"I Don't Believe We've Played This Barn Before" part 1
The White Stripes are wrapping up the first part of their U.S. tour with a show tonight in Mississippi. That show, in Southaven, to be precise, looks to be about as close as they’re going to get to South Florida. Not that I can blame Jack and Meg - it's hot, it’s humid, there’s “activity” in the Caribbean. Why come here? Certainly not just so I CAN SEE YOU PLAY!
While I sulk about that and about the storms that are no doubt going to form and come tearing straight up The Florida Turnpike, I can take consolation in the fact that my fellow White Stripes fans are out there, recording devices in hand (or pocket, or wherever), making sure we can live vicariously through their tapings.
This recording, from the Madison Square Garden show just a few nights ago (July 24) shows the White Stripes in full effect. “If there were any doubts that the White Stripes – consisting solely of guitarist Jack White and his ‘big sister’ drummer Meg – could rock out the cavernous Madison Square Garden, the duo erased them with their debut there,” commented Frank Scheck, writing for Reuters news service.
The sound quality on this recording is pretty decent – probably three to three-and-a-half on a scale of 1-5. Enjoy part 1 of this and I’ll post part 2 in a couple of days.
Twenty years ago last Tuesday (July 21), Guns N’ Roses released Appetite for Destruction, one of the greatest hard rock albums of all time. And the following Thursday was Slash’s 42nd birthday. So, considering all of that, plus a comment I got on my previous GnR post, brings us to today’s post.
After Appetite was released, Guns N’ Roses continued touring, headlining clubs and opening for other, more established acts. As the singles “Welcome to the Jungle” then “Sweet Child o' Mine” hit, the Gunners got huge – probably bigger than any of the members could have imagined.
The live recording Bad Boys, Great Noize captures Guns N’ Roses in that period between releasing Appetite for Destruction and becoming megastars. It was recorded Dec. 26, 1987 at Perkin’s Palace (now the Raymond Theatre) in Pasadena, Calif.
Unfortunately, I only have half (disc 1) of this set. There are another four or five songs – including a nine-minute version of “Paradise City” – that are on another disk.
I’ve got something a little different today. Something you can’t just push play on, and walk away while it hums in the background. Myself, I had to put on headphones and give this a careful listen.
The John Lennon / Paul McCartney boot A Toot and a Snore in ‘74 has something of an infamous reputation. I’d read or heard about it somewhere and thought it sounded sort of interesting in a bizarre way. I didn’t expect to find it and be able to listen to it anytime soon, so I just moved on. A couple of weeks ago, I found the recording. As an acquaintance of mine has said, it’s amazing what people leave laying around the Internet.
I’m going to turn the mic over to Wikipedia at this point for a description of what A Toot and a Snore is all about:
A Toot and a Snore in '74 is a rare bootleg album of the final recording session in which John Lennon and Paul McCartney played together, which gained wider prominence when McCartney made reference to the session in a 1997 interview. Lennon did the same in a 1975 interview. The story is corroborated by biographies such as Christopher Sandford's 2006 “McCartney.” Also present, though possibly not playing, at the star-studded session were Ringo Starr, Keith Moon, and Klaus Voorman. Lennon was in his “lost weekend,” kicked out of the house by Yoko for a year; thus he was with his girlfriend May Pang. Sandford paints the scene very vividly, as the room froze when Paul walked in, and remained perfectly silent until John said, “Valiant Paul McCartney, I presume?” Paul responded: “Sir Jasper Lennon [a character John played during an early TV appearance skit], I presume?” Paul extended a hand, John shook it, and the mood was pleasant but subdued, cordial but not especially warm (at least initially). Paul may (says Sandford) have encouraged John to repair his marriage with Yoko, possibly at Yoko’s request.
Lennon had been producing Harry Nilsson's latest album, Pussy Cats, when Paul and Linda McCartney visited on Mar. 28, 1974. On March 31, they were joined by Stevie Wonder, Harry Nilsson, Jesse Ed Davis and Bobby Keys for a jam session at Lennon’s Los Angeles beach house.
What followed was not very productive. Lennon sounds to be on cocaine – he can be heard offering Wonder a snort on the first track, and on the fifth, asks someone to give him a snort. This is also the origin of the album name, where John Lennon clearly asks: “You wanna snort, Steve? A toot? It's goin’ round.” Whether the snore/snort discrepancy is intentional or not is not known. In addition, Lennon seems to be having trouble with his microphone and headphones. However, it does offer insight into Lennon’s “lost weekend,” and as the only known post-Beatles recording of Lennon and McCartney, it has become something of a collector’s item.
