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I guess this would be good news, if I liked Rush..."Don't Miss RUSH Live at the Hollywood Bowl!
Regarded as one of the most inventive and exciting groups in rock, RUSH is coming to you live at the Hollywood Bowl on Monday, July 23 with never before heard material off the new album, Snakes and Arrows.
American Express® Early On-Sale begins Monday, April 9th at 9:00am and ends Friday, April 13 at 9:00pm, tickets will go on sale to the public on Sunday, April 15 at 10:00am."
Follow Ups:
saw rush in '82 two nights in a row, great technicians but a lack of soul. all three are gret musicians but for me the music is cold. also, they did the exact same show both nights, even had the same quips in between songs.
Rush has a lot of feeling and emotion! My hair stands on end when I hear a good Lifeson solo or Geddy's heartfelt wail! Rush are VERY down to earth musicians, with great world class style and emotion in their playing. A total CLASS ACT and one of the best rock bands EVER. That said, their current ticket prices are a grand ripoff! As are many other bands' pricing.
The guy listened to it, and didn't like it. No problem.
I'm sure others hear/feel it but I've never beeen moved in the least by their music or their songs.
Rush:
:^D
I think it's what some would call...a thread crap?
:0)
We ought to be choosing our music solely on recent popularity or social relevance, and have total disregard for what we think is good or bad from a qualitative standpoint.
I gravitate more to the artists of the 60's through 80's. I just don't find much pleasure in music today. Of course, there are exceptions. The problem is that most genres or sub-genres of rock have already been explored (blues, hard rock, metal, punk, alternative, techno, etc.), and it is getting increasingly challenging to be 'original' these days. That must have something to do with it.
I'm not concerned over whether music artists are "dinosaurs" or whatever social label is placed upon them. I'm only concerned over whether the artist can produce music to a satisfying degree.I've never had regard for "social acceptance" as a yardstick to choose music, and have disdain for anyone who puts forth such litmus test. It's at the very core of why I think music has been on the decline in recent time.
e
Rush's corpse still broadcasts regularly, I'm told, but I see your point. BTW, you were talking about the controversial right-wing radio blowhard, I presume? ;0)The other RUSH, the most excellent prog-rockers from Canada, are still alive and kickin' arse!
Before that, Rush was my group.I think I'm on my third CD copy of Exit Stage Left.
I like Rush Limbaugh. When he's on, all the idiots are plugged in at rest stops drooling with goofy grins on their faces so you know the streets are safe.
Those I MIGHT pay insane money for. Anyone else, and I'll buy the records instead.
Byrne plays loads of Heads tunes live and has far better musicians than he had in TH.
As for Waters - I've seen him live seven times from 1987-2006 and his shows are out of this world. Gilmour's Floyd shows (which I've seen even more of) are quite dull by comparison. Many older Floyd fans at the Waters shows claim Waters gigs are better than the ('original') Floyd shows they saw.
And he did put on an amazing show. Still, something very special happens when all four Heads are in the room together. Their performance at the R&R HOF ceremonies a few years back was stunning. Made me hanker for a reunion even more.Waters does put on a hell of a show. He's always surrounded himself with the best-of-the-best musicians.
one of the best shows Ive seen and been going since the late 70s
when we could see the Who for $20.anyway Roger is as close as we'll get to Floyd or if they do ever have a final tour as a band it will be in humongous stadiums.
after seeing Roger and his band last fall, I just got more Waters tix last night 16th row in the center for Philly. yeh baby.
In Roger Waters band, David Gilmour's guitar and vocals are being performed by Dave Kilminster.Dave is a superb guitarist, and was a frequent contributor to one of the best guitar magazines in the world, Guitar Techniques. He's now on the road with Roger.
