--- In WhoAreYou@yahoogroups.com, "Richie" <The_Who_1998@...> wrote:
>
> http://tinyurl.com/yj7ddkj
>
> I love this!!
>
> Rock on,
> Richie
>
very cool loved it so did the kids

From - www.TheWho.com:

ROGER ON THE ROAD WITH ERIC IN FEB/MARCH 2010

On the heels of two major U.S. Grammy nominations for his CD release with Steve
Winwood last year, Eric Clapton has announced a series of North American solo
shows.  The tour will begin on February 25 in Pittsburgh, PA and will travel to
11 U.S. cities and feature a very special guest, Roger Daltrey to kick off the
show.

In recent years, Clapton has done some of his most innovative and collaborative
work, pairing with iconic artists such as Steve Winwood, Jeff Beck and JJ Cale
for concert and CD projects.  Recent concert set lists have seen a variety of
Clapton music featuring some of his biggest solo hits alongside classic Derek
and The Dominos and Blind Faith songs.  The band will consist of Steve Gadd on
drums, Willie Weeks on bass, Chris Stainton and Walt Richmond on keyboards, and
Michelle John and Sharon White as backing vocalists.


Ticket On-Sale Information
Check local listings for on-sale dates and ticket availability.

Thursday, February 25 Pittsburgh, PA Mellon Arena
Saturday, February 27 Nashville, TN Sommett Center
Sunday, February 28 Birmingham, AL Birmingham Jefferson
Tuesday, March 2 Tulsa, OK BOK
Wednesday, March 3 Kansas City, MO Sprint Center
Friday, March 5 Memphis, TN FedEx Forum
Saturday, March 6 New Orleans, LA New Orleans Arena
Monday, March 8 Raleigh, NC RBC Center
Tuesday, March 9 Atlanta, GA Gwinnett Center
Thursday, March 11 Ft. Lauderdale, FL Bank Atlantic Center
Saturday, March 13 Orlando, FL Amway Arena

I remember, too.  This is the excuse my mother gave for preventing me from
attending ANY rock concert, until I was a sophomore in college.  The Who played
the old Atlanta-Fulton County stadium, and the crowd were allowed on the grass. 
Groundsmen swear to this day that the entire thing sprouted pot plants
afterward.

:)

cobaltcanarycherry





[Non-text portions of this message have been removed]

I remember the morning after like it was yesterday. My father and mother were up
early getting ready for work, bitching about "uncivilized animal kids". They
listed in WCBS 880 AM back then. It seemded like they were taking it out on me
(I was 12 then). Bad morning.

I vividly remember the brilliant WKRP in Cincinnati epsiode on this incident.




________________________________
From: Richie <The_Who_1998@...>
To: WhoAreYou@yahoogroups.com
Sent: Thu, December 3, 2009 9:14:19 AM
Subject: [Who are you] 30 years ago tonight - In memorium

 
In memory of those of our Who family who perished in Cincinnati 30 years ago
tonight:

Walter Adams, Jr. 1962-1979
Peter Bowes 1961-1979
Connie Burns 1958-1979
Jacqueline Eckerle 1964-1979
David J. Heck 1960-1979
Teva Ladd 1952-1979
Karen Morrison 1964-1979
Stephan Preston 1960-1979
Philip K. Snyder 1959-1979
Bryan Wagner 1962-1979
James Warmouth 1958-1979

The Song Is Not Over.







[Non-text portions of this message have been removed]

In memory of those of our Who family who perished in Cincinnati 30 years ago
tonight:

Walter Adams, Jr. 1962-1979
Peter Bowes 1961-1979
Connie Burns 1958-1979
Jacqueline Eckerle 1964-1979
David J. Heck 1960-1979
Teva Ladd 1952-1979
Karen Morrison 1964-1979
Stephan Preston 1960-1979
Philip K. Snyder 1959-1979
Bryan Wagner 1962-1979
James Warmouth 1958-1979

The Song Is Not Over.

http://tinyurl.com/yj7ddkj

I love this!!

Rock on,
Richie

According to AP, THE WHO will perform at halftime of the Super Bowl this
season.

The NFL announced during Thursday's game between the Oakland Raiders and Dallas
Cowboys that the longtime rock band known for classic hits such as 'Pinball
Wizard' and 'Baba O'Riley' will play February 7 at Dolphin Stadium in Miami.

Driven by singer Roger Daltrey and guitarist and songwriter Pete Townshend, the
band's two remaining original members, The Who gained fame in the mid-1960s and
were inducted into the Rock and Roll Hall of Fame in 1990.