For the most part, Lennon is on lead with his guitar, while McCartney sings harmony and plays drums. Stevie Wonder sings and plays electric piano, Harry Nilsson provides vocals, Jesse Ed Davis is on guitar, and Bobby Keyes plays the saxophone.
Bootleg Zone has an excellent transcript of the recordings if you care to follow along. Listening with headphones, the sound was clear – even if the musicians didn’t seem to be.
Just a quick post tonight so I can mention that I got a comment the other day from none other than Emily Easterly. If you recall, I posted about Ms. Easterly not too long ago. She wanted to let me know she’ll be appearing Aug. 4 at Churchill’s Pub here in Miami. If you’re in or around this area, you may want to check out her show.
She'll also be in Chapel Hill, N.C., on Aug. 1 and in Savannah, Ga., on Aug. 2. Emily's official site has more info.
Below is an untitled live track from the Churchill's site. Check my previous post for more music.
This post comes from the files of my love/hate relationship with Aerosmith. They’ve disappointed me so much in recent years that I can’t really consider myself a fan any more. But back in the old days? Now that’s a whole ‘nother story.
I’ve got a couple of stray tracks today from “The Other Side” single. “The Other Side” was released in 1990 as the fourth single from Aerosmith’s 1989 album Pump.
My disk says “Made in Germany” on it, so I probably picked it up as an import somewhere. The only difference from the US release is mine is lacking the LP version of “The Other Side.” Instead it has only the “Extended Club Mix,” and “The Honky Tonk Version,” along with the two other tracks, “My Girl” and “Theme from Wayne’s World.”
So let’s talk about the “Theme from Wayne’s World.” In February 1990, Aerosmith was the musical guest on an episode of Saturday Night Live hosted by Tom Hanks. During the “Wayne’s World” sketch Garth gets his cousin Barry (Tom Hanks), a roadie for Aerosmith, to talk the band into appearing on “Wayne’s World” to help publicize the band’s upcoming show. In return Wayne and Garth agree to put Barry on the air. Aerosmith makes an appearance and...
Wayne: Okay, we're just about out of time, right? But it's always been my fantasy to play with you guys. And I was wondering if you wouldn't mind singing the “Wayne's World” theme with me?
I just read – on Yahoo news of all places – about a rumored Guns N’ Roses reunion. Here’s what the article says:
The original lineup of Guns N’ Roses--minus lead singer Axl Rose—is rumored to be reuniting to mark the 20th anniversary of the band's seminal debut album Appetite For Destruction.
According to drummer Steven Adler, the event is due to take place on July 28 at the Key Club in Los Angeles.
The club’s Web site states that Adler’s Appetite, L.A. Guns, and “very special guests” will appear that night. Adler said, “I’ll be down there with my band and Slash, Izzy [Stradlin, guitarist], and Duff [McKagan, bass] will be there too. It’s gonna be great.”
Adler added that it was unlikely Rose would join his former band mates, but that he expected a full reunion to happen eventually.
He explained, “Axl and I spoke to each other in Las Vegas recently, and I know there's a chance. It’s just too big. Whatever the Stones make when they play, we’d triple it. It’d be ridiculous not to do it. He can’t be that goofy.”
I checked the Key Club site, and I’ll-be-go-to-hell if it doesn’t show the following for the night of July 28: 20 Year Anniversary Celebration of Appetite for Destruction, featuring Adler’s Appetite and LA Guns. I about shit when I saw ticket prices: $15 advance; $20 at the door. Holy crap! If it wouldn’t cost me about 20 times that to get to L.A. (not to mention lodging, transportation, food, etc., etc.), you can guaran-damn-tee I’d be there.
Here’s the Key Club July calendar. If you’re in L.A. and can go, I wanna hear all about it!
To ease my pain of missing this show, I’ve got a couple of songs from a Gn’R show at Perkin’s Palace in Pasadena, Calif. It was recorded Dec. 26, 1987, just a few months after the release of Appetite for Destruction and before the album got so huge. “I Used to Love Her,” was later released on Lies. This is an electric version. “Rocket Queen” is one of my favorites from Appetite.