..for everything that has to do with high prices and crappy product and for good reason. However the prices of concerts has REALLY gone crazy and its the artists who are responsible. Artsits got used to selling a ton of CDs in the 80s and 90s. When that went sour the price of tickets went nuts and now tours are the source of income for the acts. There is no good reason (aside from greed) for any show to be over 50 bucks. Plain and simple
Had there not been so much music piracy going on, concert prices could very well have been quite a bit lower..... A lot of the extra costs I think has to do with recovering lost revenues due to music piracy. I won't discount the rationale being overblown (where the price increases outdo the losses from piracy), but this is a major point I see brought forth.I still think the major part of the equation is pure supply and demand- If the demand is there, the prices will be high. Any band can schedule events at major venues and charge over $100 a ticket, but only the artists that command attendance at such premiums will reap the benefits. As they should.
If you think the prices are too much to see a bunch of has-beens bulked up with a dozen session musos to cover their inadequacies while they relive YOUR youth, then it's simple... DON'T BUY A TICKET.
Bands used to tour to promote albums. Hardly anyone used to enjoy night after night of clumping round playing the same set and telling the same stories as introductions.
As soon as the filmed clip took over as the preferred method of plugging your album, tours retreated to the major cities and the days of having one night off every 2 or 3 weeks (as I distinctly half remember) were gone.
In all the time I was touring I only remember one band who could cut it every night drawing the support bands and crew to the stage more night s than not.
I don't know where this "reliving your youth" thing came from, I personally have never known anyone who attended a single concert with such consideration in mind.I personally plan on attending the Rush concerts at both the Hollywood Bowl and at Irvine Meadows. In spite of the bashing on this thread, rock bands that can actually produce great music are IMO a dying breed, and I don't want to miss out on something that I may not see much more of for the remainder of my life.
It's more complicated, especially when one doesn't know that 'piracy' is not illegal file-sharing, but involves people reproducing actual CDs, adding artwork to cases, etc., for profit. That's what pirates do. People downloading music files illegally are not 'pirates.'Also, Ticketmaster's role in this is a factor, as is the number of venues controlled by Clear Channel. The idea that 'piracy' has affected artists' guarantees may be partially true, but as a generalization it is a misnomer that doesn't take a myriad of variables into account.
In the case of a band that has sold millions upon millions of albums, the argument that a higher ticket price is the result of copyright infringement, whether in the form of piracy or the far different practice of illegal file-sharing, does not wash.
Is $177 a cheap seat in the venue? I doubt it, but maybe it is. In any case, let's suppose an average of $100 a ticket, and 10,000 seats (though most venues may well be larger). That's a million dollars at the gate. I don't know what the promoter has to pay the venue, which isn't splitting its beer & refreshment sales with anyone (let alone parking), or what they have to pay the band, who isn't splitting their merchandise sales with anyone, either. I can't & won't speculate on the costs of the venue or the band, but combined, it sure seems farfetched that there's anyone in this equation who isn't walking away with money.
If the ticket price is largely as a result of greed on the part of the act, so what? The prices the venue charges for its services are based on what...charity? I have no problem with greed, per se. It's all a matter of what the market will bear. But the idea that the poor lads in the band needing to charge a promoter a number that results in a ticket price like that, because of piracy, illegal file-sharing, or anything of the sort, is beyond ludicrous.
As is the idea that someone feels Rush has to be marketed in a fashion competitive with contemporary pop music, but wonders never do cease.
*******
From the Lefsetz letter:
******
I signed up for the Atlantic Records street team a couple of years ago when the Format were shuffled over from Elektra because that’s what you do when you’re a kid who loves a band. I didn’t realize street teaming was about whoring yourself out to get a low-level job in the industry so that you can whore yourself out more & look like an ass promoting music that someone else thinks is good. It didn’t take long to realize I didn’t want much to do with this method of marketing.
***
I never removed myself from the street team because the e-mails had a certain car crash quality. Like the one I just got regarding the promotion of the forthcoming Rush album.
For those of you who aren’t familiar with the band…they’re kind of a big deal!!! Definitely ask your parents! They are going on a 45-city tour and hitting a lot of major markets to help promote their new album "Snakes & Arrows" set for a May 1st release, which is their first studio album of new material in 5 YEARS!!!! So this a huge!
Someone’s either too excited to proofread their e-mail (Vapor Trails was a smash hit, after all…) or they just don’t care. Or they’re trying to type like a 13 year old girl. Or some bizarre combination of the three.