Recent halftime acts at the Super Bowl have included BRUCE SPRINGSTEEN & THE E
STREET BAND, TOM PETTY AND THE HEARTBREAKERS, PRINCE and THE ROLLING STONES.

It is official - The Who - Super Bowl XLIV - Halftime Show - 02/07/10

http://www.nfl.com/videos/nfl-network-total-access/09000d5d81471e76/Super-Bowl-X\
LIV-Halftime-Show

Long Live Rock!

...and to you too!!!

--- In WhoAreYou@yahoogroups.com, Robert <rocknrollcola@...> wrote:
>
> Happy Thanksgiving All!
>

Happy Thanksgiving All!

Enjoy!!

http://goodnightkeithmoon.com/index.html

Rock on,
Richie

http://sara-amazingjourney.blogspot.com/2009/11/magic-from-get-go.html

http://s36.photobucket.com/albums/e5/SnugglySara/Roger%20and%20Sara/Use%20It%20o\
r%20Lose%20It/
Password: grrlymn


Sara
xoxo

Hello all,

I just got in from (finally) seeing Pirate Radio.  Being a bit familiar with the
history of England's pirate radio stations, and knowing full well that this was
not a documentary of said stations, I was not fully sure what this movie would
bring.  I had no trepidation about it whatsoever, so I went in fully open to
what was to come.

It was a fun romp with a lot of fairly safe boys will be boys locker-room humor.
The cast was all good.  There were no real knock-out performances except perhaps
Kenneth Branagh who chewed scenery as a extremely square, prude and uptight
government official hell bent on shutting down pirate radio stations.  There
were no big revelations or surprises in the course of the movie as most of it
was fairly predictable.

The soundtrack contained a lot of mid to late 60s gems with a couple of
anachronistic choices that most viewers (but none of us) would probably miss.

I rather liked it and found it to be nearly as fun as That Thing You Do, but not
quite.  If it's still playing in your area, it's worth catching.  If not catch
it on video/DVD/PPV when it's available.

Rock on,
Richie

BTW - A Who mention within the first three minutes and three Who songs were in
the soundtrack of the movie.  And at least one Who album cover in the montage of
album covers that were part of the post credits.

From - http://tinyurl.com/yabnj66

Roger Daltrey gives voice a workout on solo tour

NEW YORK (Hollywood Reporter) – Roger Daltrey has dubbed his current solo jaunt
the "Use It or Lose It" tour, but his show at the Nokia Theater on Friday
demonstrated that sometimes you can use it and lose it as well.

The 65-year-old Who singer had some vocal difficulties as his lengthy
performance progressed, which he partly blamed on the cloud of marijuana smoke
emanating from the audience.

As he put it at the end of the evening, it was "a hard show but a good one."
Daltrey was in a rather prickly mood, complaining about the venue's acoustics,
the heat and the constant hubbub that led him at several points to loudly berate
the audience. Part of the reason for the crowd's restlessness was his overly
long song introductions, which, although obviously heartfelt, were more
appropriate for a "VH1 Storytellers" episode than a packed club.

Still, it's likely that no one in the crowd was regretful about having had the
opportunity to see the legendary rock singer in an intimate setting, performing
many numbers that he doesn't have the chance to sing on the Who tours.

"This is not a Who show," the singer declared at the beginning, before adding
"I'm (Who main-man Pete) Townshend's biggest fan, and his sparring partner."

The set list for the generous, nearly two-hour show was well chosen. There were
plenty of Who favorites for the fans, including the lead-off "Who Are You" as
well as "Baba O'Riley," "The Real Me," "Behind Blue Eyes," "I Can See for Miles"
and a bluesy "My Generation." But he also performed such relative rarities as
"Tattoo," "Blue Red and Grey" and "Pictures of Lily," as well as the
crowd-pleasing "Squeeze Box." Another standout that never makes Who set lists
was "Going Mobile," with the vocals strongly handled by Pete's brother Simon
Townshend, an integral part of the terrific five-piece band.

Daltrey clearly relished the opportunity to stretch out his repertoire, singing
solo hits ("Days of Light," "Who's Gonna Walk on Water," "Without Your Love"),
loving covers ("Born on the Bayou," a Johnny Cash medley), and Celtic-flavored
arrangements of a couple of numbers from the obscure "Largo" album, including
Taj Mahal's "Freedom Ride."

By the end of the show, his voice was clearly shot. But despite his vocal
problems, Daltrey delivered a memorable performance that made one all the more
excited about the next Who tour, whenever it might be.

