have a great birthday, Joey 

" I LOVE YOU ALL !!!!! "



http://i153.photobucket.com/albums/s209/leepullen/Youth.jpgt=1251285552

Some Guy wrote on Nov 9^th, 2010 at 12:03pm:


Government experts with extensive experience working with missiles and computer security systems have examined the television video and conclude the mysterious contrail originating some 30 miles off the coast near Los Angeles did not come from a jet – but rather, they say the exhaust and the billowing plume emanated from a single source nozzle of a missile, probably made in China.
.
They were testing their capabilities; this proves we are not able to defend ourselves. All they need is an EMP to kill the electrical grid...
No electricity for several years...
No grocery Store

Well I have to admit, the old adage, a picture is worth
a thousand words is very true. I have been studying
on this event for a whole week. I think I have seen every
pic and video there is and twisted and turned every one
of those pics in an editor hoping to find the smoking
gun for this missile theory. And after a week, I found it.

The above image is from the helicopter video. It is unedited
except for color and highlight layers I took out to bring those
background contrails into better view.

As you can see, there are 2 contrails in this image.
1 big one in the foreground and 1 smaller one in the background.
And what sealed the smoking gun for me is when they
intersected each other and a big cloud of smoke where
they intersected.

This is my theory of the timeline of events.

1) Chinese launch Ballistic Missile from Jin Sub.

2) US Air Defense boards lit up like a Christmas Tree
with early warnings.

3) US Launches smaller missile to intercept Chinese
missile. See how the US Missile contrail is much
smaller. It's probably a PAC-II.

4) US Missile intercepts and explodes near Chinese
Missile but does not destroy it. But it does knock
it off it's trajectory, thus the sharp corresponding
course changes after the explosion.

5) Chinese Missile continues to target.

6) US Gov denies a missile launch cuz they
are embarrassed they didn't save America
from this aggression. Had this been designed
to inflict serious damage to the US. They would
have succeeded in penetrating American Defense.

7) Once again, the US Air Defense is red-faced.
last time it was the US Navy.

Sorry folks, it was a Chinese Missile
not US808 from Hawaii.
The second intersecting contrail confirms it,
unless you think the US is trying to shoot
down commercial airliners?

Although the U.S. Defense Department and North American Aerospace Defense Command have speculated publicly that the unidentified contrail of a projectile soaring into the skies off the California coast – and recorded by a KCBS television crew – came from a jet and posed no security threat to the U.S., several experts are raising provocative and disturbing questions about the government's official response, reports Joseph Farah's G2 Bulletin.

Two governmental military experts with extensive experience working with missiles and computer security systems have examined the television video and conclude the mysterious contrail originating some 30 miles off the coast near Los Angeles did not come from a jet – but rather, they say the exhaust and the billowing plume emanated from a single source nozzle of a missile, probably made in China.

They further suggest the missile was fired from a submerged Chinese nuclear submarine off America's coast, and point out that the timing of the alleged Chinese missile shot coincided with an increasing confrontation between the U.S. and China, and was likely meant to send a message to Washington.

Indeed, the Federal Aviation Administration documents that there were no aircraft flying in the area at that time, the night of Nov. 8.

"The question that still must be answered is why NORAD's muted response was simply that North America was not threatened, and later our government approved the lame excuse that the picture recorded was simply an aircraft leaving a contrail," said retired U.S. Air Force Brig. Gen. Jim Cash.

A former U.S. Air Force fighter pilot and commander of an F-15 squadron and an F-16 wing, Cash was assigned to NORAD as an assistant director of operations at the Cheyenne Mountain complex near Colorado Springs, Colo., and is fully knowledgeable of NORAD procedures.

"There is absolutely no doubt that what was captured on video off the coast of California was a missile launch, was clearly observed by NORAD, assessed by a four-star general in minutes, and passed to the president immediately," he said.

Even more ominously, cautioned Cash: "We must question the timing of this shot across our bow. The president was abroad being diplomatic, which means trying to placate China which is becoming overly concerned with our handling a totally out-of-control deficit in spending."

Wayne Madsen, a former naval officer who has worked at the National Security Agency and the Naval Data Automation Command, said the inability to pick up what he described as a Chinese Jin-class submarine-launched ballistic missile isn't the first time U.S. Navy anti-submarine warfare sensors have failed.

