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-- BEGIN included message


The Who Mailing List Digest
 Wednesday, February 10 1999 Volume 06 : Number 039



In this issue:

	Pure and Easy and Long 
	Cheryl's Story,BBC3,Dave Marsh.
	Who pinball machines
	Re: The Who Mailing List Digest V6 #38
	Re: The Who Mailing List Digest V6 #38
	Re: The Who on DVD
	battle of the bands
	Belated thanks
	Bootlegs and Woodstock on DVD
	We bought a  Pinball  Machine
	Buying Boots
	Re: Lifehouse ?'s
	Re: Nissan & bootlegs

----------------------------------------------------------------------

Date: Tue, 09 Feb 1999 23:25:49 -0600
From: Cheryl Posner-Weber <otter@execpc.com>
Subject: Pure and Easy and Long 

So many "older" (however you want to define the term) female Who fans
have posted messages and written to me privately that I thought it was
time that we re-introduce ourselves to each other.  Even though some
people think that "how-I-found-The-Who" threads are as banal as the Ann
Landers (or is it Dear Abby?) "how-we-met" stories, I present my own
tale as an invitation to others to do the same.

During the summer of 1971, I was thirteen years old and living in
Huntsville, Alabama.  I usually spent my summers at the library, begging
for rides to the library, or hoarding my quarter-per-week allowance for
trips to the book store (do you detect a pattern?).  I rarely listened
to the radio, as the endless repetition of the top-40 hits left me
queasy and I thought the commercials were stupid.  I spent most of my
free time reading books, newspapers, magazines, cereal boxes, and
anything else that came my way; I also listened to classical and baroque
LP's from my mother's collection.  As far as I know, I had never heard
any song by The Who, although I recognized and liked the Beatles.

For some reason, I ended up in a record store one afternoon.  I'm not
sure why; it may have been the aftermath of a visit to Baskin-Robbins,
or I may just have been passing time while my mother and two little
brothers shopped elsewhere.  I enjoyed looking at the records; the size,
the weight, the hidden musical possibilities all wrapped up in clear
plastic intrigued me, although the prices were alarming.  The 45's I
ignored, as they seemed the province of squealing teeny-boppers (of
course, I know better now!).  I preferred the albums.  They looked
serious, meaningful, promising.  I knew so little about popular music
that I roamed aimlessly from one aisle to the next, gazing at the bright
jackets.  I ended up in the "W" section; the Decca "Tommy" album was
prominently displayed.  I liked the way it looked, with the
funny-looking musicians peering at me with their tiny faces.  I liked
the very long list of songs on the back.  I liked the way it felt,
heavier than other albums I'd already picked up and put back.

And this is where the mystery begins.  A very small voice in my head
said, "This is really good.  You should buy it."  I hesitated, as I
disliked gambling with my hard-earned allowance, but decided to give it
a try, as the little voice had never misled me before.  I bought the
album, took it home, and unwrapped it in the privacy of my bedroom.  I
was really impressed with the double gatefold, the illustrations, and
the lyrics booklet, as I had never seen anything like that before.  I
also studied the two records for some time, as the first record had
sides one and four, the second two and three.  What on earth did that
mean?  Finally, the light dawned: I was meant to STACK them (what a
concept!).  So stack them I did, on my parents' old hand-me-down record
player which was now mine.

And my life changed.  I can tell you, from my heart, that the passage of
twenty-eight years has not diminished in the slightest the effect that
the opening chords of the "Overture" have on me.  Without going into
intimate details of my childhood, I can let you know that it was very
lonely and isolated.  My internal resources were all I had, and they
were fortified by my books and my music.  I was a gawky, shy child,
convinced of my own unimportance.  As far as I could tell, every single
person in the world had their place, except for me.  When I heard
"Tommy" for the first time, I was utterly stunned, astounded, and
entranced.  Later on, I would realize that Tommy's retreat from a
hostile world was very much like my own, but at that time, all I knew
was that this was the best music I had ever heard.  The story entranced
me, the gaps giving me opportunities to use my imagination.  The music
was incredible.  It was rock-and-roll, but better somehow, and
passionate, and elegant, and meaningful.

I played that album over and over.  I'd lie on my bed for hours, living
only in the music, only in the moment.  Every time the "Overture"
started, part of me would wonder, "how will the story come out?"
"Tommy" always sounds new and fresh to me.  I did not know, or care, who
the musicians were, who sang what or played what--I finally figured all
that out about a year later.  I still have this album.  The jacket is
ratty and worn, the LP's played nearly white, my name written carefully
on the labels lest someone borrow it and forget that this album was
MINE.