According to SI.com, THE WHO will take the stage during the NFL's championship
game - Super Bowl XLIV - on February 7 in Miami, FL. The show would mark their
first performance in North America since 2008.

Reached for comment, an NFL spokesperson said, "When we have something to
announce, we'll announce it."

During a recent stop on his Use It Or Lose It solo tour, frontman Roger Daltrey
told Billboard.com that he and bandmate/composer Pete Townshend were working on
new material for the Who's followup to 2006's Endless Wire.

"Hopefully if this tour has done it's job, I'll be in really good form as a
vocalist," said Daltrey. "And who knows, we might make our best work."

Townshend has also acknowledged working on two projects - a new musical called
Floss and the Who's next album, which he has said will include some pieces from
the Floss project.

Hello all,

As far as I can recall:

Who Are You
Pictures Of Lily
Behind Blue Eyes
Tattoo
Days Of Light
Freedom Ride
Gimme A Stone
Going Mobile  (My second fave of the night, go Simon!)
I'm A Man
My Generation Blues
Walk On Water
Squeeze Box
I Can See For Miles
Young Man Blues  (My fave of the night.)
Baba O'Riley
Johnny Cash Medley
Blue, Red And Grey
Without Your Love

· Rogers voice was sore, hoarse and raw sounding
· Opening act was better than most Who openers of recent vintage.  Very hippie,
dippy, trippy songs.  Most sounding alike tho  Absolutely no stage presence and
they failed to thank Roger for the opportunity to play on this tour.  Bad
manners!
· Rogers band was quite good.
· Roger sure does talk a lot.  The crowd got restless on a few of his in-between
song talks.
· The crowd was yelling out song requests as if they were at a bar seeing a
local covers band.  Rude!

Rock on,
Richie

I think that I'm screwed for tomorrow in Montclair......

From thewho.com -
10th November, 2009
ROGER'S BALTIMORE GIG CANCELED
OFFICIAL STATEMENT

Tuesday, November 10th: It is with great regret that Roger Daltrey has canceled
his Baltimore show on November 10th at The Lyric Theater due to a throat issue.
Roger has been advised against performing and the singer has reluctantly
complied. He thanks Baltimore fans for their understanding and support, and
looks forward to recommencing the tour as soon as possible.

*Ticket holders are advised to keep their tickets and wait until further details
are announced.

"I am deeply sorry to have to cancel the Baltimore gig," says Roger Daltrey,
"but I have to listen to the doctor or else I could end up potentially
jeopardizing more shows later. I am desperately trying to reschedule as it's not
my style to let people down."

Hello all,

I finally bought a ticket to see Roger at The Wellmont Theatre in Montclair NJ
this Wednesday.  If I can swing it I will also try for the Nokia Theater in
Times Square in a couple of weeks.  Anyone else going to this NJ show?

Rock on,
Richie

Happy Halloween!

I saw him from the 7th row in Atlanta in 1989, and he wore jeans and a vest.
Wow.  Let me tell you, ladies, there's no other front man that has ever come
close.  That voice could separate your soul from your body, no drugs necessary,
thanks.  I was so glad to see him on Ellen.  I would DIE to see him on Craig
Ferguson.  Here's hoping that the tour is a big success.  God luck Rog!

ccc

--- In WhoAreYou@yahoogroups.com, chuck u <chuknchez@...> wrote:
>
> You don't want to even think about Britney at 65!
>
>
>
>
> ________________________________
> From: Donna <donnamags44@...>
> To: WhoAreYou@yahoogroups.com
> Sent: Wed, October 7, 2009 9:27:51 PM
> Subject: [Who are you] Re: The Who's Roger Daltrey Performs on Ellen (10/02/09
)
>
>  
>
> He sounded fantastic! Has Roger had some work done? LOL He has always been a
real good lookin' boy(pun intended)but he did have wrinkles last I saw. Gone
now! LOL What a talent! What a voice! This was raw and live and that can't be
said too much anymore of our new and not improved bands these days. Don't know
how many of the "pop" divas could pull it off? He was amazing, as usual.
>
> Donna
>
> --- In WhoAreYou@yahoogrou ps.com, "glasshousehold" <glasshousehold@ ...>
wrote:
> >
> > http://www.youtube. com/watch? v=zfiNik8erCg
> >
>
>
>
>
>
>
>
> [Non-text portions of this message have been removed]
>

He rocked, and did some songs from "Rocks in the Head", quite a few Who songs
(Boris the Spider, too) and few Johnny Cash tunes.  It was awesome, a once in a
lifetime show, just 900 people in a small club...sigh, I want to go again.

