as they surely are, they might just 同様に be.