I had a very strange career. I mean I went from playing to 150,000 people in 1983/84. Three or four years later I was playing to four people, you know, in Melbourne. I thought - bit strange, you know bit odd, bit erratic. ↗
I would go to radio stations and they were supposed to be interviewing me and playing my record and they would say, We're playing too many women right now, we can't play your record. ↗
You always love playing in finals at any tournament. The grand slams and stuff like that are obviously the priorities but any titles go on your record. ↗
They talk about those All-Star Games being exhibition affairs, and maybe they are, but I've seen very few players in my life who didn't want to win, no matter whom they were playing or what for. ↗
We always thought it strange that nobody was up on that stage playing soul stuff. Maybe people were playing it in their garages, like us, but they always reverted to pure rock when they got on stage. ↗
Often, these downplay the power of cultural imperialism - in that sense, playing the game of US interests - by reassuring us that the global success of American mass culture is not as bad as all that. ↗
I had been playing since I was 2 years old, never remembering a life without music, always playing everything naturally and mostly by ear, and all the grownups wanted were more scales and drudgery out of me. ↗
