Ok...I must have looked at the pix wrong. From the first ones you posted it looked like the people AT the stage were in FRONT of a barrier.
179 in Hartford seems very small. I thought the pit/front section would have had several hundred in it.
Fire code Gazza..each venue makes that determination, I guess according to the code
19th October 2007 03:56 PM
Gazza
Yeah but you'd still think theyd know a bit more in advance than about four hours before the gig
19th October 2007 04:01 PM
Fiji Joe
quote:Gazza wrote:
apart from yourself of course!
Right...but if notice, I always wear the "SECURITY" jacket
19th October 2007 04:10 PM
PartyDoll MEG
quote:Gazza wrote:
179 in Hartford seems very small. I thought the pit/front section would have had several hundred in it. I'm a bit confused though. Why would they give 600 people wristbands when they know theyre not going to let more than half of them into the pit?
[Edited by Gazza]
It is the randomly chosen number (from a hat I presume) of those who have bracelets. So if 600 bracelets are given out between 2Pm-5PM and number 600 is chosen then 600 is the number one entrant into the Pit followed by #'s 1-199 or whatever the quota is. Got it now?
Do you think they will do this nonsense in Europe?
19th October 2007 04:23 PM
Gazza
I understand that ok..just seems that a lot of people getting wristbands stand to end up disappointed.
This 'random numbers' lottery is a system that just seems to be a US phenomenon. I've never heard of it happening in Europe (the number is actually chosen by a fan, I believe)
I would imagine they'll do it in Europe though.
[Edited by Gazza]
19th October 2007 04:26 PM
Nellcote
Meg's nailed it.
Actually, in Hahtfud, they had a 9 year old pull the number
594. It was mass disorganization, as after she pulled the number, some guy picked her up, ran out of there with her, as it was "WHO Cinncinnati-like" in this small corridor to line up to get in line. Then, there was confusion on behalf of the venue whether they were to go 594, 93, 92, or 595, 96, 97. We all got very vocal, noting they were to go forward, which they quickly went forward with. No Bullhorn, thus these weak voiced people were attempting to line people in a row. The only redemption was being with all of the others who got there early, with the random pick bringing some redemption. I had # 43, so I was 49th in line. There was loads of room between us & the 1st barrier, for a while. People around me kept leaving to get more beer, use the head. I used my mind control technique, thinking nothing other than the two hours I drove there, events leading up to & obtaining this ticket, waiting in line, I did not move for the entire time, my hand on the stage most of the show, or one person deep. I was lucky enough to get in the pit for the GMA-Seeger rehearsal @ Asbury, which was great, however, this was sizzling, electric, transe-like. Yep, was all of that.
19th October 2007 04:37 PM
PartyDoll MEG
They way I look at it...Get my bracelet..go have a few beverages. come back at 5:15PM and see what number picked.. If I'm not in the pit..go back and have a few more beverages as it won't matter.
Yes there are bound to be disappointed(Please Lord Let me be LUCKY just once!!) people but at least it gives everyone a chance rather than just those damn die-hards that love to wait in lines for hours on end to be first......
19th October 2007 04:43 PM
Nellcote
I was not privy as to how the folks behind the fence were let in, however, I might think there was some orderly lineup as was the case with the initial pit entrance. It appeared that if one was in the 1st row at the fence, this was not a bad slot either. It would be good to hear from someone who was on the floor, not the pit, to understand how & when they were let in.
I do recall looking at Little Steven on several occasions, wondering, did you really kill Adriana, or, is she in the woods with the missing Russian?
19th October 2007 04:45 PM
PartyDoll MEG
quote:Nellcote wrote:
I do recall looking at Little Steven on several occasions, wondering, did you really kill Adriana, or, is she in the woods with the missing Russian?
LMAO!!!!
19th October 2007 04:51 PM
Gazza
quote:Nellcote wrote:
in the woods with the missing Russian?
Best (and funniest) Sopranos episode ever!
19th October 2007 05:01 PM
gimmekeef
quote:Gazza wrote:
Best (and funniest) Sopranos episode ever!
Wasnt the missing guy the Italian with long pony tail?..The guy makin moves with Tony's wife and vice versa??
19th October 2007 05:06 PM
Nellcote
Nah, that was Fluvio, or as Big Pussy called him, Foodio.
He was the one who almost pushed Tony into the helicopter blade in AC. The Russian was the guy who Paulie & Christopher beat up, threw in the trunk, drove him to the woods of Jersey to bury. When the trunk opened, he got out, and ran, with them chasing him. They got lost, spent the night in a van they found. Words cannot desribe how cool this episode is. It is the famous Pine Barrens episode.
