Bon Jovi: Live at the O2

My understanding is the is a Bootleg of the Final night at the O2 (I think a few extras are thrown in).  It's hard Letting You Go is on here and as my friend @gutter_ceo says, Jon was singing to his London Mistress.  You know the one, with the bad teeth and the cockney accent. 

No, I kid.  Her teeth are only bad because Dot roundhouse kicked her in the face.

Hullo Guv'nor.

Any way, here is the link for your enjoyment.  I converted these from FLAC files so I don't have them labeled with the song.



Bon Jovi: Fever

@mary81bjc is going to have a mild freak out over this one:

★´*•.(`*•.¸♥ Bon Jovi ♥¸.•*´)¸.•*´★´*•.(`*•.¸♥ 1992 ♥¸.•*´)¸.•*´★´*•.(`*•.¸♥ MTV Special ♥¸.•*´)¸.•*´★´*•.(`*•.¸♥Keep the Faith: An Intimate Evening with Bon Jovi♥¸.•*´)¸.•*´★´*•.(`*•.¸♥ FEVER ♥¸.•*´)¸.•*´★

Bon Jovi: Happy Birthday Elvis

"The King" (notice not the king of pop or Rap, or country, The King) Elvis Presley would have been 76 today. 

Here's "I Can't Help Falling In Love With You" as an intro to I'll Be There For You from earlier this tour:

And here's the King doing it from his bloated polyester period in 1972

But here's my favorite. From the 1968 NBC ELVIS Special. My God, look at those leather pants.

Bon Jovi: Bon Jovi Yourself.

Hmmmm.  Interesting concept.



Load up your very own picture and finally become a part of your favorite band. You have the chance to become a part of music history.

BON ♦ JOVI ♦ YOURSELF - upload your photo here and save it as your Facebook Profile Picture, send it to your friends by email or simply save the picture on your desktop!

So here are some I made.

I used this picture, a very heavily airbrushed Madonna:

here are some of my results:

Have fun!

Bon Jovi: 30 Day Bon Jovi Challenge DAY 1

For a list of all days see this post

Day 1: Favorite photo of Bon Jovi

 Circa 1988

Bon Jovi: Gwyneth Paltrow and the Rise of the Country Carpetbagger

Since this article talks about country music, and they specifically bring up Bon Jovi, you know they're talking about THAT SONG.

Gwyneth Paltrow, the star of Country Strong, isn’t the only outsider invading the opry. Bryan Curtis on how Darius Rucker, Kid Rock, and Jewel conquered country.

Lately, Gwyneth Paltrow has been behaving like a country-music star. It began in November when Paltrow slipped into a tiny dress and delivered a warbling performance at the CMA Awards. The next chapter comes Friday, in the movie Country Strong, in which Paltrow sings in front of a video screen filled with wild horses, swills booze at a roadhouse, and approvingly quotes Waylon Jennings. We could chalk it up to a mid-career crisis, except that Paltrow isn’t the only one wearing a new pair of boots and affecting a twang. These days, country music is filled with country carpetbaggers.

Darius Rucker, formerly of the rock band Hootie & The Blowfish, has recorded four No. 1 country hits. The rap/nu metal entrepreneur Kid Rock reinvented himself as a country star. Jewel has gone country, perhaps sensing her hardscrabble youth was wasted on folk rock. Jessica Simpson’s last stab at a career was at a country career. The Eagles, Jon Bon Jovi, and Robert Plant have all scored recent country hits. The nichiest of genres has become as welcoming as a Wal-Mart, especially for sagging artists in search of a payday. Country is now a refuge for the unwanted of the music industry.

Country music has suffered regular invasions: by Jerry Lee Lewis after a scandal derailed his rock career; by crooners like Kenny Rogers; by the creature known as Shania Twain, whose music videos were like Robert Palmer’s crossed with a drag show. In 1994, Alan Jackson, a beloved singer and one of the genre’s self-appointed guardians, lamented “the whole world’s gone country.”
But the interesting thing about the new wave of country carpetbaggers is the ease with which they’ve crossed over. Take Kid Rock (please). Before he sang with Sheryl Crow, Rock drove a Pontiac Firebird in a music video. By the time he made “All Summer Long,” his 2008 country hit, he had switched to a boat. In a gesture of Red State solidarity, Rock donned an Alabama basketball jersey for the CD single. Rock has internalized the patriotic dissonance that runs through country music, stocking his videos with both an American flag (in “Born Free”) and a woman in a Confederate bikini (in “All Summer Long”).