Today seems like a good day to kick your ass with some Motörhead.
It would be much too difficult to jam Motörhead ’s 32-year history into a few paragraphs, so I’m going to touch on some early history, then get into today’s music. If you want to read more about the band, I’d suggest either their Web site, their Wiki entry, or Lemmy’s autobiography, “White Line Fever” (Simon & Schuster, 2002).
After being sacked from Hawkwind in 1975, supposedly for “doing the wrong drugs,” Ian “Lemmy” Kilmister decided to form a new band, originally to be called “Bastard.” Doug Smith, the band's manager, told him, “It's unlikely that we're going to get on Top of the Pops with a name like ‘Bastard’.”
Lemmy agreed and decided to call the band “Motörhead,” inspired by the final song he had written for Hawkwind. The name “Motörhead ” came from a slang term for an amphetamine user, the drug being the subject of the song.
Lemmy's stated aim was for the band to be “the dirtiest rock n' roll band in the world,” and said, “If Motörhead moved in next to you, your lawn would die.”
The first lineup of the band featured Larry Wallis (ex-Pink Fairies) on electric guitar and Lucas Fox on drums.
During early recording sessions Fox became unreliable and was replaced by drummer Phil “Philthy Animal” Taylor. Their record label was not pleased with the recorded material and shelved On Parole until 1979, after the band had established some success.
Deciding that two lead guitarists were required, the band recruited “Fast” Eddie Clarke, but Wallis quit during the auditions, so the idea was dropped. The trio of Lemmy, Clarke, and Taylor is today regarded as the “classic” Motörhead line-up.
After touring “Beyond the Threshold of Pain” for a couple of years, Motörhead released the classic Ace of Spades album in late 1980. BNR Metal called Ace of Spades, “One of the best metal albums by any band, ever, period.”
By 1982, Fast Eddie had made the decision to leave Motörhead after Lemmy and Plasmatics’ singer Wendy O. Williams covered Tammy Wynette’s “Stand By Your Man.” Clarke felt the song compromised the band's principles, refused to play on the recording and resigned. Two years later, Taylor would also leave, causing Lemmy to quip “Did I leave them or did they leave me?”
Taylor returned to Motörhead in 1987 and continued playing in the group until 1992. After having been warned three times in the previous two years “to get his act together,” he was fired after recording “I Ain't No Nice Guy,” because of his poor performance, according to “White Line Fever.”
The current Motörhead line-up consists of Lemmy, Phil Campbell, and Mikkey Dee.
Ace of Spades (live 1992).mp3 Recorded live in California in 1992. One of Phil's last shows. Louie Louie.mp3 An early single. Sales of the single brought the band their first appearance on “Top of the Pops,” broadcast Oct. 25, 1978. Overkill (live 2004).mp3 Recorded live in Braunschweig, Germany, Aug. 15, 2004. Waltz of the Vampire.mp3 Early version of “Dance” from the Ace of Spades studio sessions Alone Again.mp3 Lemmy and Doro Doro Pesch sang for the German metal band Warlock. This song is from her 2000 solo album Calling the Wild. Also a chance to hear a rare mellow Lemmy vocal. Motorhead.mp3 Hawkwind From Warrior On The Edge Of Time (1975). A way different version than Motörhead’s. Good Rockin’ Tonight.mp3 Lemmy and Johnny Ramone from the compilation Sex Pistols Aftermath Tie Your Mother Down (Queen cover).mp3 Lemmy, Taime Down (Faster Pussycat), and Ted Nugent from the compilation This Is Metal's Most Covered Moments Of The '80s
Anyone who’s been tuning in here for any amount of time knows that I’m a Joan Jett fan. I had a chance a couple of weeks ago to see her play in a sort of strange setting.
In an effort to attract fans to home games, the 45-50 (as of this writing) Florida Marlins initiated something called “Super Saturdays”. Basically, that means each of the 13 Saturday Marlin home games this season is followed by a concert from an “internationally acclaimed recording artist.” Joan Jett and the Blackhearts happened to be fortunate enough to kick off this bizarre promotional event. I say bizarre because, really, how many people will actually sit through a three-plus-hour baseball game, then stick around for a concert that starts at 10:30-11 p.m.? Not many, as it turned out. (In all fairness, though, not that many were in attendance for the game itself.)