Desperate times call for desperate measures? Or is this the kind of thinking that sank the ship to begin with?
My favorite part…
…this is definitely a great band to have on your resume and under your belt!
Maybe if you want a job for some AAA radio station in Alabama… I, personally, would ask you why in the world you would waste your time doing "lifestyle marketing" for a band like Rush.
- http://lefsetz.com/wordpress/index.php/archives/2007/04/04/e-mail-of-the-day-6/ (Open in New Window)
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Although it's far too long ago to remember all the details, I do remember large venues that insisted on selling all the tickets and then charging up to 30% of the gross for hire, plus security, plus box offive charge, which started to be added to the cover price back about 1980 as I remember.
Before that I would usually only pay 5% commission and try to sell through record shops.
If you start to work out how many people are on a tour, and I know this varies a lot depending on the country as for example, here in OZ bands don't usually tour with a PA as distances are too great it's easier to hire locally whereas in Britain a band takes the PA and lights with them.
But just take 6 people with a PA, 6 with lights, a couple of caterers, say 10 people across 2 bands plus maybe 8 personal roadies for the 2 bands, staff from the promotor to work the show and you quickly come to a figure where you are paying 40 or 50 people to travel around, and this isn't even for HUGE stadium gigs.
Just in terms of hotels and food, let alone the costs of travel itself, that starts to get expensive. 5 gigs a week... now add half to all your costs to cover the off days.
If there is a day off, those expenses still have to be paid.
Just add a "wage" for each person and you start to add up the costs.
Its a big gamble unless you sell well in advance and know your gross for the show.
Yeah, but these are arena gigs, maybe not football stadiums, but hockey arenas that this band plays.I maintain that Clear Channel and/or Ticketmaster play a significant role here. $50 for an average ticket in the venue I could see, but I think $100 is a low estimate. Nevertheless, and I'm no expert on these numbers, but let's say you're doing 20 dates in 50 days. $20 million gross according to my numbers, which was a $100 average based on only a 10,000 seat venue, right? So you have a gross of $20 million. Now let's say 50 people? Let's be generous & pay them EACH, say, $800 a day for 50 days. That's $4 millon, or 20%, off the top of a gross of $20 million.
Mind you, I think I'm being overly generous, here. Let's subtract another 50% for venue, equipment rental, promotion, and related expenses--and, again, we're not taking into consideration concessions, merchandise, or parking. That leaves 30% of $20 million for the band & promoter to split. So no matter what, each band member walks away with a few million dollars or so, even if the fans don't know what the definition of piracy actually is.
Thanks Dui - I love Rush - saw 'em in back in '78 (for $ 10.50) and several times in the 80's but at $ 177 a ticket (before TicketSlave "service charges") I have to say - NO! I'd rather buy a good Rush box set (if available). Besides that $ 10.50 in 1978 is only $ 34 now - I can't stand bands going for the "Big Money" grab!That $ 177 would be $ 55 in 1978 - scalped tickets weren't that much.
Enjoy the show - I'll be listening to All The World's a Stage and saving some cash - no need for me to fund the Rush retirement fund!
Source:
http://www.westegg.com/inflation/
(and gals!). Are there any women here, I don't think so.
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The cost of seeing the local appearance of Roger Waters (formerly of Pink Floyd) is a case in point. Where 15 years ago I could have gotten a decent arena seat for $40 or so, the current tour charges $130 before fees for a mediocre floor seat. I saw the Waterless version of Floyd in Toronto during the Pulse tour for only $55.
that I would pay $177 a seat to see. I did that for the Moodies, that was a waste. Possibly, a genuine Firefall reunion. But other than that, if no dead members come back, there is no one worth that.
with all the members (I have seen the Gilmour Floyd several times) and maybe Led Zep (again saw Plant & Page but no Jones). Other than that - NO WAY! I'd rather buy the discs and a good bottle of wine and just enjoy the music.
Maybe Roxy Music??? Bebop Deluxe (where did they go?)
Rm with Brian Eno, I'd pay that for. Roy Wood's Wizzard and Be Bop Deluxe, maybe half that
... being part of the scene is an important reason to be at the show.
m
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