There is, of course, so much more to the story of me and The Who, but
the beginning is in many ways the most important part.  I remember the
excitement of saving for the older albums I had yet to buy and the
ecstasy of waiting for the release of a new one.  I remember lining up
for the premiere of the "Tommy" movie, sometimes sitting through it two
or three times in an endless afternoon and evening.  I remember reading
about Keith Moon's death in the local newspaper, where it earned only a
small article on a back page.  (How strange, I thought, that the end of
one's whole world would not appear on the first page, heavily bordered
in black.)  I remember my first Who concert (much later than you would
think of someone owned by The Who since 1971).  And I also remember,
after the passage of many years, finally meeting other Who fans (hello,
Pamela!  You were the very first!).

On the Odds & Sods list today, Alan McKendree posted a short message
about spirituality and The Who.  I couldn't agree more.  Although I love
their music and consider it part of myself, it has never been mere
entertainment or background music.  While reverence is not necessarily
required or desirable, my full attention is.  When I play my recordings
or attend a Who concert, something happens that is unique and stands
apart from the rest of my life.  Once the music begins, that's all there
is.  Whenever I feel that I am losing my balance with happiness and
sanity, Who music reminds me, most joyously, who I am.  Whenever I want
to celebrate, they're there.  Although sometimes, in more cynical
moments, I think of The Who as music for misfits, it's the triumphant
transcending of difficulties that characterizes their work.  Who music
is about losers who win, even if the only victory is the attempt.  The
lyrics are thought-provoking, the melodies and rhythms unusual and often
surprisingly complex.  There's just nobody better, at least for me.  I
never thought loving this music was a phase; if it is, I hope to inhabit
it until the end of my life.  With any luck, in my NEXT life my infant
fingers will grab a "Tommy" CD to use as a teething ring, and the whole
perfect cycle will start again.

- --Cheryl

------------------------------

Date: Tue, 09 Feb 1999 22:18:24 PST
From: "Derick Bhupsingh" <circles01@hotmail.com>
Subject: Cheryl's Story,BBC3,Dave Marsh.

Hi All, Very Interesting and moving Cheryl. I always said and knew
that there was something special,something more about this band than
any other. Despite the fact that other groups were either larger in
terms of commercial success and hype,The Who,their music and their
live concerts were nothing short of magical and almost spirtual. 
Back in High school Everyone was into Bowie or Rod stewart or someone
and people often wondered why I happened to likr The Who,'That noise',
they would say. They wondered what all the fuss was about. So did my
Mum and Dad! especially after waiting in line sometimes overnight 
in the freezing cold  just to buy Who tickets ! There was this magic
in the air, a sort of feeling you get that only THEY could inspire.
And even after seeing them so many years later on the Quad tours, I 
have to say it, The Excitement level is still there,and they still
play rock n' roll like nobody can. Amazing !. 
Carl, BBC Radio 3 can be heard thru the internet on 91.3 FM. if you 
check the MIT list of radio stations on the internet,you can probably
find the actual website.
Although I personally cannot stand the man, the hypocrite, I have to 
agree with dave Marsh that probably, Pete is the only person who
really knows what Lifehouse is all about. !
Happy Whoing !  Regards, Derick.



______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

------------------------------

Date: Wed, 10 Feb 1999 18:11:40 +1000
From: Denis.Bowler@ea.gov.au (Denis Bowler)
Subject: Who pinball machines

As pinball is a bit of a hobby of mine I thought I'd follow up on this recent
thread - there are basically 5 machines you could class as Who-related:

Tommy by Data East (1994) - based on the broadway show
Captain Fantastic by Bally (1975) - based on the movie, features Elton John
Wizard by Bally (1975) - based on the movie, features Roger and Ann-Margaret

and for completists there are:
Kings and Queens by Gottlieb (1965) - the game Roger played in the movie
Buckaroo by Gottlieb (1965) - the game Elton played in the movie

for the absolutely obsessed by detail types I guess there are also those
machines seen in Quadrophenia etc but that's another story...

Not sure what the current US prices are but I'd say for a machine in great
condition I'd guess $800-$1200 for Tommy, $600-$800 for Wizard or Captain and
about the same or slightly less for the other two.  As with anything though
there are always bargains to be had if you're lucky.

Regards,
Denis.


Visit The Who in Australia at www.pcug.org.au/~dbowler/who.html

------------------------------

Date: Wed, 10 Feb 1999 02:45:39 EST
From: WanChef@aol.com
Subject: Re: The Who Mailing List Digest V6 #38

Hey, speaking of Pinball Machines....I found a pic of me playing the TOMMY
machine from 75' where Roger is holding a very sexy Ann Margaret (his
mom...sure) 
Anyone out there ever see these machines? How much must they be worth? 