Ali

Mr. Armstrong seems to have stolen all his moves from Joe Strummer




________________________________
From: Richie <The_Who_1998@...>
To: WhoAreYou@yahoogroups.com
Sent: Fri, October 9, 2009 10:42:26 PM
Subject: [Who are you] Green Day's American Idiot on stage - A Who mention

 
From - http://tinyurl. com/yjxbqnx

October 10, 2009
THEATER REVIEW | 'AMERICAN IDIOT'
Staging Youth&#8217; s Existential Quest With Green Day Variations
By CHARLES ISHERWOOD

BERKELEY, Calif. &#8212; Options for the future appear limited for the idle
young men depicted with harsh conviction in the arresting new musical
&#8220;American Idiot&#8221; at Berkeley Repertory Theater here. They can choose
to get high, go to war or sink permanently into the couch.

None of these promises much in the way of happiness, but then these dead-eyed
suburban slackers &#8212; bored, disaffected, cynical about their own cynicism
&#8212; hardly have the energy for grabbing brass rings. &#8220;I don&#8217;t
care if you don&#8217;t care,&#8221; they sing, punching one another&#8217; s
shoulders listlessly. That catchy chorus typifies their default attitude to life
in 21st-century America. Raised in front of glowing screens, their experience
mediated by technology, they abdicate responsibility even for their own
affectlessness, and expect everyone else to feel the same way.

&#8220;American Idiot,&#8221; which is inspired by and includes all the music
from the hugely popular 2004 album of the same title from the trio Green Day, is
that rare and tricky creature, a true rock opera. Directed with polish and
precision by Michael Mayer (&#8220;Spring Awakening&#8221; ), who collaborated
with Billie Joe Armstrong, the band&#8217;s frontman and lyricist, on the
fragments of monologue that constitute the book, it expresses its vision through
the weaving together of songs from the album, as well as a few B sides and four
selections from the band&#8217;s newest collection, &#8220;21st Century
Breakdown.&# 8221;

This tight musical integrity is the show&#8217;s singular, invigorating asset.
But for those unfamiliar with or unengaged by Green Day&#8217;s driving pop-punk
music, it is also an obvious liability. You can justly take issue with
characters who lack much in the way of emotional depth or specificity, and
plotlines that are simple to the point of crudity. But the lack of a lucid book
is also integral to the show&#8217;s meaning. The young men in &#8220;American
Idiot&#8221; symbolize a generation that mistrusts words and doesn&#8217; t use
them with any particular grace or conviction.

For them language is empty slogans on a TV screen or a propaganda poster, and
they have lost the thread of the American fable, the one about the kid from a
nuclear family in the &#8217;burbs who follows the path of upward mobility and
in turn begets his own happy family. The only words that speak to these
drive-deprived postadolescents are the ones screeched or crooned over a snarl of
electric guitar or a frantic drumbeat. They live immured inside the songs of
rage and scorn and yearning that give life what meager meaning it has.
Naturally, the most successful relationship depicted in the show is the fruitful
intimacy between the central character, Johnny (John Gallagher Jr.), and his
beat-up guitar.

This distrust of (and disgust with) the way language is manipulated today is
signaled when we hear the voice of George W. Bush as the curtain slowly rises:
&#8220;Either you are with us or you are with the terrorists.& #8221; It
doesn&#8217; t take long to figure out which side the boys in &#8220;American
Idiot&#8221; are on: nobody&#8217; s, maybe not even their own.

To the title tune, they stage a raucous temper tantrum (the febrile choreography
is by Steven Hoggett, of &#8220;Black Watch&#8221; ) on a set by Christine Jones
that is both spectacular and scummy. A wall plastered with punk band posters
stretches up a good 50 feet, pockmarked by television screens of various
vintages that crackle with images spliced together from newscasts and tabloid
shows. The furniture on view: a grotty couch, a messy bed, a recliner. What more
does a 21st-century loser need?

Line by line, Mr. Armstrong&#8217; s lyrics, like the words to many (if not
most) contemporary pop songs, do not stand up to rigorous exegesis. It often
seems as if they were written &#8220;on a steady diet of soda pop and
Ritalin,&#8221; to borrow one of his more pungent phrases, with their forced
rhymes, confused grammar and imagery that is either obscure or clotted with
grandiosity and angsty clich&#233;s. But when laid over the band&#8217;s lushly
melodic music &#8212; all those knife-sharp riffs can&#8217;t disguise Green
Day&#8217;s potent gift for irresistible tunes &#8212; they deliver enough
information to transmit the emotional contours of the story the show aims to
tell.

