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No, it's more than that

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.


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