Of course, being a fan of the Blackhearts, I stayed. The rest of the crowd consisted mainly of people who kept asking each other, “Who is Joan Jett?” or “¿Quién es Yoan Yett?” “She sang ‘I Love Rock and Roll.’” “Ella cantó ‘Amo Rock and Roll.’” “Ohhhh.” “Ohhhh.”
There were probably some real Joan Jett fans there. I’ve been to enough of her shows to be somewhat familiar with her “following.” So, yeah, there were some of her fans there. And despite the late post-game and post-firework show start, and all the other weirdness of playing to a mostly empty 36,000-person capacity stadium, the short show went pretty well. After some initial sound problems (should they use just their own amps or the stadium sound system? They settled finally on the stadium sound) the Blackhearts tore through a handful of their hits and a couple of newer songs from last year’s Sinner album.
If you happen to be in the Miami area any of the following Super Saturdays, feel free to drop in, root for the home team, drink over-priced beers, and catch a decent music show afterwards.
-Jul. 21 - Willy Chirino -Aug. 4 - Oscar D'Leon -Aug. 18 - Blues Traveler -Sept. 1 - Issac Delgado and Victor Manuelle -Sept. 22 - Vince Neil of Mötley Crüe and Quiet Riot
If that interests you, you can buy tickets here. There’re also usually available at the gate, too.
All of that aside – since the Marlins aren’t paying me to do PR – my real reason for this post is some live Joan Jett and the Blackhearts, circa 1982. This recording is referred to as Rebel Rebel, no doubt because the band covers the Bowie tune at the end of the show. It was recorded Jan. 3, 1982, at 320 in New York City.
Splashing around the Internet the other night, I happened across this recording of the Foo Fighters from Live Earth. I have to say I was pretty pleased, as the Foos were probably one of the high points of what I got to see. I didn’t see any of the shows live, but instead got a condensed version on VH1 or something.
I’ve got opinions on what I think sucked, but we’ll save that for a day when I’m in a worse mood. I liked Alicia Keys and the Red Hot Chili Peppers. I thought Kanye West did a decent job, considering too many rap artists have a tendency to rely on call-and-response-type stuff live, losing a lot of what interests me about their music. I also liked the Smashing Pumpkins, or what’s left of them. Unfortunately I didn’t get to see Metallica, Wolfmother, Spinal Tap, or those guys from Rothera Research Station in Antarctica.
I doubt I would buy any sort of an official release from these concerts, as there was a lot of music I don’t care for. That being the case, I was glad to find this Foo Fighters recording. If there’s any other similar, rock-oriented stuff out there, I hope someone can point me in the right direction.
There was/is some controversy about the whole Live Earth thing; I don’t want to get into debating that in this space. If these shows did anything at all to raise awareness, they weren’t a total failure. Maybe I can summarize my general thinking by quoting something John Mayer told reporters: “We're just getting together saying ‘We want to be healthier’.” That’s not such a bad thought.
In case there’s anyone out there who’s been under a rock the last few weeks, Live Earth was a “24-hour, 7-continent concert series taking place on 7/7/07 that (brought) together more than 100 music artists and 2 billion people to trigger a global movement to solve the climate crisis.” (From Live Earth.org.)
This Foo Fighters recording came to me in the form I’m giving it to you: one file, five songs, and a little less than 27 minutes. I don’t really have the software to break it up neatly, so, well, enjoy the continuity, I guess.
I’ve noticed lately I don’t mind country music as much as I used to. Maybe this change of heart is due to getting older, or maybe it’s a natural response to being bombarded on all sides by thumping reggaeton and other Latin dance music.
When I say “country music” please understand I don’t mean poppy, adult contemporary-style country music. If I’m going to listen to country, it better have some damn twang to it.
A disk I recently got hold of (I think on eMusic, my source for all things obscure and wonderful) is You Can’t Buy a Gun When You’re Crying by Holly Golightly & the Brokeoffs. I ain’t gonna lie: the title got my attention before anything else. Once I got inside, though, the music fit the bill for my current country music jones. It’s blues, it’s country, it’s folk – it’s great.
Billed as the debut effort of Holly Golightly and the Brokeoffs, it’s worth noting that, despite the pluralistic moniker, “the Brokeoffs” is actually a somewhat mysterious guy simply called Lawyer Dave, a one-man-band from Texas.
