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Question What is making you happy today?

I trust you realise that is a photo of Tyson Fury photoshopped onto a photo of the Roslin.

He isn't the first celebrity to stay there this year and then post on social media about it. I imagine they get a fat discount in exchange for social media posts.
Did he say why he was in town?. Or should that be 'city'!.
Maybe as being Morcambes main sponsor this season, he was interested to visit the other football club also known as 'shrimpers'?.
 
Got a couple of tickets earlier for The Who's concert here next June.Last time I saw them live IRCC was back in 79 at The Hammy Odeon with Rob Noxious.

They cancelled here (about 10 years or so ago now).Hoping for better luck this time around.
 
Did he say why he was in town?. Or should that be 'city'!.
Maybe as being Morcambes main sponsor this season, he was interested to visit the other football club also known as 'shrimpers'?.

May be this

 
I trust you realise that is a photo of Tyson Fury photoshopped onto a photo of the Roslin.

He isn't the first celebrity to stay there this year and then post on social media about it. I imagine they get a fat discount in exchange for social media posts.
Lol yup. I don’t get the hype round that place
 
Where's the book?
It's available via the usual outlets.

https://www.waterstones.com/book/pete-townshend-who-i-am/pete-townshend/9780007479160



I thought it was pretty good but then I am a fan.

"This autobiography is very well-written and provides good insights into the complex persona of Pete Townshend. A gifted and original musician, he wrote pop hits initially and then rock anthems as well as composing a rock opera (‘Tommy’) before creating possibly the finest concept album of all time, the four-sided double album ‘Quadrophenia’. Pete’s long-aborted ‘Lifehouse’ project, in which he envisaged the internet before it became reality, took its toll on his mental health but it eventually became a radio play in 1999 and many of Pete’s songs written for it found their way into The Who’s finest single album, ‘Who’s Next’. He has had a solo career too, with successful albums - including ‘Iron Man’ (conceived in tribute to Ted Hughes’ children’s story) which inspired the film ‘Iron Giant’ - as well as still making music with the remaining and founding member of the original band, Roger Daltrey.

Pete provides a great account of the social milieu of post-war West London in his childhood and how music fired his imagination and compensated for what he describes at his academic failure. Attending Ealing Art College imbued him with an understanding of auto-destructive art and he applied it to The Who’s stage act with dramatic results. For Who fans, Pete’s own history of the band (which has been so well-documented elsewhere) is quite revealing. He concedes that Roger was the band’s leader but sees himself as the provider of its “blood transfusions” through his song-writing. The requirements of The Who’s touring schedule and the effect on his own health, most notably in the progression of his hearing loss, became too much to sustain in adversity though and the band ceased as a recording and performing entity in 1983 - until they returned for a tour in 2000 to help pay off their bass player John Entwistle’s debts.

Pete provides an enlightening account of the subject that led to his arrest and caution in 2003. We learn early on of how Pete had repressed memories of sexual abuse whilst in the care of his grand-mother and though it wasn’t until he had psychotherapy in the mid-eighties that he became more aware of what happened, it had caused him anxiety and low self-esteem throughout his younger life and partially informed the subject matter of ‘Tommy’ - though Pete needed John Entwistle’s help to write the songs about the abusive Uncle Ernie and Cousin Kevin as it was still too close and personal for any kind of self-assurance in dealing with it himself. Pete acknowledges that his actions in downloading illicit material were misguided when he was intending to use it to inform his efforts to expose the complicit nature of “online banks, browser companies and big-time pornographers … in taking money for indecent imagery of children.”

Pete provides a candid and saddening account of his previous addictions and the difficulties that he had in trying to sustain his marriage for many years. Life has taken a much better turn for him in respect of managing the former and in finding new and sustained love in more recent years and it’s quite a life-affirming conclusion to the book in his letter towards his eight-year-old self at the end: -

“Respect yourself. Try to remember that not everything in life can be perfect. You will make mistakes. That’s inevitable. But you are not ugly. You will only be ugly when you behave in an ugly way.”