Country is now a refuge for the unwanted of the music industry.

Rock’s “All Summer Long” is worth pausing over, if only to admire its unwitting genius. It’s a plaintive song about yearning for simpler times—for lost summers, lost girlfriends, and so forth. In it, Rock greedily samples Lynyrd Skynyrd’s “Sweet Home Alabama,” another song about yearning for simpler times. What Rock created, then, is a twinge of nostalgia for a twinge of nostalgia. It perfectly taps modern country’s existential angst, its artists’ longing not just for ex-wives and old dogs but for the genre’s more authentic past. Country fans dug it. “All Summer Long” was the most popular song of Kid Rock’s career.

Darius Rucker’s insinuation into country provides another instructive blueprint. In 2005, as his lucrative run as the Hootie & the Blowfish frontman was winding down, Rucker filmed a Burger King commercial in a ridiculous cowboy suit. It was a spoof, an easy payday. Rucker didn’t realize he would soon be doing a version of the act on CMT.

A few years later, a Capitol Records executive suggested Rucker try switching to country. The native South Carolinian was thrilled and, according to The Washington Post, gave the label some Texas shuffles that would have made George Strait proud. No, no, the executive told Rucker. Your country music needs to sound more like Hootie music. So Rucker took his brand of eager-to-please rock and, with the help of producer Frank Rogers, gave it a new twang.

Gaze upon Cowboy Darius. In last year’s “Come Back Song,” he walks through leafy, brick-covered Southern alleyways—wearing boots, of course. He sings of long lost love, pouring rain, burnt coffee, a mule. What’s remarkable about “Come Back Song” is that, musically-speaking, it could have worked as a bonus track on Hootie’s Cracked Rear View. It treats a typical country malady (inchoate pain over lost love) with such good cheer that you can hardly remember what the malady was. “Come Back Song” became a No. 1 country hit.

In “Alright,” Rucker—again wearing boots, again prowling a Southern alleyway—dispenses entirely with country’s pangs. “Alright,” another No. 1 hit, is an ode to simple pleasures like shoes on one’s feet and a roof over one’s head. “I got all I need,” Rucker sings, cataloguing his blessings, “and it’s alright by me.” Rucker’s genius is he looked at modern country and saw the '90s.

What happened to country music? Well, first, you have to understand what happened to rock. Rock has been largely crowded out of Top 40 stations, replaced by hip-hop and rap. This leaves a gaggle of highly paid rockers with no place to hawk their music. They’re never going to take airtime away from Kanye West. But they might take it away from Keith Urban—especially if they are, say, Jon Bon Jovi, who recorded a No. 1 country hit with Sugarland’s Jennifer Nettles and occupies Urban’s anthemic part of the music spectrum. Country is now seen as the genre that honors such a sound. Indeed, most country arrivistes insist they never left rock; it was rock that left them. As Jewel put it to The Los Angeles Times, “I don’t feel like I’ve changed, the formats have changed.”

If rockers were moving toward country, then country was also moving toward rock. The seminal event cited is usually the noisy late-1980s arrival of Garth Brooks, who mimicked rock’s grandiosity as he winged over the crowd at his stadium shows. “But go back and listen to Garth Brooks’ No Fences album,” says Kyle Coroneos, the excellent critic at the website Saving Country Music. “I don’t think that would be played on country radio these days. It’s too plain. It’s too country.” Indeed, genre-straddling acts like Taylor Swift, Sugarland, and Lady Antebellum have pulled country’s center of gravity further toward rock. “Once, Taylor Swift was the most non-country thing you could hear on country radio,” adds Coroneos. “Nowadays, she is the median.” It’s hardly a surprise that when Kid Rock enters the arena, nobody raises much of an objection.