Janice

------------------------------

Date: Wed, 10 Feb 1999 02:53:25 EST
From: WanChef@aol.com
Subject: Re: The Who Mailing List Digest V6 #38

     ...........and another blast from my past as we talk about LisztOmania ~
anyone have the "Playboy" pictorial they did for the movie?  Remember how
over-endowed Roger was in this film? Oh how we need this movie for the
midnight movie cultcrowd! Where is it? 
Gooodnight all.......Janice

------------------------------

Date: Wed, 10 Feb 1999 05:52:12 -0500
From: Brian Cady <cadyb@home.com>
Subject: Re: The Who on DVD

Paul J. Meisch wrote:
> Ditto, and can't wait for Monterey Pop (hopefully uncut) and Woodstock
> (likewise) to come out...sooner the better!  Paul

Woodstock is already available on DVD.  I haven't got it yet, 'though, so I
can't tell you how it is.

			-Brian in Atlanta

------------------------------

Date: Wed, 10 Feb 1999 04:58:11 PST
From: "ERIN MURPHY" <briana68@hotmail.com>
Subject: battle of the bands

Congratulations to our favourite group for winning the Mining Co. - 
Classic Rock - battle of the bands! It goes to show that teamwork pays 
off!!

Erin

PS - of course it was The Who!

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

------------------------------

Date: Wed, 10 Feb 1999 11:29:15 -0500
From: Howard Powers <howie@rexnet.net>
Subject: Belated thanks

Last Thursday, James Sigel posted the lyrics to Won't Get Fooled Again
since after15 years of listening to it there are still several lines
that I haven't
deciphered.

Just wanted to say, thanks James, that clears the water!  I thought they

"sat in judgment of our own," which makes sense too, but isn't the same
as "of all wrong."  Not to mention several other things I couldn't get.

Thanks again!

------------------------------

Date: Wed, 10 Feb 1999 11:45:27 -0500
From: "Mark R. Leaman" <mleaman@sccoast.net>
Subject: Bootlegs and Woodstock on DVD

> There's been a big discussion recently on another list about what effect 
> bootlegs have on the music industry.

Keets:

They have a positive effect. It gets people more excited about the band,
and if they don't already have everything released (usually the case), they
buy them.

> Seeing those bootlegs selling for 
> so much really pisses off the musicians who are getting paid pennies for 
> every cd their record company sells

This is, however, their decision. The bootlegged material, especially the
best stuff like other takes of songs, are owned by the artist/label and
could be marketed for less than regular CDs (no production and advertising
costs) via mail and Internet. THAT would end the "problem" forever.
I admit that I have little sympathy for the labels and artists in this
matter. Some claim to "lose money," but since I choose not to open on
Sundays, I cannot tell the IRS that I lost money because I was not open.
Imagine how they would react!
The latest is that the labels intend to offer an encoded bootleg material
over the Internet for about the same cost as a regular CD. They also intend
to market new music in the same way, thereby putting an entire industry of
music retailers out of business. We'll see. I think the "code" will be
quickly broken and they will change their mind as they see they can't make
it work, but alas too late as people begin offering the music for free
download. So everyone loses, due to greed. And BTW, I'll go on record right
now saying that the labels will NOT charge people what they charge
retailers for the CDs (and without supplying the materials, don't forget)
but the $18 per retail price. Watch and see.

> and sometimes they quit the 
> business.  I've decided people shouldn't buy bootlegs for more than the 
> cost it takes to make them.

The reason they are more expensive is: they're illegal. It's exactly the
same situation as drugs. The seller takes a risk having them available, and
therefore must cover possible legal fees and so on. And even the creator
had to get it, probably incurring some cost beyond what just making the
copy might cost. Plus, the last time I checked, it was OK to make a profit
in the USA.
You have a perfect right not to buy them, but I will continue to do so and
hope for some sanity from the labels.

> Ditto, and can't wait for Monterey Pop (hopefully uncut) and Woodstock
> (likewise) to come out...sooner the better!

Paul:

Actually, Woodstock has been released on DVD. The director's cut version,
which I have on videotape and it's quite good.

------------------------------

Date: Wed, 10 Feb 1999 15:59:22 EST
From: Bblayla@aol.com
Subject: We bought a  Pinball  Machine

We bought the  Pinball game based on the Broadway show.  I wanted the original
Who playing the music but I had to settle for the Broadway version.    We paid
$ 2500 for a new machine back in 94  I think.   The things we do for the
who........

I am looking forward to the Lifehouse event hopefully an album/tour will come
of it.
Love this list, Bblayla

------------------------------

Date: Wed, 10 Feb 1999 15:38:43 -0800
From: Beau McCrury <Beau.McCrury@ucop.edu>
Subject: Buying Boots

Hi Lars et al,

>Date: Mon, 08 Feb 1999 17:44:18 PST
>From: "lars van kammen" <lars_515@hotmail.com>
>Subject: Nissan & bootlegs
>
>Hi there.

snip

>One brief remark:
>There was a lot going on last month about bootleggers. Recently I 
>received a message from a guy who said the following about my remark 
>that that his bootlegs where too expensive($50 +) :

snip snip snip

To share what little experience I have at buying boots:

A few years ago when I bought my first few boots I was paying $30
a disk.  Later a source was made available to me at $25 a disk.  Now
by hanging around the various Who lists for a few years I have made
some good friends that I have been trading with.  For the budget
conscious this is the absolute way to go.  Of course the bulk of
those trades are for the most part still on cassette however with
the advent of CD burners sound quality amongst the traders will
only get better and better.