19th October 2007 05:13 PM
Gazza
Thats the one, Nellie. Fuckin' hilarious. I may dig that one out this weekend.
19th October 2007 05:27 PM
SweetVirginia
quote:PartyDoll MEG wrote:
The divider is the back of the Pit. The difference in tickets is luck, SV. If your bracelet# is around 200 or so numbers from the randomly drawn number..you get the preferred standing area, like Nelly did.
And the folks who do not get chosen end up in the GA standing room section behind the lucky ones?
I will have my fingers crossed for you, Meggie. And if you end up at the front, I hope some stooge like me gets good pics of you from his/her behind-the-stage seats...and posts them somewhere that you will see them.
19th October 2007 05:33 PM
PartyDoll MEG
If I get so lucky..be sure to know you along with the BelfastBoss will get photographic evidence from me personally !!
19th October 2007 05:52 PM
Gazza
quote:PartyDoll MEG wrote:
If I get so lucky..be sure to know you along with the BelfastBoss will get photographic evidence from me personally !!
LOL..argh..my cover has been blown.....!
19th October 2007 05:53 PM
Left Shoe Shuffle
quote:Gazza wrote:
I understand that ok..just seems that a lot of people getting wristbands stand to end up disappointed.
Everybody with GA floor tickets gets a wristband.
If you want a crack at the pit, they start doling them out around 2PM, and stop at 5.
Pit lottery drawing is at 5:15.
Got to Philly early enough to get a lottery wristband, but didn't have a good number.
Got a second wristband before I was allowed entry onto the floor.
Pit winners had to get a third.
Didn't get to CAA until 7 last week, and missed the lottery completely.
Still had to line up and get banded to gain entrance to the floor - but just one this time.
Hung out right at the soundboard at both shows, and was still plenty close enough for my liking.
Didn't need a wristband for my seat in Sec 421 at MSG Wednesday night...
19th October 2007 06:02 PM
glencar
quote:Fiji Joe wrote:
Oh come on Blue...other than concession attendants, and that dude who got offed by the Hell's Angels, I've never seen a black person at a Stones concert
I agree that's the case in many cities but I think in NYC, there are more blacks in the crowd. It just struck me as odd.
19th October 2007 06:05 PM
Left Shoe Shuffle
quote:Nellcote wrote:
The Russian was the guy who Paulie & Christopher beat up, threw in the trunk, drove him to the woods of Jersey to bury. When the trunk opened, he got out, and ran, with them chasing him. They got lost, spent the night in a van they found. Words cannot desribe how cool this episode is. It is the famous Pine Barrens episode.
My favorite episode.
Tony Soprano: [over the phone] It's a bad connection so I'm gonna talk fast! The guy you're looking for is an ex-commando! He killed sixteen Chechen rebels single-handed!
Paulie Walnuts: Get the fuck outta here.
Tony: Yeah. Nice, huh? He was with the Interior Ministry. Guy's like a Russian green beret. He can not come back and tell this story. You understand?
Paulie: I hear you.
[hangs up]
Paulie: You're not gonna believe this. He killed sixteen Czechoslovakians. Guy was an interior decorator.
Christopher Moltisanti: His house looked like shit.
19th October 2007 07:56 PM
robpop
quote:Left Shoe Shuffle wrote:
Tried TM online and via phone all day - nada.
Didn't fancy getting to MSG hours after the drop line started, and there were waaay more buyers than sellers on the street last night, so no Bruce for me tonight.
He'll shake it up tonight for sure.
Hope that shake up doesn't include From Small Things, though.
He needs to save that one for Boston...
Next summer, stadiums?
Meh, 'cept maybe Pittsburgh or Fenway.
Sorry about that. Jungleland is always great live. Still No New York Serenade. Damn.
You gotta make the PNC show. There is a web site somewhere, I can't find it now that ranked "THe Rising" tour shows. THE PNC show was ranked 1 on that list. Besides, PNC Park does not use TM. Which just made me think if that was the reason why The PNC Stones show was the only one Pearl Jam opened.
I may have a line on some tickets in the first ten rows for the Mellon (Civic) Arena show. I'll know Monday. Somebody at work bought these seats and they cannot make it. Face value!!!! I may have extras. I'll post here early next week if I have extras. If anybody wants them let me know. Face value and a beer.