There’s no such thing as a crossover act when the whole genre feels like a crossover act. Aaron Lewis of the alternative band Staind recently recorded a country song called “Country Boy,” and featured George Jones and Charlie Daniels on it. Gretchen Wilson’s single “Work Hard, Play Harder” sounded so much like the Black Crowes song “Jealous Again” that members of the group felt compelled to sue. (Wilson later settled out of court.) Country Strong seems to sense this tension. The movie draws a triangle between a hard-living country star (Paltrow), her nefarious husband-manager (Tim McGraw), and a vapid beauty queen who wanders into country stardom (Leighton Meester). After Paltrow’s songstress gives a climactic concert, she scowls at the newcomer and says, “That’s how it’s done, sweetheart.” But those of us who have heard the new country-rock blend—and watched Paltrow’s awkward pantomime—can hardly tell the difference.
Country is now less a style of music than a refuge from other styles of music. The country carpetbagger has become such a regular that Kyle Coroneos has indentified three steps to career reinvention. First, the newcomer announces that he or she has actually been listening to country music all along. (Rucker to National Public Radio: “When I was a kid, you could hear Stevie Wonder and Buck Owens on the same channel.”)

Second, the newcomer hires authentic ambassadors to perform alongside them. (Kid Rock enlisted Bob Seger; Rucker had Brad Paisley; Paltrow had Vince Gill.)

Finally, to erase any doubt, the carpetbagger produces an album that is chock-a-block with countrified imagery. Rainless summers (Paltrow). Pouring rain (Rucker). Raging rivers (Rock). Old dirt roads (Lewis). Blind dogs (Bon Jovi and Nettles). Patsy Cline (Rucker). Whiskey sipped from a bottle (Rock). Relationship solidified on a highway (Jewel). Long-lost loves (nearly all of them). How do you spot a country carpetbagger? Long after the country mainstay has given up grieving for his wife, his tractor, and his dog, the carpetbagger will still be shedding lucrative tears.

Bryan Curtis is a national correspondent at The Daily Beast. He was a columnist at Play: The New York Times Sports Magazine, Slate, and Texas Monthly, and has written for GQ, Outside, and New York. Write him at bryan.curtis at thedailybeast.com.

It's funny that he mentions Keith Urban & Bon Jovi in the same sentence because originally when they recorded THAT SONG Jon had Keith into the studio and Keith recorded what Jennifer Nettles would eventually sing.  But Keith's and Jon's voices were so similar they looked for someone who had a different range and found Jennifer Nettles (and since Sugarland hadn't released their debut CD yet they probably got her on the cheap).  If you've never heard the Jon/Keith duet on THAT SONG you can download it here:  http://www.mediafire.com/?men6ztzhyvl57v3

Bon Jovi: 30 Day Bon Jovi Challenge

I guess this is something I'll attempt to do from today, 1/8/11 through 2/6/11.  It begins today.  I'll try and make these posts appear at 12:00 PM everyday.
30 Day Bon Jovi Challenge

Day 1 - Favorite photo of Bon Jovi
2 - Favorite photo of Jon
3 - Favorite photo of David
4 - Favorite photo of Tico
5 - Favorite photo of Richie
6 - Your all-time favorite Bon Jovi song
7 - Your favorite song from Slippery When Wet
8 - Your favorite song from New Jersey
9 - Your favorite song from Crush
10 - Your favorite song from Have a Nice Day
11 - Your favorite cover or B-side
12 - List all the times you’ve seen Bon Jovi live, if at all
13 - Your favorite Bon Jovi gig
14 - A photo of Bon Jovi that you have taken, if any
15 - A topless photo of the guys
16 - Your favorite quote from Jon Bon Jovi
17 - Your favorite album art
18 - Your favorite tour/era
19 - Your favorite quote from Richie Sambora
20 - Your favorite music video
21 - The song that made you fall for Bon Jovi
22 - A photo of you and any member of Bon Jovi, if you have one
23 - A photo of your favorite Bon Jovi merchandise
24 - Your favorite Bon Jovi lyric
25 - Your favorite Bon Jovi logo
26 - A photo of a member of the band’s tattoo
27 - Would you ever consider getting a Bon Jovi-inspired tattoo? Explain
28 - Cities/places you’ve seen Bon Jovi
29 - Reasons you love Bon Jovi
30 - Random - whatever you want, you’ve made it!


Bon Jovi: Ponce at Stanhope House

If you're in North Jersey you should go see Lorenza Ponce at Stanhope House.  Really close to my old North Jersey stomping grounds.

Stanhope — Singer Lorenza Ponce will perform in concert at the Stanhope House on Saturday, Feb. 5.

Ponce has also confirmed plans to open for Bon Jovi on Feb. 9 in University Park, Pa. and March 4, at Mohegan Sun Arena in Uncasville, Conn.

