TR thoughts on ticket re-sellers / scalping →
Had a run-in myself with resellers when trying to get tix for the Phish shows in Indianapolis and Wisconsin this year. The Livenation sites were slammed, but I found tickets available at TicketsNow, but gawd they were expensive … and even so, when the sale came through they weren’t available. I gave them a call and told them to just cancel the order.
Don’t buy scalped or overpriced resold tickets. Ever.
As we approach on-sale dates for the upcoming tour, I’ve noticed lots of you are curious / concerned / outraged at the plethora of tickets that somehow appear on all these reseller sites at inflated prices - even before the pre-sale dates. I’ll do my best to explain the situation as I see it, as well as clarify my organization’s stance in the matter.
NIN decides to tour this summer. We arrive at the conclusion outdoor amphitheaters are the right venue for this outing, for a variety of reasons we’ve throughly considered*. In the past, NIN would sell the shows in each market to local promoters, who then “buy” the show from us to sell to you. Live Nation happens to own all the amphitheaters and bought most of the local promoters - so if you want to play those venues, you’re being promoted by Live Nation. Live Nation has had an exclusive deal with TicketMaster that has just expired, so Live Nation launched their own ticketing service. Most of the dates on this tour are through Live Nation, some are through TicketMaster - this is determined by the promoter (Live Nation), not us.
Now we get into the issue of secondary markets for tickets, which is the hot issue here. The ticketing marketplace for rock concerts shows a real lack of sophistication, meaning this: the true market value of some tickets for some concerts is much higher than what the act wants to be perceived as charging. For example, there are some people who would be willing to pay $1,000 and up to be in the best seats for various shows, but MOST acts in the rock / pop world don’t want to come off as greedy pricks asking that much, even though the market says its value is that high. The acts know this, the venue knows this, the promoters know this, the ticketing company knows this and the scalpers really know this. So…
Reblogged from breakupyourband
Yewknee.com “releases” first album.
Today marks an important day for me. A few months ago I heard a song from Ross Wariner, one of the principle members of Kindercastle, and found myself quite smitten. I inquired to him about the possibility of “putting out” the record in a limited form. While I’m not interested in running a full fledged record label I am intrigued by the idea of getting music out to the masses that otherwise would not be heard.
And with that, I found myself with yk records and the first release from Uncle Skeleton, Pancho Chumley. The album is an instrumental, electronic and orchestral blend of a myriad of influences. To me, this album should be in regular rotation for everyone’s forthcoming summer - it just invokes that good feeling.
The album is now available both physically and digitally.
Limited Edition CD - limited run of 250 discs with high quality Arigato Pak style packaging from Stumptown Printers; features the artwork of Jason Severs and, honestly, feels quite nice. I could go on a long rant about how much passionate I feel about making sure physical releases are worth owning but I will save it - just know that this one is absolutely worth owning a physical version of.
Digital Download - I’ve put the entirety of the album up for free digital download because the ultimate goal here is to get the music heard and enjoyed. Bandcamp offers a ton of formats so whatever suits your fancy is there for you to enjoy.
Many thanks to Ross for letting me put this out. It’s an experiment that I hope works and will lead me to be able to put out more (though, regardless of this success, I will be putting out more).
Please spread the word on this! I would love for as many people to hear this album as humanly possible.
Does posting a link to it at my blog count, Yewknee? Hope the album does well for you. I’m downloading the tracks today; will order the album in the next few.
The Science of Watchmen
Found this great video on Yaybia! this morning. Prepare to have your mind blown.
Phish’s Breakup? That Was Then. But Tough Times Call for a Reunion.
Onstage at the Hampton Coliseum, Phish was rehearsing for its resurrection: its first shows since it announced it was breaking up forever. That was in 2004, when the jam band played one last summer tour that ended with a marathon weekend festival for 65,000 people on a farm in Coventry, Vt. At the time the band’s guitarist and main songwriter, Trey Anastasio, had announced, with purposeful finality, “We’re done.”
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I know I can’t wait for my chance to see them again. A weekend of Phish in Indianapolis at Deer Creek, and then up to Alpine Valley (where I’m sure I’ll be drinking Grain Belt Premium all weekend long) are the payoff for hours online to buy tix through Livenation’s joke of a website.