The music, terrifically orchestrated by Tom Kitt (the Tony-winning composer of
&#8220;Next to Normal&#8221; ), is played with impressive meticulousness and raw
power by a band of eight onstage musicians.

As the show begins, Johnny, embodied with sweaty, hunched intensity by the
always affecting Mr. Gallagher, and his two best buddies, Will (Michael Esper)
and Tunny (the understudy Ben Thompson, at the reviewed performance) , are
preparing to leave behind the empty shallows of suburbia for the &#8220;dawning
of the rest of our lives.&#8221; At the last minute Will backs out, when his
girlfriend, Heather (Mary Faber), reveals that she&#8217;s pregnant. For him
tomorrow&#8217; s sun will rise on the couch he just got up from.

Johnny and Tunny don&#8217;t fare much better in the big city. Johnny is
lovestruck when he glimpses an exotic girl (Rebecca Naomi Jones) in an apartment
window from the street. But his affections are soon divided between his new love
and an equally potent seducer, the drug pusher St. Jimmy (Tony Vincent, louche
and compelling, and the evening&#8217; s strongest vocalist).

Meanwhile, Tunny wakes up one day in a dazed stupor, turns on the television and
is soon mesmerized by visions of sequined U.S.O. dancing girls and a muscular
figure who turns out to be an Army recruiter; next thing he knows, Tunny is
being marched off to war.

DNA from the rock musicals that have come before can be identified in the
chromosomes of &#8220;American Idiot.&#8221; The corruptor St. Jimmy is a
gender-switched (but just barely) version of the Acid Queen from &#8220;The
Who&#8217;s Tommy.&#8221; The druggy duet shared by Johnny and his girlfriend,
and their club-hopping number too, are redolent of &#8220;Rent. &#8221; The
show&#8217;s focus on tormented youth and its doomy intensity suggests
&#8220;Spring Awakening,&# 8221; from which Mr. Mayer profitably recycles a
staging trick or two, including a rising platform and the onstage band.

But &#8220;American Idiot&#8221; also has its own voice: bitter and melancholy,
attuned to an era more doubting than hopeful. Perhaps most strongly &#8212; and
promisingly? &#8212; the show&#8217;s story of young men on a confused search
for themselves during a time of changing social mores and foreign wars recalls
&#8220;Hair, &#8221; the musical about the make-love-not- war generation
that&#8217;s currently a big hit in revival on Broadway. (Both musicals also do
most of their storytelling in song.)

That musical&#8217; s warm embrace has been replaced by an alienated scowl, of
course. And yet when Johnny finds himself back at home at the end of
&#8220;American Idiot,&#8221; with nothing to show for the years of anxious
searching that have passed, I was moved just as I was by the turbulent
wanderings of those hippie adventurers of the Vietnam era. (&#8220;American
Idiot&#8221; could be called &#8220;Hair& #8221; with a buzz cut, a nose ring
and a bad attitude.)

Mournful as it is about the prospects of 21st-century Americans, the show
possesses a stimulating energy and a vision of wasted youth that holds us in its
grip. And to ring a variation on the Woody Allen joke about sex being dirty if
you&#8217;re doing it right, the only thing sadder than wasting your youth is
not wasting it.







[Non-text portions of this message have been removed]

From - http://tinyurl.com/yjxbqnx

October 10, 2009
THEATER REVIEW | 'AMERICAN IDIOT'
Staging Youth’s Existential Quest With Green Day Variations
By CHARLES ISHERWOOD

BERKELEY, Calif. — Options for the future appear limited for the idle
young men depicted with harsh conviction in the arresting new musical
“American Idiot” at Berkeley Repertory Theater here. They can choose
to get high, go to war or sink permanently into the couch.

None of these promises much in the way of happiness, but then these dead-eyed
suburban slackers — bored, disaffected, cynical about their own cynicism
— hardly have the energy for grabbing brass rings. “I don’t
care if you don’t care,” they sing, punching one another’s
shoulders listlessly. That catchy chorus typifies their default attitude to life
in 21st-century America. Raised in front of glowing screens, their experience
mediated by technology, they abdicate responsibility even for their own
affectlessness, and expect everyone else to feel the same way.

“American Idiot,” which is inspired by and includes all the music
from the hugely popular 2004 album of the same title from the trio Green Day, is
that rare and tricky creature, a true rock opera. Directed with polish and
precision by Michael Mayer (“Spring Awakening”), who collaborated
with Billie Joe Armstrong, the band’s frontman and lyricist, on the
fragments of monologue that constitute the book, it expresses its vision through
the weaving together of songs from the album, as well as a few B sides and four
selections from the band’s newest collection, “21st Century
Breakdown.”