Sheryl Crow’s former back-up singer steps into the spotlight on “Soul Shifter,” a new rock/Americana collection, featuring Ponce’s ethereal vocals and blues violin.

Bon Jovi: Concerts and Politics

I don't care what side of the political spectrum your on, my personal opinion is, there will never be Peace in the Middle East until both sides willingly agree to live next to one another. When one side has in their charter our goal is to destroy the other side your chances of peace are slim to none, no matter how much land you give up.

Music is a universal language for all peoples. Shame on these groups for turning concerts, and a Bon Jovi concert importantly, into some thing on someone's political agenda. Bon Jovi's message of hope and endurance resounds all over the world. And the fans in Israel have as much right to have a concert in their home country as you or I.

Please act in the spirit of your past social actions

It is with great disappointment that the undersigned organizations learned of your scheduled performance in Israel set for 2011 as part of your 'Circle Tour'. Given that Israel is involved in grave violations of international law and human rights, particularly as indicated in the UN Goldstone Report, we urge you to cancel this gig until the time comes when Israel is in compliance with its obligations under international law and fully respects Palestinian rights.

We were particularly surprised by news of your planned performance given your deep involvement in affordable housing and homelessness issues. As part of its ongoing dispossession of the Palestinian people, Israel continues to demolish Palestinian homes and entire villages, including the Bedouin village of Al-Araqib, which was destroyed seven times this year. Indeed, the entire modern history of the Palestinian people is based on dispossession and homelessness as more than 750,000 people were made refugees to enable the creation of the state of Israel, then kept in permanent refugee status despite the requirements in international law that they be allowed to return to their homes. In your commitment to effect change you have understood that your position as a respected and prominent musician can weigh on politics and contribute to advancing freedom, justice and human rights. It is in this spirit that we address you.

Don’t be Complicit in Entertaining Apartheid

In 2004, inspired by the triumphant cultural boycott of apartheid South Africa, and supported by key Palestinian unions and cultural groups, the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) issued a call for boycott of institutions involved in Israel’s occupation and apartheid. We wish, in our letter to you, to stress the importance of this Palestinian call, and underscore the rationale for the global boycott, divestment, and sanctions (BDS) movement against Israel.

The 2004 Palestinian call for academic and cultural boycott of Israel appealed to international artists to refuse to perform in Israel or participate in events that serve to equate the occupier and the occupied and thus contribute to the continuation of injustice. Following this, in 2005, an overwhelming majority in Palestinian civil society called for an all-encompassing BDS campaign based on the principles of human rights, justice, freedom and equality. The BDS movement adopts a nonviolent, morally consistent strategy to hold Israel accountable to the same human rights standards as other nations. It is asking artists to heed the boycott call until “Israel withdraws from all the lands occupied in 1967, including East Jerusalem; removes all its colonies in those lands; agrees to United Nations resolutions relevant to the restitution of Palestinian refugees rights; and dismantles its system of apartheid."

Your performance in Israel would constitute a rejection of the appeal from over 170 civil society organizations that comprise the Palestinian BDS movement. It would also seem like a rejection of your own sentiments, as expressed in your song in response to a newspaper report about “a young boy in the West Bank living smack in the middle of the conflict between Palestine and Israel”. Your song, “Hook me up”, proclaimed that “everybody’s waiting for someday”. What better moment is there than this one for you to answer the call coming from the Palestinian people? Years after you wrote that song, they are telling you that they are hooked up, they have a voice, and they are asking to be heard. Indeed, in light of your song, your performance in Israel would appear as tragicomedy!

Dispossession and Racial Discrimination

Perhaps you are not familiar enough with Israel’s practices, widely acknowledged as violations of international law. If this is the case, then we hope you will reconsider your planned concert after thinking through some of Israel’s trespasses. Your performance would function as a whitewash of these practices, making it appear as though business with Israel should go on as usual. Concretely, Israel routinely violates Palestinians’ basic human rights in some of the following ways:

Palestinians in the West Bank and Gaza Strip live under a brutal and unlawful military occupation. Israel restricts Palestinians’ freedom of movement and of speech; blocks access to lands, health care, and education; imprisons Palestinian leaders and human rights activists without charge or trial; and inflicts, on a daily basis, humiliation and violence at the more than 600 military checkpoints and roadblocks strangling the West Bank. All the while, Israel continues to build its illegal wall on Palestinian land and to support the ever-expanding network of illegal, Jewish-only settlements that divide the West Bank into Bantustans.

