Hipster Douchebag: The CSI Super Bowl Halftime Show

Confession time:  I’m a huge fan of, as Roger refers to them, “Da ‘Orrible ‘Oo.” The Beatles may have it over them for pure songwriting chops, but put them on a stage together, and The Beatles would scatter off with their tails between their legs.  And their 1968 live performance of the mini-rock opera “A Quick One While He’s Away” on The Rolling Stones’ Rock and Roll Circus so overshadowed and embarrassed the Stones that they didn’t release the film until 1996 (by which time, Mick and Keef were beyond being embarrassed about anything).

But it wasn’t just about the live show and music.  They flat out defined the four-piece rock band archetype:

Manager Seeking Rock Band

• Singer — Must be devoid of instrumental talent, but unnaturally good looking (Ken Doll chest a plus).  Emotional depth can be shown by willingness to trade it all for the ability to write one good song.
• Guitarer — Sullen genius sought.  Should be brazenly unattractive, deeply spiritual but prone to fits of unreasonable anger, and driven nearly insane by jealousy over singer’s charm and good looks.
• Drummer — Only Total Id need apply.  Must care for nothing but hedonistic pleasures.  Seeking madman on and off the stage. Successful candidate should be willing to die spectacularly before reaching the age of 35.
• Basser — Must possess no discernible personality. Should care about nothing. During live performances candidate must remain rigid and motionless at all times.  Ability to write B-sides a plus.

This is just who Roger, Pete, Keith, and John were.  But their legend loomed so large that nearly every four piece band that formed in their wake felt compelled to conform to these types.

Another huge (and often overlooked) contribution is that they were the first band to eliminate the need for two melody instruments.  Before The Who, Rock and Roll needed two guitars (or a guitar and a piano) — one instrument pounding out a chord while the other played a lick, melody, or solo.  The Who couldn’t be bothered with all that.  And it’s not as if Pete’s guitar did the job of two men.  Very often, Pete was pounding out a simple (yet exciting) chord sequence.  It was John and Keith who filled up all that space with notes.  Herein lies the origin of Punk Rock.

But it’s been nearly 50 years.  Keith and John and gone, and Pete and Roger struggle on, more a cabaret act than a band.  This doesn’t mean they don’t rock — they both own a stage better than any number of bands a third their age.  But, for the last 20 years, they’ve been more about giving the people what they want than hoping they die before they get old.

That being said, I enjoyed the CSI Halftime Show.  It was fun.  Roger assembled a solid, if predictable, medley of classic Who songs: Pinball Wizard / Baba O’Reilly (that’s “Teenage Wasteland” for you non-Who fans) / Who Are You / See Me, Feel Me / Won’t Get Fooled Again.  Roger’s voice retains it’s trademark bluster, even though he’s clearly lost a bit of his high end.

One aspect of The Who live show that’s been in retirement for decades is the guitar smashing, and I totally understand why Pete did that.  It’s not the expense of the thing — these days I’m sure he could mulch his lawn with shredded guitar bits — it’s just so boring and expected.  What started as an act of rage (or, “auto-destructive art” as he would later put it) turned quickly into a show.  People expected it, so he stopped doing it.

So why does he still do the windmill thing?

Well, it is impressive to watch.  As someone who has slung a guitar around his neck more than once, I’m continually impressed with Pete’s ability to fire up an endless number of windmills and never once miss his strings. Except last night, he missed his strings several times.  It was a little disillusioning.

In general, it was the sloppiest performance I’ve seen from The Who in some time. And I’m not comparing the 21st Century Who to The Who Live at Leeds.  When The Who played The Concert for New York City in the fall of 2001, they tore the ceiling off the place.  They rocked hard and were tighter than ever.  Granted, that event perhaps had a bit more meaning for Pete and Roger than the Super Bowl — Roger did cheekily comment that he would have been more honored to play at a soccer match.  Regardless, it was a enjoyable — if a bit sloppy — performance.

And here’s an odd complaint I never thought I’d be making: Pete and Roger were dressed poorly.  Typically, you can count on them both to look cool without looking odd or sad or otherwise pathetic.  To their credit, they weren’t trying to dress younger than they were, but Roger’s scarf and granny glasses made him look like a 65-year old man.  Yes, I know that he is a 65-year old man, but it’s his ability to perform and not remind me of my father that I love.  Usually.

And Pete lost his hair in 1986.  Why would he start wearing a hat now?  And that jacket.  Did he purchase it Sunday afternoon on a time-killing trip to the Dolphin Mall?  Did someone hand it to him on his way to the stage?  How else can one explain how frequently it was getting in the way of his guitar playing?

But still, it was cool to hear the crowd singing “teenage wasteland” and “we don’t get fooled again.”

Tags: John Entwhistle, Keith Moon, Pete Townshend, Roger Daltrey, Super Bowl Halftime Show, The Who