To declare an interest, I’ve been a big fan of Pete’s since I was fifteen and I’m delighted that it’s been a happier time for him in these more recent years. He paid his thanks to fans, his “greatest supporters and allies” in his acknowledgements at the end but I know most of us owe him so much more. On that note, I'd like to say thank you for the music and all your great ideas, Pete."

No photo description available.
 
It's available via the usual outlets.

https://www.waterstones.com/book/pete-townshend-who-i-am/pete-townshend/9780007479160



I thought it was pretty good but then I am a fan.

"This autobiography is very well-written and provides good insights into the complex persona of Pete Townshend. A gifted and original musician, he wrote pop hits initially and then rock anthems as well as composing a rock opera (‘Tommy’) before creating possibly the finest concept album of all time, the four-sided double album ‘Quadrophenia’. Pete’s long-aborted ‘Lifehouse’ project, in which he envisaged the internet before it became reality, took its toll on his mental health but it eventually became a radio play in 1999 and many of Pete’s songs written for it found their way into The Who’s finest single album, ‘Who’s Next’. He has had a solo career too, with successful albums - including ‘Iron Man’ (conceived in tribute to Ted Hughes’ children’s story) which inspired the film ‘Iron Giant’ - as well as still making music with the remaining and founding member of the original band, Roger Daltrey.

Pete provides a great account of the social milieu of post-war West London in his childhood and how music fired his imagination and compensated for what he describes at his academic failure. Attending Ealing Art College imbued him with an understanding of auto-destructive art and he applied it to The Who’s stage act with dramatic results. For Who fans, Pete’s own history of the band (which has been so well-documented elsewhere) is quite revealing. He concedes that Roger was the band’s leader but sees himself as the provider of its “blood transfusions” through his song-writing. The requirements of The Who’s touring schedule and the effect on his own health, most notably in the progression of his hearing loss, became too much to sustain in adversity though and the band ceased as a recording and performing entity in 1983 - until they returned for a tour in 2000 to help pay off their bass player John Entwistle’s debts.

Pete provides an enlightening account of the subject that led to his arrest and caution in 2003. We learn early on of how Pete had repressed memories of sexual abuse whilst in the care of his grand-mother and though it wasn’t until he had psychotherapy in the mid-eighties that he became more aware of what happened, it had caused him anxiety and low self-esteem throughout his younger life and partially informed the subject matter of ‘Tommy’ - though Pete needed John Entwistle’s help to write the songs about the abusive Uncle Ernie and Cousin Kevin as it was still too close and personal for any kind of self-assurance in dealing with it himself. Pete acknowledges that his actions in downloading illicit material were misguided when he was intending to use it to inform his efforts to expose the complicit nature of “online banks, browser companies and big-time pornographers … in taking money for indecent imagery of children.”

Pete provides a candid and saddening account of his previous addictions and the difficulties that he had in trying to sustain his marriage for many years. Life has taken a much better turn for him in respect of managing the former and in finding new and sustained love in more recent years and it’s quite a life-affirming conclusion to the book in his letter towards his eight-year-old self at the end: -

“Respect yourself. Try to remember that not everything in life can be perfect. You will make mistakes. That’s inevitable. But you are not ugly. You will only be ugly when you behave in an ugly way.”

To declare an interest, I’ve been a big fan of Pete’s since I was fifteen and I’m delighted that it’s been a happier time for him in these more recent years. He paid his thanks to fans, his “greatest supporters and allies” in his acknowledgements at the end but I know most of us owe him so much more. On that note, I'd like to say thank you for the music and all your great ideas, Pete."

No photo description available.
It was a Gavin and Stacey quote.
 
Think its called The defence rests its case.TBF RobNoxious has always been a huge fan of the Who (as he said).I'm rather curious to see what they can produce on stage these days after all this time.
I hope it's not an embarrassment. I saw a bit of footage when they played the IoW a few years ago and Roger looked off the pace - the first time I thought he was looking a bit past it, sadly.
 

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