Palestinian citizens of Israel face a growing system of Apartheid within Israel's borders, with laws and policies that deny them the rights that their Jewish counterparts enjoy. These laws and policies affect education, land ownership, housing, employment, marriage, and all other aspects of people's daily lives. In many ways this system strikingly resembles Jim Crow and apartheid South Africa.

Since 1948, when Israel dispossessed more than 750,000 Palestinian people in order to form an exclusivist Jewish state, Israel has denied Palestinian refugees their internationally recognized right to return to their homes and their lands. Israel also continues to expel people from their homes in Jerusalem and the Naqab (Negev). Today, there are more than 7 million Palestinian refugees still struggling for their right to return to their homes, like all refugees around the world. In Gaza, Palestinians have been subjected to a criminal and immoral siege since 2006. As part of this siege, Israel has prevented not only various types of medicines, candles, books, crayons, clothing, shoes, blankets, pasta, tea, coffee and chocolate, but also musical instruments from reaching the 1.5 million Palestinians incarcerated in the world’s largest open-air prison.

Could you possibly perform in such a state with a clear conscience? In a country in which Palestinians living just minutes away in the West Bank and Gaza will not be able to attend? Are we back to the Jim Crow South?

Whitewashing Violations of International Law

In December 2008 and January 2009, Israel waged a war of aggression against Gaza that left 1,400 Palestinians, predominantly civilians, dead, and led the UN Goldstone Report to declare that Israel had committed war crimes. In the wake of this assault and to salvage its deteriorating image, Israel has redoubled its effort to “brand” itself as an enlightened liberal democracy. Arts and culture play a unique role in this branding campaign, as the presence of internationally acclaimed artists from the West is meant to affirm Israel’s membership in the West’s privileged club of “cultured,” liberal democracies. But it should not be business as usual with a state that routinely violates international law and basic human rights.

After the Gaza assault and even more so after the flotilla massacre in May 2010, many international artists, intellectuals, and cultural workers have been rejecting Israel’s cynical use of the arts to whitewash its Apartheid and colonial policies. Among those who have supported the BDS movement are distinguished artists, writers, and anti-racist activists such as Archbishop Desmond Tutu, John Berger, Arundhati Roy, Adrienne Rich, Ken Loach, Naomi Klein, and Alice Walker.

World-renowned artists, among them Bono, Snoop Dogg, Jean Luc Godard, Elvis Costello, Gil Scott Heron, Carlos Santana, Devendra Banhart, Faithless and the Pixies have also cancelled their performances in Israel over its human rights record. Maxi Jazz (Faithless front-man) had this to say as he maintained his principled position not to entertain apartheid:

“While human beings are being willfully denied not just their rights but their needs for their children and grandparents and themselves, I feel deeply that I should not be sending even tacit signals that [performing in Israel] is either 'normal' or 'ok'. It's neither and I cannot support it. It grieves me that it has come to this and I pray everyday for human beings to begin caring for each other, firm in the wisdom that we are all we have.”

Please Say No to Performing in Israel

If you remain unconvinced because of claims that a cultural boycott of Israel may infringe on freedom of expression and cultural exchange, may we recall for you the judicious words of Enuga S. Reddy, director of the United Nations Center against Apartheid, who in 1984 responded to a similar criticism voiced against the cultural boycott of South Africa by saying:

“It is rather strange, to say the least, that the South African regime which denies all freedoms... to the African majority... should become a defender of the freedom of artists and sportsmen of the world. We have a list of people who have performed in South Africa because of ignorance of the situation or the lure of money or unconcern over racism. They need to be persuaded to stop entertaining apartheid, to stop profiting from apartheid money and to stop serving the propaganda purposes of the apartheid regime.”

Today, Palestinian civil society groups are calling on artists to shun Tel Aviv in the same way that South African activists called on artists to boycott Sun City. All we are asking is for you to act consistently in the spirit of your past social actions, and to refrain from crossing a picket line called by Palestinian society, endorsed by international organizations, and increasingly supported by progressive-Israelis. Palestinian civil society is asking this of you as the most essential contribution to their struggle to achieve peace and justice. We urge you to hear their call.

(Original lyrics are "This one goes out to the ones in need" from Bon Jovi's hit song We Weren't Born to Follow on their album The Circle. See here.)