Phish, glad yer back. You make my day.
Story behind the album art for Fugazi’s In On The Kill Taker
(via switchblades : folkinz)
iTunes tells me I haven’t listened to this album since Sunday 13 January, 2008. That has just changed.
A note from Trent and a wave goodbye
2.16.09
Towards the beginning of my career in Nine Inch Nails, our biggest break came in the form of an invitation to perform a series of shows with Jane’s Addiction. These performances essentially created and defined the term “alternative” rock in the US, created an ongoing festival franchise that is still thriving (Lollapalooza), set the stage for Nirvana to shift popular taste a few months later, and were really fucking FUN to play and attend - truly the best times I’ve had. The shows were epic. So epic, they propelled NIN to the “next level” (whatever that means), but caused Jane’s to implode.
The band broke up at the end of that tour.
Fast forward to the present. Corporate rock STILL sucks. A friend tells me they saw the original Jane’s lineup play a tiny show in LA that was unbelievable. I break out my Jane’s records and am amazed by how vital they sound. These guys were the real deal and in this current climate mostly dominated by poseurs and pussies it was refreshing to hear something that sounded dangerous, volatile, beautiful and SINCERE.
Emails were sent, phone calls were made, dinner was arranged, ideas were discussed and the next thing I know we’re in the studio experimenting. We laugh, we get to know each other, we cry, we yell, we almost quit, we record LOTS of guitar solos, we discuss, we actually begin to all communicate, we yell some more, we become FRIENDS, we laugh again and we do some great things. I get to see first hand why they broke up all those years ago but I also get the chance to see four distinct personalities that become an INCREDIBLE band when they’re in the same room.
In NIN world, 2009 marks the 20th anniversary of our first releases. I’ve been thinking for some time now it’s time to make NIN disappear for a while. Last year’s “Lights in the Sky” tour was something I’m quite proud of and seems like the culmination of what I could pull off in terms of an elaborate production. It was also quite difficult to pull off technically and physically night after night and left us all a bit dazed. After some thought, we decided to book a last run of shows across the globe this year. The approach to these shows is quite different from last year - much more raw, spontaneous and less scripted. Fun for us and a different way for you to see us and wave goodbye. I reached out to Jane’s to see if they’d want to join us across the US and we all felt it could be a great thing. Will it work? Will it resonate in the marketplace? Who knows. Are there big record label marketing dollars to convince you to attend? Nope.Does it feel right to us and does it seem like it will be fun for us and you?
Yes it does.
Look for tour dates soon and I hope to see you out there.
Trent
Good thing I got the chance to see these guys live. I remember back to the first show I saw. Bogarts in Cincinnati. Meat Beat Manifesto opened. Trent climbed around upside down on a jungle-gym on the stage. It was loud. They played Head Like a Hole.
Next time was in college when they came to Ball State University with Marilyn Manson in front of them. Holy. The Downward Spiral didn’t seem so hopeless.
![I didn’t have a clue 20 minutes later.
setuplikeadeckofcards:
“The cover artwork [of The Clash’s London Calling] was designed by Lowry and was a homage to the design of Elvis Presley’s debut album.”
(Text from Wikipedia)
I only found this out about 20 minutes ago. I didn’t have a clue.](http://4.media.tumblr.com/KaKo2uvVhjzep6ghGRLtpyNbo1_500.jpg "I didn’t have a clue 20 minutes later.
setuplikeadeckofcards:
“The cover artwork [of The Clash’s London Calling] was designed by Lowry and was a homage to the design of Elvis Presley’s debut album.”
(Text from Wikipedia)
I only found this out about 20 minutes ago. I didn’t have a clue.")
I didn’t have a clue 20 minutes later.
“The cover artwork [of The Clash’s London Calling] was designed by Lowry and was a homage to the design of Elvis Presley’s debut album.”
(Text from Wikipedia)
I only found this out about 20 minutes ago. I didn’t have a clue.
Reblogged from setuplikeadeckofcards
Reblogged from breakupyourband