This tight musical integrity is the show’s singular, invigorating asset.
But for those unfamiliar with or unengaged by Green Day’s driving pop-punk
music, it is also an obvious liability. You can justly take issue with
characters who lack much in the way of emotional depth or specificity, and
plotlines that are simple to the point of crudity. But the lack of a lucid book
is also integral to the show’s meaning. The young men in “American
Idiot” symbolize a generation that mistrusts words and doesn’t use
them with any particular grace or conviction.

For them language is empty slogans on a TV screen or a propaganda poster, and
they have lost the thread of the American fable, the one about the kid from a
nuclear family in the ’burbs who follows the path of upward mobility and
in turn begets his own happy family. The only words that speak to these
drive-deprived postadolescents are the ones screeched or crooned over a snarl of
electric guitar or a frantic drumbeat. They live immured inside the songs of
rage and scorn and yearning that give life what meager meaning it has.
Naturally, the most successful relationship depicted in the show is the fruitful
intimacy between the central character, Johnny (John Gallagher Jr.), and his
beat-up guitar.

This distrust of (and disgust with) the way language is manipulated today is
signaled when we hear the voice of George W. Bush as the curtain slowly rises:
“Either you are with us or you are with the terrorists.” It
doesn’t take long to figure out which side the boys in “American
Idiot” are on: nobody’s, maybe not even their own.

To the title tune, they stage a raucous temper tantrum (the febrile choreography
is by Steven Hoggett, of “Black Watch”) on a set by Christine Jones
that is both spectacular and scummy. A wall plastered with punk band posters
stretches up a good 50 feet, pockmarked by television screens of various
vintages that crackle with images spliced together from newscasts and tabloid
shows. The furniture on view: a grotty couch, a messy bed, a recliner. What more
does a 21st-century loser need?

Line by line, Mr. Armstrong’s lyrics, like the words to many (if not most)
contemporary pop songs, do not stand up to rigorous exegesis. It often seems as
if they were written “on a steady diet of soda pop and Ritalin,” to
borrow one of his more pungent phrases, with their forced rhymes, confused
grammar and imagery that is either obscure or clotted with grandiosity and
angsty clichés. But when laid over the band’s lushly melodic music
— all those knife-sharp riffs can’t disguise Green Day’s
potent gift for irresistible tunes — they deliver enough information to
transmit the emotional contours of the story the show aims to tell.

The music, terrifically orchestrated by Tom Kitt (the Tony-winning composer of
“Next to Normal”), is played with impressive meticulousness and raw
power by a band of eight onstage musicians.

As the show begins, Johnny, embodied with sweaty, hunched intensity by the
always affecting Mr. Gallagher, and his two best buddies, Will (Michael Esper)
and Tunny (the understudy Ben Thompson, at the reviewed performance), are
preparing to leave behind the empty shallows of suburbia for the “dawning
of the rest of our lives.” At the last minute Will backs out, when his
girlfriend, Heather (Mary Faber), reveals that she’s pregnant. For him
tomorrow’s sun will rise on the couch he just got up from.

Johnny and Tunny don’t fare much better in the big city. Johnny is
lovestruck when he glimpses an exotic girl (Rebecca Naomi Jones) in an apartment
window from the street. But his affections are soon divided between his new love
and an equally potent seducer, the drug pusher St. Jimmy (Tony Vincent, louche
and compelling, and the evening’s strongest vocalist).

Meanwhile, Tunny wakes up one day in a dazed stupor, turns on the television and
is soon mesmerized by visions of sequined U.S.O. dancing girls and a muscular
figure who turns out to be an Army recruiter; next thing he knows, Tunny is
being marched off to war.

DNA from the rock musicals that have come before can be identified in the
chromosomes of “American Idiot.” The corruptor St. Jimmy is a
gender-switched (but just barely) version of the Acid Queen from “The
Who’s Tommy.” The druggy duet shared by Johnny and his girlfriend,
and their club-hopping number too, are redolent of “Rent.” The
show’s focus on tormented youth and its doomy intensity suggests
“Spring Awakening,” from which Mr. Mayer profitably recycles a
staging trick or two, including a rising platform and the onstage band.

But “American Idiot” also has its own voice: bitter and melancholy,
attuned to an era more doubting than hopeful. Perhaps most strongly — and
promisingly? — the show’s story of young men on a confused search
for themselves during a time of changing social mores and foreign wars recalls
“Hair,” the musical about the make-love-not-war generation
that’s currently a big hit in revival on Broadway. (Both musicals also do
most of their storytelling in song.)