- For more information regarding the work of the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) contact: pacbi@pacbi.org and visit www.PACBI.org.


Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI)
Adalah-NY: The New York Campaign for the Boycott of Israel
South African Artists Against Apartheid
Creative Workers Union of South Africa (Affiliate of the Congress Of South African Trade Unions)
European Campaign for the Academic and Cultural Boycott of Israel (EPACBI)
Edward Said National Conservatory of Music (Occupied Ramallah)
Yabous Productions (Jerusalem)
Popular Art Centre (Al-Bireh, Occupied Ramallah)
Oriental Music Ensemble (Occupied Ramallah)
Palestinian Students for the Academic and Cultural Boycott of Israel (PSACBI)
BOYCOTT! Supporting the Palestinian BDS Call from Within (Israeli BDS activists)
Palestine Solidarity Campaign (UK)
The Ireland Palestine Solidarity Campaign (IPSC)
British Committee for the Universities of Palestine (BRICUP)
US Campaign for the Academic and Cultural Boycott of Israel (USACBI)
Association des Universitaires pour le Respect du Droit International en Palestine (AURDIP)
International Jewish anti-Zionist Network
British Writers in Support of Palestine (BWISP)
Artists Against Apartheid (International Alliance)
Americans AGAINST Apartheid UK
Leeds Palestine Solidarity Campaign
International Solidarity Movement-France (ISM-France)
Jews for Boycotting Israeli Goods
Muslim Public Affairs Committee (MPAC) UK
Queers Against Israeli Apartheid
Educators for Peace and Justice (Toronto)
Tadamon! Montreal
Al-Awda NY: The Palestine Right To Return Coalition
New York City Labor Against the War
Indian Campaign for the Academic and Cultural Boycott of Israel (InCACBI)
BDS Group Berlin
Action Group at KTH for Boycott of Israel (Sweden)
Coalition Against Israeli Apartheid (Toronto)
Australian Artists Against Israeli Apartheid (Australia)
Italian Campaign for the Academic & Cultural Boycott of Israel (ICACBI)
Belgian delegation for the academic boycott of Israel
Berlin Academic Boycott (BAB)
Comissió Universitària Catalana per Palestina (CUNCAP)


Bon Jovi: Norman Nardini reignites friendship with Bon Jovi

Greetings still from Illinois.  It's still cold.  I'm still wondering what I did to piss my Bosses Boss off that I get sent HERE at the beginning of January.

On to more "Jovial" topics.

We saw the one Jersey-Pittsburgh connection with Bruce Springsteen and Joe Grushecky in December.

We’ll see it again when Norman Nardini opens for Bon Jovi Feb. 11 at Consol Energy Center.
Their friendship began when they met at an Asbury Park club in March of 1980 when Jon Bon Jovi was 18 and playing in a band called the Rest. In 1987, the Pittsburgh rocker stopped back stage at the Arena and ended up on stage with Bon Jovi doing Creedence Clearwater Revival’s “Travelin’ Band.” Later that night, they hooked up again at the Decade, where Bon Jovi joined Norm Nardini and the Tigers for nearly a full set.

They’ve hooked up ever since, but it’s been over a decade since they shared a stage.

“It wasn’t anything I expected,” Nardini says. “Johnny just called on a Sunday morning and asked if I wanted to do the gig. I haven’t been pushing the business side lately. You know I’m not that good at business. I’ve just been working on my music. It was a happy surprise.”

Normally he plays as a trio, but he might add a piece or two for the arena gig.

Hey Johnny, just call me! LOL


Bon Jovi: Jon Tailgates

Greetings from the middle of nowhere in Illinois.  Typically I blog from my subtropical lair in Sunny Florida, but the cold up here is kind of ridiculous, and reminds me why I never want to move back north again.  Even to my Native New Jersey, there Who Says You Can't Go Home?  I say I can't go home.

But enough about me what about Jon.

First of all, he ain't dead.  Cause he ain't sleeping.  :)  (Ha Ha Sleep when I'm dead get it?)

Second, Jon has returned to the US from the sunny beaches of St Barts.

According to @arieox on twitter, Jon played last night at a tailgate for Stamford University Alumni at the Orange Bowl.

There now there's proof, Jon isn't dead, and if you pay him he will come....

My Mind just headed to the gutter....

Bon Jovi Widget