Madsen, who today is an investigative journalist, said the Pentagon is working "overtime with the media and on the Internet to cover up the latest debacle. However, even some reporters who cover the Pentagon full-time are beginning to question the Pentagon's version of events ... over the skies west of Los Angeles."

Dr. Lyle J. Rapacki of Sentinel Intelligence Services, LLC, said the contrail incident off the Los Angeles coast is "fraught with peril" due to the defense systems and protocols in place that should have detected the alleged submarine.

"The decision to officially announce that North America was not threatened," he said, "and all the excitement was due to an aircraft leaving a contrail is a decision that reaches beyond the four-star general level and goes directly to a decision made by the commander-in-chief."

G2Bulletin calls to the Pentagon and NORAD for comment beyond previous official statements were not returned.

happy birthday Joey!

happy birthday Joey!

Happy birthday Joey!! 

" I LOVE YOU ALL !!!!!! "




http://i153.photobucket.com/albums/s209/leepullen/Youth.jpgt=1251285552

" happy birthday, young Joeykins!!   "


Bless You Ade   ..... you are much loved by young Joey !

" I LOVE YOU ALL !!!!! "



http://i153.photobucket.com/albums/s209/leepullen/Youth.jpgt=1251285552

Happy birthday Joey!! Here's a present for you from the legendary Bill Graham, just released listen on line baby

http://www.wolfgangsvault.com/the-who/concerts/maple-leaf-gardens-december-17-19...

Concert Summary Phase two of the Who's extraordinary career essentially began in 1978, with the death of their drummer Keith Moon and ended on December 17, 1982 with a pay-per-view television broadcast and global radio transmissions of what was billed as the Who's "Final Concert" at Toronto's Maple Leaf Gardens. So explosive, suspenseful, and innovative a drummer was Moon that he could never be replaced, but with the help of former Faces drummer Kenny Jones, the Who soldiered on into the 1980s. Jones was a great, solid rock drummer, but his more conventional approach changed the band dynamic and not…entire summary

Pete Townshend -Vocals, Guitar
Roger Daltrey - Vocals, Harmonica, Guitar
John Entwistle - Vocals, Bass
Kenny Jones - Drums
Tim Gorman - Piano, Keyboards

Phase two of the Who's extraordinary career essentially began in 1978, with the death of their drummer Keith Moon and ended on December 17, 1982 with a pay-per-view television broadcast and global radio transmissions of what was billed as the Who's "Final Concert" at Toronto's Maple Leaf Gardens. So explosive, suspenseful, and innovative a drummer was Moon that he could never be replaced, but with the help of former Faces drummer Kenny Jones, the Who soldiered on into the 1980s. Jones was a great, solid rock drummer, but his more conventional approach changed the band dynamic and not surprisingly, things would never be quite the same. Despite releasing three more hit albums and touring as successfully as ever with Jones on board, the Who planned their 1982 North American Tour to be their last. Roger Daltrey had been quoted in the Daily Mirror as saying, "It has been mine and Pete's decision to quit touring now. We are getting too old to do kick-arse rock and roll every night and it will be a relief when it's all over." To fans everywhere, this was sad news indeed, but the performances were generally strong throughout the 1982 tour, and fans had the global simulcast of the final show still to look forward to.

A CD set titled Who's Last and a home video release were later issued to commemorate this event, neither of which contained the entire December 17, 1982 performance. Presented here is the complete unedited show from that evening, sourced from the King Biscuit Flower Hour masters, when The Who initially bid farewell to the Toronto audience and to legions of fans watching and listening the world over. Despite being recorded before 20,000 exuberant fans in a sporting arena, this recording sounds considerably better than the overly ambient simulcast and will be of interest to Who fans, not only for being the entire authentic performance, but for containing an ambitious set list. Many Who classics are here to be sure, but this performance is also intriguing for containing live performances of four songs from the 1982 It's Hard album, which would be the band's last studio album for nearly a quarter of a century. This set is also notable for the increased presence of John Entwistle, who in addition to his trademark "thunderfingers" bass playing, contributes three of his own songs and leads the group on the "Twist And Shout" encore.