That musical’s warm embrace has been replaced by an alienated scowl, of
course. And yet when Johnny finds himself back at home at the end of
“American Idiot,” with nothing to show for the years of anxious
searching that have passed, I was moved just as I was by the turbulent
wanderings of those hippie adventurers of the Vietnam era. (“American
Idiot” could be called “Hair” with a buzz cut, a nose ring and
a bad attitude.)

Mournful as it is about the prospects of 21st-century Americans, the show
possesses a stimulating energy and a vision of wasted youth that holds us in its
grip. And to ring a variation on the Woody Allen joke about sex being dirty if
you’re doing it right, the only thing sadder than wasting your youth is
not wasting it.

Go here and learn how.  I did.

http://www.greattea.co.uk/who

You don't want to even think about Britney at 65!




________________________________
From: Donna <donnamags44@...>
To: WhoAreYou@yahoogroups.com
Sent: Wed, October 7, 2009 9:27:51 PM
Subject: [Who are you] Re: The Who's Roger Daltrey Performs on Ellen (10/02/09 )

 

He sounded fantastic! Has Roger had some work done? LOL He has always been a
real good lookin' boy(pun intended)but he did have wrinkles last I saw. Gone
now! LOL What a talent! What a voice! This was raw and live and that can't be
said too much anymore of our new and not improved bands these days. Don't know
how many of the "pop" divas could pull it off? He was amazing, as usual.

Donna

--- In WhoAreYou@yahoogrou ps.com, "glasshousehold" <glasshousehold@ ...> wrote:
>
> http://www.youtube. com/watch? v=zfiNik8erCg
>







[Non-text portions of this message have been removed]

He sounded fantastic! Has Roger had some work done? LOL  He has always been a
real good lookin' boy(pun intended)but he did have wrinkles last I saw. Gone
now!  LOL  What a talent! What a voice!  This was raw and live and that can't be
said too much anymore of our new and not improved  bands these days.  Don't know
how many of the "pop" divas could pull it off?  He was amazing, as usual.

Donna

--- In WhoAreYou@yahoogroups.com, "glasshousehold" <glasshousehold@...> wrote:
>
> http://www.youtube.com/watch?v=zfiNik8erCg
>

http://www.youtube.com/watch?v=zfiNik8erCg

GREATEST SOLO ALBUM POLL: TOP FORTY



In the latest Planet Rock poll, we asked you to name the greatest solo album
written by a former band member.

This Thursday you can listen to Darren Redick taking you through the top ten and
if there's money burning a hole in your pocket why not stock up on any items
missing from your collection.


See the full list below and click the links to buy :