Though they come from seemingly different worlds, the two singers mesh well, with Golightly's soft warble playing against Lawyer Dave's slurring drawl. There are elements of the haunted harmonies of the Carter Family in the mix, as well as traces of lonesome Delta twang.
I will also admit that my introduction to Holly Golightly came via The White Stripes’ “It’s True That We Love One Another.” With that as my jumping off point, I dug a little deeper and found an artist with roots not just in country, but also in R&B, rockabilly, and 60s music. And a little trivia note, Holly’s name really is Holly Golightly. Her last name is Smith.
Damaged Goods Records released You Can’t Buy a Gun When You’re Crying in May. If you’re in England, Holly Golightly & the Brokeoffs are currently on tour in that area. Visit her site for more tour and music information.
I’m back, baby! And while I still have a couple of things to fine tune, I think everything is good.
I want to celebrate the “Grand Re-Opening” of the Licorice Pizza blog with some stuff from the Clash’s Vanilla Tapes sessions. This disk came packaged with the 25th Anniversary London Calling reissue, in 2004.
Long thought of as either lost or the product of fans’ wishful thinking, Mick Jones found the box of tapes while packing for a move in early 2004. “I recognized them instantly for what they were,” he said. “They hadn’t been heard since the record was made. It was pretty amazing.”
According to the disk’s liner notes, the story starts in 1979, after the Clash came off the first American tour. They had split with manager Bernie Rhodes and in so doing, had lost their rehearsal space. Eventually, they found a converted rubber factory / car repair shop that was now called Vanilla Studios.
“It was like a drive-in garage-type pace,” Paul Simonon said. “There were mechanics and parked cars and fumes.”
The band worked on new material through May and June of that year, putting together tracks for the album that would be London Calling. The plan in Joe Strummer’s mind being, “Suppose a group came along and decided to make a 16-track LP on two Teacs, which drastically diminishes the cost factor called ‘studio cost.’ Suppose you presented that tape to the record company and told ‘em that it took just a few quid to make – you can still get a fucking LP for two or three quid.”
These rehearsal tapes, or “sketches,” as Mick Jones called them, included five previously unreleased Clash songs: “Heart and Mind,” “Where You Gonna Go (Soweto),” “Lonesome Me,” the instrumental “Walking the Slidewalk,” and a Bob Dylan cover, “The Man in Me.” In addition to four of the five of these, I’ve also tossed in the version of “London Calling” that Joe alludes to in The Clash on Broadway box set – here London calls to “the fools and the clowns” and “the Mods on the run.”
The closing paragraphs of the Vanilla Tapes’ story notes what has become of Vanilla Studios. In the early 1990’s, the site was redeveloped and a church building placed there. The London Diocesan House now stands on the site where Joe Strummer sang the words “I believe in this and it’s been tested by research / He who fucks nuns will later join the church.”
Hey, I'm needing some HELP! I got a DreamHost account, but I can't seem to figure out how to make it work. All I want to do is host files on it. I don't want to host a Web site, I don't want e-mail, I only want to host my little files.
If anyone wants to lend a gentleman a hand, I'll be your friend forever and buy you a beer next time you're in Miami! I'm sure this isn't rocket science, but I seem to be missing something! Drop a comment or e-mail me at the address in the sidebar.
While I'm here, let me comment on a couple of other things.
1) You may have noticed the new shape and form of the Licorice Pizza blog. At the one year mark, I started thinking about changing things up a little. When I found the new "Licorice Pizza" picture and decided to incorporate that, it didn't look right with the old black template. I sort of like this one, but I'm still tinkering with it.
2) I usually take down old links around the first of the month, but due to the, ahem, problems going on around here, I'll leave them up a little while longer.
Until next time, as the Irish say, "May you never forget what is worth remembering, or remember what is best forgotten."
Enough dicking around. MediaMax is still sucking, so here’s what I’m going to do. I mentioned awhile back that I have a RapidShare account. The downside of that (for you) is if you don’t have an account, you have to wait something like 45 seconds to download, and you’re limited to how many downloads you can do. I didn’t want to hassle you with all that crap, but it’s sucking that I’m not able to post.
What I decided to do for now is go ahead and use RapidShare. I’ll put all posted songs in one zip file. You can download that, check the songs out, then do what you want with the ones you like. Personally, I usually like to listen to a little bit of a song before I download the whole thing, so I hope this method will work for the time being.