Sorry I missed "Jungleland" but it really would've hurt to miss "NYC Serenade." Glad you got in Wednesday night anyway, Leftie. MSG is always a hard ticket. Fingers crossed for Nellie and Meg next month.
And SV, thanks for the pics. You always come through with the goods!
21st October 2007 11:10 PM
M.O.W.A.T.
quote:Gazza wrote:
Much the same as a Stones crowd, surely. Both bands tend to have as many black people onstage as they have in their audience.
Fantastic pics. Whats the deal with the small number of folks in FRONT of the crash barrier?
At the Ottawa show, a general admission ticket did not necessarily guarantee you right up front of the stage. There was a fenced off portion of the floor (more like a pen) about 20 yards from the stage. The immediate area in front of the stage was reserved for winners of a lottery that took place two hours before the show. However, it was kind of strange seeing the crowd immediately in front of the stage and then a gap between both GA sections (the lottery winners had plenty of room to dance or whatever and the "regular" GA ticketholders were squeezed into their gated area like a bunch of sheep).
22nd October 2007 01:53 AM
parmeda
Hey, Meg! As you requested... a picture of Bruce's ass!
...I just wish this one had turned out better
(Woulda been perfect, no?)
And god help me if I didn't get one for my buddy Gazza!
Sorry babe.... no ass for you
Tomorrow night...ya'll can bite me!
No camera.
No phone.
No purse.
Pammy's taking her ID and some ca$h - THAT'S IT!
(Lord knows what I might have missed tonight whilst fucking around with all of my crap!)
22nd October 2007 06:21 AM
PartyDoll MEG
Very much appreciated your "sharing" of Bruce, Girlfriend!
By all means..keep him to yourself tonite and have a great time!!
22nd October 2007 07:12 AM
Gazza
Thanks for the pics, Pam - hope you had a great time and that tonight is even better
Interesting to note that certain posters who are accusing ME of being rear-obsessed in a certain other thread are pestering you for ass shots!
22nd October 2007 07:38 AM
Gazza
He's simply the best
No rock star can match Springsteen's overall career
By Jim Harrington
STAFF WRITER
Article Launched: 10/21/2007 03:05:37 AM PDT
Bruce Springsteen goes by the nickname "The Boss." There may come a day, however, when he's generally known by another moniker:
"The Best."
Music appreciation, thankfully, is subjective. There is no way to make a firm decree that the Beatles or the Rolling Stones or Stevie Wonder or Bob Dylan is the greatest popular music act of all time. Still, if you take a broad view and consider all factors involved, one can make a very strong case that Bruce Springsteen is in the process of fashioning the single most satisfying career in pop music history.
This topic is relevant today for two main reasons. The first is Springsteen's new CD, "Magic," which has prompted yet another avalanche of rave reviews for the Boss, including a rare "5-star" rating from Rolling Stone magazine. The second is the 58-year-old rocker's current tour with the E Street Band, which once again has proven to be one of the hottest tickets of the concert season. The first local date for the tour -- Friday at the Oracle Arena in Oakland -- sold out in an hour. A second Oracle show has been added for Thursday.
Of course, Springsteen isn't the only star who has recorded a critically acclaimed album and posted a sell-out tour. So why pick the Boss over, say, Neil Young or Prince?
The answer, in a nutshell, is that no other act in the business has managed to achieve on so many different levels, for such a sustained period of time, as Springsteen.
Since the baseball playoffs are on, I'll use Willie Mays as my reference. During Mays' reign, other players had seasons where they hit more home runs or batted for a higher average than the Giants slugger. But nobody was more a complete player. Mays had it all -- defense, offense, speed, power. Springsteen is like that, a multi-tool man -- a fine vocalist, excellent songwriter and solid musician. He excels equally in the studio and onstage. Plus, he has proven adept at so many different styles of music over the years.
Other musicians have surpassed the Boss, especially in the studio, at various times over the decades. But can you name one who has continued to achieve at Springsteen's high level for more than 35 years?
Dylan and Young seem the most obvious challengers, but both have had periods where their recorded output was lackluster at best. And if you've listened to "Steel Wheels," "Bridges to Babylon" or any other Rolling Stones album since 1978's "Some Girls," you know not to even bring up Mick, Keith and the boys when it comes to recent studio work.
All of those acts, and many others, can topple Springsteen in one regard or another. The Boss certainly hasn't written as many iconic rock standards, songs that will be covered by other musicians for decades to come, as Dylan and Young. Yet he's written more than his share. The Stones can outdraw Springsteen on tour, but not by that much. The Beatles have more all-time classic studio albums, but Bruce isn't too far behind them.