Serving as warm-up exercises, the set kicks off with loose versions of the band's anthem, "My Generation," followed by another early classic, "I Can't Explain." Entwistle's "Dangerous" follows, sung by Daltrey, as the band begins hitting their stride. The fireworks start on "Sister Disco," from the 1980 Who Are You album (the last with Moon), a song which seemed to fully ripen onstage during this tour. Three strong new songs follow in succession, beginning with a rocking read of Entwistle's autobiographical "The Quiet One" from the 1981 Face Dances. Two highlights of the It's Hard album follow, first with a spirited version of the title track and capped off with "Eminence Front," Townshend's rumination on wealth, problem avoidance, and recreational drug abuse. Tim Gorman skillfully provides Townshend's signature synthesizer parts on the latter, and both feature Daltrey uncharacteristically contributing rhythm guitar.

Two classic Who's Next tracks surface next, with a somewhat ragged take on "Behind Blue Eyes" and a far more engaging "Baba "O'Riley," The first of several Quadrophrenia tracks surfaces next with the rarely performed "Dr. Jimmy," before Entwistle delivers the early signpost to his creepy side, "Boris The Spider." Further exploring Quadrophrenia material, "Drowned" is tackled next, and it's an excellent extended performance, showcasing Daltrey on harmonica.

One of the standout songs on It's Hard was Townshend's sociopolitical commentary "Cry if You Want," which thankfully is included here. Despite being a potent performance from Townshend and including an engaged guitar solo, this was edited out of the CD and DVD releases. Perfunctory versions of "Pinball Wizard" and "See Me, Feel Me" follow with Townshend sounding distracted, but things begin reinvigorating on a rare live performance of "Love Ain't For Keeping," and continue escalating through a double dose of Quadrophrenia material with "5:15" and "Love Reign O'er Me." They wrap the set up with two of their great anthems, "Long Live Rock" and "Won't Get Fooled Again" played back to back, which leaves the 20,000-strong audience howling for more.

Although now it is obvious that this performance is far from the Who's "final" performance, at the time it was perceived as such, and it was the last performance prior to the first official breakup. Approached as their last ever encore, the Who begins with a slow burning "Naked Eye" that is quite penetrating, followed by a quick romp through the humorous "Squeeze Box." The Who's cover of Mose Allison's "Young Man Blues" will forever be associated with Keith Moon's drumming, but Jones holds his own here, and the entire band sounds fully engaged. For the theoretical last live song ever, Entwistle leads the way through a number that looks back to the very beginning, "Twist and Shout."

Thankfully, this turned out not to be the end of Townshend, Daltrey, and Entwistle recording and touring together, nor would it be their final performance as the Who. However, it was indeed the end of an era; one that lasted nearly two decades, when the Who was one of the most creative and powerful forces in all of rock music.

" Happy birthday Joey!! Here's a present for you from the legendary Bill Graham, just released listen on line baby

http://www.wolfgangsvault.com/the-who/concerts/maple-leaf-gardens-december-17-19...

Concert Summary Phase two of the Who's extraordinary career essentially began in 1978, with the death of their drummer Keith Moon and ended on December 17, 1982 with a pay-per-view television broadcast and global radio transmissions of what was billed as the Who's "Final Concert" at Toronto's Maple Leaf Gardens. So explosive, suspenseful, and innovative a drummer was Moon that he could never be replaced, but with the help of former Faces drummer Kenny Jones, the Who soldiered on into the 1980s. Jones was a great, solid rock drummer, but his more conventional approach changed the band dynamic and not…entire summary

Pete Townshend -Vocals, Guitar
Roger Daltrey - Vocals, Harmonica, Guitar
John Entwistle - Vocals, Bass
Kenny Jones - Drums
Tim Gorman - Piano, Keyboards

Phase two of the Who's extraordinary career essentially began in 1978, with the death of their drummer Keith Moon and ended on December 17, 1982 with a pay-per-view television broadcast and global radio transmissions of what was billed as the Who's "Final Concert" at Toronto's Maple Leaf Gardens. So explosive, suspenseful, and innovative a drummer was Moon that he could never be replaced, but with the help of former Faces drummer Kenny Jones, the Who soldiered on into the 1980s. Jones was a great, solid rock drummer, but his more conventional approach changed the band dynamic and not surprisingly, things would never be quite the same. Despite releasing three more hit albums and touring as successfully as ever with Jones on board, the Who planned their 1982 North American Tour to be their last. Roger Daltrey had been quoted in the Daily Mirror as saying, "It has been mine and Pete's decision to quit touring now. We are getting too old to do kick-arse rock and roll every night and it will be a relief when it's all over." To fans everywhere, this was sad news indeed, but the performances were generally strong throughout the 1982 tour, and fans had the global simulcast of the final show still to look forward to.