Do a few searches on the various Who links.  I suggest starting 
at: http://www.thewho.net/links/  From there you'll find pages
of people who are willing to trade.  You'll find these sites
a very extensive resource.

Good luck and let us know how it goes.

Beau (Oakland '76 is such a blast!) McCrury

------------------------------

Date: Wed, 10 Feb 1999 15:53:33 PST
From: "L. Bird" <pkeets@hotmail.com>
Subject: Re: Lifehouse ?'s

A friend tells me he picks up the BBC on shortwave.  Maybe we can get it 
in the U.S.

keets


>From: "Carl Gilbertsen" <strangebrew@excite.com>
>To: thewho@igtc.com
>Subject: Lifehouse ?'s
>Date: Tue, 09 Feb 1999 12:42:26 PST
>
>Maybe someone can answer these questions...
>Does the BBC have any sister stations in the US (specifically Illinois) 
that
>would broadcast Lifehouse?
>Is there anyway to listen to the broadcast on the internet?
>Will a CD be released?
>Thank you
>Carl
>
>
>
>
>_______________________________________________________
>Get your free, private email at http://mail.excite.com/


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

------------------------------

Date: Wed, 10 Feb 1999 18:54:16 -0600
From: Alan McKendree <amck@thenetdr.com>
Subject: Re: Nissan & bootlegs

At 17:53 -0800 2/9/1999, The Who Mailing List Digest wrote:
>Date: Mon, 08 Feb 1999 17:44:18 PST
>From: "lars van kammen" <lars_515@hotmail.com>
>
> me:     "I've been to your site and the bootlegs you offer there for
>
>sale are in my opinion
>   		way too expensive. "
>
>he: >>Though I'm not angry about what you say, I think many people
>
>suffer from the misconception that bootlegs must be
>	"cheap" to buy in the U.S or through the U.S. This is not the
>
>case.<<

He should have just said, "Then don't buy them."

>I think this guy suffers from the conception that bootlegs should be
>expensive. I know that making a cd copy costs about $3,- , postage is as
>high as $8 so he, and a whole lot of other bootleggers are making at
>leat $35 profit.

Making a CD might cost $3 if you can mass-produce them in a legitimate
factory instead of hand-copy them or make them in a small-scale enterprise
that has to remain hidden.  Most of the higher price you generally pay for
boots are a combination of the higher cost of making a small number of
copies and compensation for the risk of being discovered, having one's
entire inventory confiscated, and possibly going to jail.

>I think thats theft.

I think you're wrong.  No one's forcing you to buy boots, so no one's
stealing your money.  If you think they're too high (and the $50 you
mention is _way_ too high for a single CD), then don't buy them.  See how
that works?

>I personaly think that people who act like thieves should not call
>themselves fans.

I personally think that people should learn what "theft" means before they
call people thieves.

>Music ( bootlegs) isnt meant for the higher class who have the money to
>pay those rediculous prices. Its for all of us

I see.  How do you feel about shoes, houses, and diamonds?  Should they be
free for all of us, too?

>Ask Townshend about that. See what he thinks about this.

He's said he'd be the first to go buy boots of his shows.

>I'm sorry for my terrible english (I'm dutch)

I don't mind your English.  It's your terrible ideas that bother me.


>Date: Tue, 09 Feb 1999 12:20:36 PST
>From: "L. Bird" <pkeets@hotmail.com>
>Subject: Re: Nissan & bootlegs
>
>There's been a big discussion recently on another list about what effect
>bootlegs have on the music industry.  Seeing those bootlegs selling for
>so much really pisses off the musicians who are getting paid pennies for
>every cd their record company sells,

You must not have read much of the discussion on the other list.  It was
well argued that boots do not financially harm artists.

>and sometimes they quit the
>business.

Even if you could name me even one person who stopped creating music
because of bootlegs, I'd just say s/he quit for the wrong reasons.  Hell,
musicians I know are happy when they start getting popular enough to BE
booted.

>I've decided people shouldn't buy bootlegs for more than the
>cost it takes to make them.

Have you really?  Have you also decided what in the f*** would give anyone
any incentive to produce boots, then?

Alan
Be sure to read _McKendree: A Burning Novel of Murder and Revenge_
by Douglas Hirt, ISBN 0-8439-4184-7  (available at www.amazon.com)

------------------------------

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