Conversely, none of those acts can match the Boss when it comes to being an all-around sensation. As mentioned, the Stones stopped putting out worthwhile albums nearly 30 years ago. The Beatles could never have matched the Boss on the concert stage, and their output was unfortunately confined to a relatively short period of time.
Dylan had an extended period of mediocrity, from the tail end of the '70s until 1997's "Time Out of Mind." Since that point, however, it's been all aces for the master.
Young's career, while as defiantly individual as any in the business, has had hits and misses. Some of the "misses" have been extremely interesting oddities -- "Greendale," anyone? -- yet still basically ignored by the public.
Meanwhile, Springsteen has continued to put out records that, for the most part, have been hailed by critics and greedily consumed by fans.
A look back
Long Branch, N.J., where Springsteen was born, is a beach resort town that was once an East Coast oasis for theater and performing arts. It didn't take long for Springsteen to catch the spark. His mom bought him a guitar when he was 16 and, not long after that, he was putting on shows and making people think he was destined to be a star.
The ascent began in earnest with 1973's "Greetings From Asbury Park, N.J.," an amazingly accomplished major-label debut that some still rank among the Boss' finest albums. The highly influential album, among the first to fuse singer-songwriter material with rowdy rock-R&B sounds, set the bar high.
He followed with "The Wild, the Innocent & the E Street Shuffle," the excellent 1973 effort that furthered his lore in Jersey, but failed to break him nationally. But he hit the big time with 1975's "Born to Run." The anthem-filled rocker, which ran on James Dean-like charisma, proved to be such a big story that both Time and Newsweek put Springsteen on their covers in the very same week.
Speaking of covers, other artists soon looked to Springsteen for material. Manfred Mann, the Pointer Sisters and Patti Smith all achieved Top 20 hits with Springsteen-penned material in the late '70s.
At this point, Springsteen appeared to have the whole star vehicle thing figured out. All he needed to do was keep putting gas in the tank. Instead, he went the other direction and, starting with the release of 1978's "Darkness on the Edge of Town," embarked down a road of consistent musical exploration. While not completely turning his back on barroom rockers, Springsteen focused on darker material with 1980's "The River," and especially on 1982's "Nebraska." And fans found he could handle the downer songs as well as the party anthems.
Blockbuster in the U.S.A.
In 1984, as President Ronald Reagan was seeking his second term in office, Springsteen released the stadium-size blockbuster "Born in the U.S.A." The album sold some 15 million copies in the United States alone, charted seven Top 10 singles and put the Boss on equal footing with Michael Jackson as one of the nation's biggest pop stars.
"Tunnel of Love," from 1987, followed the same course as "U.S.A.," mixing fun rockers with introspective meditations, and was another big hit. But the tank was approaching empty by 1992's "Human Touch" and "Lucky Town," two simultaneously released discs that mostly sound as if they were compiled from the editing room floor of the "Tunnel of Love" sessions. The two albums have fine moments, but are deservedly ranked by fans at the bottom of the Boss' barrel.
Springsteen rebounded with 1995's "The Ghost of Tom Joad," an intimate batch of songs reminiscent of "Nebraska," and then returned to full-blown glory with the 9/11-inspired "The Rising."
When thinking back on "The Rising," the question comes to mind: Can music heal?
Well, perhaps not completely -- especially with wounds as great as those from the attacks on the World Trade Center and Pentagon. Yet "The Rising" proved that music can provide some degree of comfort during even the darkest of hours. Argue all you want about which of Springsteen's albums is his best, but not about which is his most important. "The Rising" was the rare work that transcended the usual boundaries of art.
It also kicked off what has to be the most incredible four-CD run in recent rock history (just a notch or two below what the Beatles did in the '60s or Pink Floyd accomplished in the '70s). What is most impressive about this run is its diversity, moving from the arena anthems of "The Rising" to the somber songwriting of 2005's "Devils & Dust" to 2006's old-timey hoedown "We Shall Overcome: The Seeger Sessions" and now back to full-on E Street shuffle with "Magic."
As David Fricke notes in his review of "Magic" in Rolling Stone, the album shows "how a firm beat, some Telecaster sting and the robust peal of Clarence Clemons' saxophone can still tell you more about the human condition than a thousand op-ed words."
What other artist has provided so much magic, so consistently, for so many years? In that regard, Bruce Springsteen simply stands alone.
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