JimCT

Season 6 starts tonight

today '96, Houston - Galveston Bay https://videopress.com/v/ldxTa26C

today '85, Providence night 1 - I'm on Fire https://videopress.com/v/3Mt9MRp3

today '81, Montreal - the first hour https://videopress.com/v/2l3hCw3T 1981-01-23 - MONTREAL FORUM, MONTREAL, QC NIGHT / OUT IN THE STREET / TENTH AVENUE FREEZE-OUT / DARKNESS ON THE EDGE OF TOWN / INDEPENDENCE DAY / WHO'LL STOP THE RAIN / PROVE IT ALL NIGHT / TWO HEARTS / THE PROMISED LAND / RACING IN THE STREET / THE RIVER / BADLANDS

I remember maybe late 80s driving along in San Francisco and passing a theater marquis with Tim Curry headlining some regional touring troupe. I think it took him nearly 20 years to "live down" this role and get roles commensurate with his talent. Maybe Red October was his first that I recall?

and Blood Brothers

today 2017, Perth - NYCS

today '96, New Orleans - Sinaloa Cowboys https://videopress.com/v/7yl9qLlX

Toast, sure. But what about the newspapers? And the squirt guns? And were they queued up to sit in the back row? These are important questions!

https://www.economist.com/culture/2022/01/21/meat-loaf-was-a-unique-and-irresistible-performer Not a dry eye in the house Meat Loaf was a unique and irresistible performer His grand, histrionic style appealed to people looking for thrills in their own lives Jan 21st 2022 Meat loaf, who has died aged 74, appeared so sui generis that it is tempting to place him in some private room in musical history. That is to misread him. Though he became a star in the 1970s following the release of the album “Bat Out of Hell” (1977), what appeared to be unique was really a coming together of two strands of American popular culture. On the one hand, there was the camp, fantastical, overblown and adrenaline-driven wing of the first wave of rock’n’roll. Look at Meat Loaf in clips from 1978, all ruffled shirt and hair plastered to his face; it was as if an overweight, plain man were trying to will himself to be Little Richard. On the other, there was musical theatre, which probably explained why rock critics treated him with an unconcealed disdain that the record-buying public did not. NME, a seminal music weekly, may have described “Bat Out of Hell” as “crude” and “macho” in its review, but 43m people went and bought it. Musical theatre was actually the making of Meat Loaf; it was when auditioning for an off-Broadway show called “More Than You Deserve” in 1973 that he met its co-creator, Jim Steinman, and began a creative relationship that was the making of both of them. As a songwriter, Steinman (who died last year) was melodramatic to the point of gothic and exaggerated to the point of cartoonish. His musical arrangements tended to start with the kitchen sink and work upwards, and there was no top he was afraid to go over. Meat Loaf was prepared to follow him all the way. “Some people say: ‘If it wasn’t for Steinman, Meat Loaf wouldn’t be where he is.’ Other people go: ‘If it wasn’t for Meat, Jim wouldn’t be where he is.’ I think they’re both right,” Meat Loaf told this writer in 2013. With Steinman writing for him, Meat Loaf was transformed. In songs such as “Paradise By The Dashboard Light”, “Dead Ringer for Love” and “I’d Do Anything For Love (But I Won’t Do That)” he mined emotions so extreme you’d have difficulty recognising them as sensations felt by ordinary people. His delivery was so operatic, so unconstrained, it simply bore no relation to anything else in pop music, but it resonated with people trying to find drama in their own lives. “Bat Out of Hell” cast such a long shadow that Meat Loaf had to embrace it rather than escape it. There were two sequels to the album, released in 1993 and 2006, though the third did not have bespoke Steinman songs. (By that point the pair were busily suing each other over the trademark for the phrase.) The record relied instead on seven numbers Steinman had written for other projects and was filled out with tracks from other writers. Meat Loaf may be remembered as a curiosity in rock history. There is no family tree of his influence to trace—no one else ever sounded like him; no one ever will—and there will never be scholarly books outlining his musical trajectory. But to be among the crowd at one of his shows, where the age range extended from children to grandparents, was to see an artist with the rare gift of communicating joy, just like Little Richard all those decades earlier.

You never see the sudden curve until it's way too late

Don't tell us you were a Sloane Ranger back in the day!

Spurs fans are VERY happy

And don't overlook his role in the legendary Rocky Horror Picture Show, which introduced him to us "oh no, Meatloaf again"

Karla DeVito did the music video and tour, but that remarkable album voice was Ellen Foley