A CD set titled Who's Last and a home video release were later issued to commemorate this event, neither of which contained the entire December 17, 1982 performance. Presented here is the complete unedited show from that evening, sourced from the King Biscuit Flower Hour masters, when The Who initially bid farewell to the Toronto audience and to legions of fans watching and listening the world over. Despite being recorded before 20,000 exuberant fans in a sporting arena, this recording sounds considerably better than the overly ambient simulcast and will be of interest to Who fans, not only for being the entire authentic performance, but for containing an ambitious set list. Many Who classics are here to be sure, but this performance is also intriguing for containing live performances of four songs from the 1982 It's Hard album, which would be the band's last studio album for nearly a quarter of a century. This set is also notable for the increased presence of John Entwistle, who in addition to his trademark "thunderfingers" bass playing, contributes three of his own songs and leads the group on the "Twist And Shout" encore.

Serving as warm-up exercises, the set kicks off with loose versions of the band's anthem, "My Generation," followed by another early classic, "I Can't Explain." Entwistle's "Dangerous" follows, sung by Daltrey, as the band begins hitting their stride. The fireworks start on "Sister Disco," from the 1980 Who Are You album (the last with Moon), a song which seemed to fully ripen onstage during this tour. Three strong new songs follow in succession, beginning with a rocking read of Entwistle's autobiographical "The Quiet One" from the 1981 Face Dances. Two highlights of the It's Hard album follow, first with a spirited version of the title track and capped off with "Eminence Front," Townshend's rumination on wealth, problem avoidance, and recreational drug abuse. Tim Gorman skillfully provides Townshend's signature synthesizer parts on the latter, and both feature Daltrey uncharacteristically contributing rhythm guitar.

Two classic Who's Next tracks surface next, with a somewhat ragged take on "Behind Blue Eyes" and a far more engaging "Baba "O'Riley," The first of several Quadrophrenia tracks surfaces next with the rarely performed "Dr. Jimmy," before Entwistle delivers the early signpost to his creepy side, "Boris The Spider." Further exploring Quadrophrenia material, "Drowned" is tackled next, and it's an excellent extended performance, showcasing Daltrey on harmonica.

One of the standout songs on It's Hard was Townshend's sociopolitical commentary "Cry if You Want," which thankfully is included here. Despite being a potent performance from Townshend and including an engaged guitar solo, this was edited out of the CD and DVD releases. Perfunctory versions of "Pinball Wizard" and "See Me, Feel Me" follow with Townshend sounding distracted, but things begin reinvigorating on a rare live performance of "Love Ain't For Keeping," and continue escalating through a double dose of Quadrophrenia material with "5:15" and "Love Reign O'er Me." They wrap the set up with two of their great anthems, "Long Live Rock" and "Won't Get Fooled Again" played back to back, which leaves the 20,000-strong audience howling for more.

Although now it is obvious that this performance is far from the Who's "final" performance, at the time it was perceived as such, and it was the last performance prior to the first official breakup. Approached as their last ever encore, the Who begins with a slow burning "Naked Eye" that is quite penetrating, followed by a quick romp through the humorous "Squeeze Box." The Who's cover of Mose Allison's "Young Man Blues" will forever be associated with Keith Moon's drumming, but Jones holds his own here, and the entire band sounds fully engaged. For the theoretical last live song ever, Entwistle leads the way through a number that looks back to the very beginning, "Twist and Shout."

Thankfully, this turned out not to be the end of Townshend, Daltrey, and Entwistle recording and touring together, nor would it be their final performance as the Who. However, it was indeed the end of an era; one that lasted nearly two decades, when the Who was one of the most creative and powerful forces in all of rock music.  "



Bless You Voodoo ..................................


You are much loved by Joeykins !

J'kins