Moving on.
Like I started to say before I was so rudely interrupted, I want to sample a couple of tracks from the “Private Parts” soundtrack. “Private Parts,” for those who may not know, was the 1997 film based on Howard Stern’s 1993 autobiography of the same name. And if you’re not sure who Howard Stern is, I will refer you to his Wiki entry. You can also check out HowardStern.com to see the type of stuff that happens on his Sirius Satellite Radio show.
“Private Parts” premiered at the top of the box-office in its opening weekend with a gross of $14.6 million. The film received mostly positive reviews from critics, most notably from Siskel and Ebert, who were frequent guests of Stern's radio show. Some critics, however, claimed the film glossed over his use of sexual and racial humor.
For his performance, Stern won the Blockbuster Entertainment Award for “Favorite Male Newcomer.” He was also nominated for a Golden Satellite Award for “Best Performance by an Actor in a Motion Picture – Comedy.”
Radio's larger-than-life bad boy, and self-proclaimed “King of All Media,” Howard Stern exposes his “Private Parts” in this adaptation of his best-selling autobiography. Tracing his evolution from hopelessly geeky student to top-rated shock jock, the film not only chronicles his legendarily off-color on-air demeanor (Lesbian Dial-a-Date; frequent nude guests) and his continuous battles with management over content and co-hosts, but it also examines his unexpectedly touching and sincere relationship with his wife, Alison.
What I like about the soundtrack, in addition to the little skits between songs, is the mix of old and new contributions. Were this disk an LP, Side 1 would feature newer artists such as Marilyn Manson and a collaboration between LL Cool J and members of the Red Hot Chili Peppers, while Side 2 would be the classics Howard probably played back in his days at WCCC.
To give you the full effect, I’ve picked a fair range of things from this disk: The opening skit, “Pig Virus” features an anti-Stern rant by Paul Giamatti, in his role as Kenny Rushton, the WNBC program director. “The Great American Nightmare,” a collaboration between Rob Zombie and Stern, is the current opening theme for the radio show. The live ACDC song, I think, comes from a Stern appearance in New York, although I’m not certain about that.
Music: ~“Pig Virus” (skit) ~“The Great American Nightmare” Rob Zombie with Howard Stern ~“Hard Charger” Porno for Pyros ~“You Shook Me All Night Long (live)” AC/DC
Just thought I'd check in and let you know I'm still alive. Still waiting for my host to be a little more hospitable. I feel like I was invited to the party and asked to wait in the garage.
I've gotten a couple of e-mails from other MediaMax users who are similarly frustrated. I attempted to open an account with another host, only to not have my payment go through. I decided at that point, since I've already paid for MediaMax, to take a "wait and see" approach. This is where it's gotten me. I fired off another angry e-mail to their support people, which seems to do nothing except make me feel better.
In the meantime, yes, my blog is still active and I am still alive.
Check back, maybe eventually there'll be some music here.
Screw MediaMax. I'm in the process of changing hosts. Please bear with me and continue to check back. I promise to be up and running again just as soon as I can.
Well, I thought my host was back on line. I was able to actually access the site for a bit. When it wouldn’t upload anything, I tried looking around the “help” section, when all of a sudden the whole thing disappeared:
Bad Request (Invalid Hostname)
“Holy crap. Maybe they’ve shut down entirely,” I thought.
I went all the way out and logged back in. I was able to get to my account without a problem, so I tried to upload again. It looked like it worked. So I tried a second file. With that, the upload bar just started flashing and freaking out.
As I’ve said, MediaMax has been a decent host in the past. A message posted yesterday on the Streamload page said they were in the process not only of upgrading, but moving from San Diego, Calif., to Chicago, Ill., so I’ll give them a few more days to get squared away, then see what happens.
In the meantime, let’s just pretend I’ve been on vacation. I promise to get going again as soon as MediaMax lets me. What’s worse is I just started a new billing cycle, so if I blow them off for a new host, I'd lose my payment.
The White Stripes are wrapping up the first part of their U.S. tour with a show tonight in Mississippi. That show, in Southaven, to be precise, looks to be about as close as they’re going to get to South Florida. Not that I can blame Jack and Meg - it's hot, it’s humid, there’s “activity” in the Caribbean. Why come here? Certainly not just so I CAN SEE YOU PLAY!