1    David Gilmour - On An Island Click Here To Buy The Album

2    Ozzy Osbourne - Blizzard Of Oz  Click Here To Buy The Album

3    Roger Waters - Amused To Death Click Here To Buy The Album

4    Peter Gabriel - 1 Click Here To Buy The Album

5    Fish - 13th StarClick Here To Buy The Album

6    Richie Sambora - Stranger In This Town  Click Here To Buy The Album

7    Pete Townshend - Empty Glass Click Here To Buy The Album

8    David Lee Roth - Eat 'Em & Smile  Click Here To Buy The Album

9    Robert Plant - Fate of Nations Click Here To Buy The Album

10  Gary Moore - Still got the BluesClick Here To Buy The Album

11 Chris Squire - Fish Out Of WaterClick Here To Buy The Album


12  Peter Gabriel - So Click Here To Buy The Album


13  Bruce Dickinson - The Chemical Wedding Click Here To Buy The Album


14  John Lennon - Imagine Click Here To Buy The Album


15  Roger Waters - The Pros and Cons of Hitch-Hiking Click Here To Buy The Album


16 Fish - Vigil In A Wilderness Of Mirrors Click Here To Buy The Album


17 Peter Gabriel - 3 Click Here To Buy The Album


18 George Harrison - All Things Must Pass Click Here To Buy The Album


19 Peter Frampton - Frampton Comes Alive Click Here To Buy The Album


20  Lou Reed - Transformer Click Here To Buy The Album


21 David Gilmour - Live At Gdansk Click Here To Buy The Album


22 Robert Plant - Manic Nirvana Click Here To Buy The Album


23 Ace Frehley - Ace Frehley Click Here To Buy The Album


24 Jon Anderson - Olias of Sunhillow Click Here To Buy The Album


25 Neil Young - Harvest Click Here To Buy The Album


26 Geddy Lee - My Favourite Headache Click Here To Buy The Album


27 Robert Plant - Pictures at Eleven Click Here To Buy The Album


28 Ozzy Osbourne - Diary of a Madman Click Here To Buy The Album


29 David Gilmour - David Gilmour Click Here To Buy The Album


30 Alex Lifeson - Victor Click Here To Buy The Album


31 Eric Clapton - 461 Ocean Boulevard Click Here To Buy The Album


32 Steve Perry - Street Talk Click Here To Buy The Album


33 David Lee Roth - Skyscraper Click Here To Buy The Album


34 Paul Rodgers - Muddy Water Blues Click Here To Buy The Album


35 Ozzy Osbourne - Bark at the Moon Click Here To Buy The Album


36 Bruce Dickinson - Tattooed Millionaire Click Here To Buy The Album


37 David Coverdale - Northwinds Click Here To Buy The Album


38 Brian May - Another World Click Here To Buy The Album


39 Bob Catley - Legends Click Here To Buy The Album


40 Bruce Dickinson - Accident Of Birth Click Here To Buy The Album

From - http://tinyurl.com/yc7jjdp

Wolfgang's Vault offering concerts for download

DETROIT (Billboard) – The once controversial Wolfgang's Vault, which has
amassed the largest collection of licensed streaming live recordings on the
Internet, is about to make a treasure trove of those concerts available for
downloading.

Beginning November 3, the site will add more than 1,000 titles from 919 artists
to the approximately 500 that are currently available for purchase from the
site's Concert Vault section, Bill Sagan, CEO and founder of Wolfgang's Vault
LLC and its parent company, Norton LLC, told Billboard.com.

The additions will include more than 160 Grateful Dead concerts as well as
titles from artists such as Santana, Jimi Hendrix's Band of Gypsies, Janis
Joplin, Jefferson Airplane, Aretha Franklin, Bonnie Raitt, Hall & Oates, Lynyrd
Skynyrd, Jethro Tull, Chicago, Miles Davis, Dolly Parton, Merle Travis and many
others.

Leading up to the November 3 "Cracking the Vault Day" blowout, Wolfgang's Vault
-- which recently logged its 100 millionth streamed show -- is offering a small
amount of new shows twice weekly. The site just put up a Grateful Dead concert
(from May 15, 1970 at the Fillmore East in New York City); future releases
include Janis Joplin, Aretha Franklin and Bonnie Raitt (October 2), Hall & Oates
and Boz Scaggs (October 6), Santana and Chicago (October 9), Lou Reed (October
13), Miles Davis, Weather Report and Mahavishnu Orchestra (October 16), Twisted
Sister and the Ramones (October 20), the Byrds, Dolly Parton and Waylon Jennings
(October 23), Cheap Trick (October 27) and Mountain (October 30). Newly
streaming shows from Bob Dylan and Pink Floyd will be made available October 30.

The download prices will be $7.98 and $8.98 for MP3s and $11.98 and $12.98 for
Flac recordings. Wolfgang's vault will also introduce a $48 annual membership
which includes a $50 gift certificate, discounts on recordings and memorabilia
and unlimited higher-end 192k streaming.

OWNERSHIP ACKNOWLEDGED

Sagan said that the new rash of downloads are "the result of negotiating
agreements with performers and record labels that not only acknowledge our
ownership of this material but give us rights to exploit it" in a variety of
formats, including ringtones and satellite radio.

Sagan estimated that through the acquisition of a dozen archives -- including
Bill Graham Presents, the King Biscuit Flower Hour, Silver Eagle and the
Festival Network -- since its inception in 2002, Wolfgang's Vault has amassed
nearly 10,000 live shows, of which about 3,200 are now streaming on the site.

"The objective is that just about everything we stream we'll be able to
download," Sagan said. "When we hit November 3, more than half the concerts ...
will be available for download. By Christmas or slightly after Christmas we'll
be closer to three-quarters." Sagan also hopes to make video footage the company
has acquired available on the site in the near future.

There are some holdouts to the downloading plan. Sagan said negotiations are
continuing with big names such as Bruce Springsteen, the Rolling Stones, the
Who, Bog Dylan, Pink Floyd and Dire Straits.

In addition to the Concert Vault, Wolfgang's Vault sells memorabilia, operates a
Vault Radio network, displays music photography and publishes an online version
of Crawdaddy magazine. It also operates what MacWorld magazine named the best
all-around iPhone App earlier this year. The company's Daytrotter.com site,
meanwhile, offers recordings by new, mostly independent bands.

http://www.dailymail.co.uk/home/search.html?searchPhrase=pete+townshend+scooter