Category Archives: Public Music History

Ticketmaster/StubHub – Who’s Selling What Now?

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When I joined the Ticketmaster queue at 12:00 noon today, 6566 “people” were ahead of me to buy tickets in the summer 2026 Rush: Fifty Something pre-sale. So, the pre-sale probably accounted for most of the venue’s seats, and what I encountered was just for the second day out of the four in Toronto. Theoretically, there were tickets for as low as $137.75.

I joined the waiting room within seconds of it opening at 11:30. At 12:05 (in the queue for 5 minutes), it indicated that $137.75 and $173.25 tickets were limited. Clearly, StubHub, TicketSmarter, etc. reseller bots beat me in the waiting list / queue and bought up all the cheap seats first, to sell them at higher prices.

After 12 minutes, there were still 2946 “people” ahead of me, and tickets were by then “very limited.” After a 20 minute wait in the queue, the cheapest seats available to me were $417 each. After another 3 minutes, the cheapest were $608.73 each. After another 2 minutes, the cheapest thing was a hotel/tickets package for two at $1478.91.

StubHub very quickly had new tickets available for the same show on the same day, and the lowest price I saw within an hour was $380 each. A few hours later, it was $431, and StubHub also seemed to know that the event was 88% sold out. Why would a reseller know that, unless it had scooped up basically all of the tickets and replaced Ticketmaster as the seller?

I will try for tickets up to $200 again on Friday, when Ticketmaster’s “general public” sales open. I fully expect things to happen much the same as today. However, I will do a more direct comparison of actual seat-price levels on Ticketmaster and on StubHub. My guess is that their resellers are more than doubling the prices.

The US, Canadian, UK, and other governments need to put an end to the obvious “insider trading,” “antitrust,” scalper-bot shenanigans going on at Live Nation / Ticketmaster / StubHub / TicketSmarter, etc. Even if it’s currently legal, it certainly is not ethical. Actual humans should be able to buy actual tickets at the actual prices.

“Cut Every Corner: Intertextuality and Parody in the Music of The Simpsons” (journal article)

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My journal article, “Cut Every Corner: Intertextuality and Parody in the Music of The Simpsons,” appears in the 2020 “Parody: Intertextuality and Music” issue of MUSICultures.

https://journals.lib.unb.ca/index.php/MC/article/view/31402

“Shary Bobbins”
“Cut Every Corner”
MUSICultures, Vol. 47 (2020)

Abstract

This article reworks ideas about parody, postmodernism, and television from such critical and cultural theorists as Linda Hutcheon, Jason Mittell, and Jonathan Gray to contextualize the wide variety of parody and intertextuality in the music of the animated TV show The Simpsons. It explores several categories of the show’s music, such as: variations of cartoon themes, songs, instrumental underscoring, and guest musicians. This article particularly uses specific episodes of The Simpsons to highlight parodies of the show’s own theme, movie music, themes from other TV shows, and so on. The show’s music thus functions as a kind of court jester or king’s fool.

Two (Three) Guys Talking Rush

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I show up at around 22:50 minutes.

Meta Plow

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Hilariously, these several plow-dudes plowed their way to work this morning in their snow-plow-fitted pickup trucks and then switched over to their industrial-strength snow plows.

“Meta Plow, that’s their name; that name again is Meta Plow.”

https://youtu.be/uYXEt7xOh1M

“Be Sharp: ‘The Simpsons’ and Music”

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My book chapter, “Be Sharp: ‘The Simpsons’ and Music,” appears in: The Simpsons’ Beloved Springfield: Essays on the TV Series and Town That Are Part of Us All (McFarland, 2019)

The White Album

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TheWhiteAlbumOn the 50th anniversary of The Beatles (a.k.a., The White Album, 1968), I’ve just listened to the whole album for the first time in years. My first thought is that it’s inconsistent and far too eclectic. It sometimes tries to one-up earlier Beatles’ songs but never really succeeds at that. For example, “Glass Onion” and “Honey Pie” both try way too hard. Similarly, the album is so long and sprawling that it even quotes itself several times, but never in a good, thematically-unifying way. The album also wants to help establish the potential of the individual Beatles’ solo careers, and “While My Guitar Gently Weeps” and “Don’t Pass Me By” do that pretty well for George Harrison and Ringo Starr. However, even with “Back in the U.S.S.R.,” “Blackbird,” “Julia,” and “Helter Skelter,” John Lennon and Paul McCartney both still arguably have better material elsewhere. Half of the double album could have been (and probably should have been) B-sides. However, they decided not to release any singles from the album (let alone B-sides), in favour of releasing a single of the same period’s “Hey Jude” and the faster, more pop-oriented version of “Revolution”–neither or which is on the more than 93-minute album. It’s hard to imagine that the 50th Anniversary, “Super Deluxe,” special edition of the album comprises up to seven discs of material. Very few people are going to need to hear a “bright new mix,” obscure demos, abandoned versions, and an eventual guitar solo hummed by Paul McCartney. Besides, Revolver (1966) and Abbey Road (1969) are much better albums.

“Deep Digital” Writing & Reading

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https://www.theguardian.com/commentisfree/2018/aug/25/skim-reading-new-normal-maryanne-wolf?CMP=fb_gu

This article begs the question as to what “skim writing” might entail. Academic research and writing seem like an awful lot of trouble, given that it takes a long time to produce with almost no-one encountering it after all that. Also, Malcolm Gladwell and others are just going to reorganize selected parts of it, anyhow. Why not skip the middle man? Why shouldn’t we try to get to “deep digital” parallels to writing and reading?

Music Sales

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The Eagles’ 1976 album Their Greatest Hits 1971-1975 (with 38 million copies sold) has once again supplanted Michael Jackson’s 1982 album Thriller (with 33 million copies sold) as the top-selling album of all time, at least in the US. Who cares?

Amanda Petrusich, in her New Yorker article about the situation, accomplishes very little other than to reveal she finds that the Jackson album “provokes” (without once specifying how or why), whereas the Eagles’ greatest hits collection “placates” (though also somehow imbuing “dread” and/or a “swirling beige inertia”).

Given the existence of Hardcore Punk, Death Metal, New Age, Smooth Jazz, and various other musical genres not explored by Michael Jackson or by the Eagles, I find it extremely difficult to consider either of those artists to be particularly provocative or placating. Also, none of this takes into account the fact that both artists uniquely arrived at their mainstream pop successes by merging other styles. The Eagles combined singer-songwriter and country-rock approaches into a kind of rock super-group aesthetic (and certainly with rather less “major chord ubiquity” after 1975), whereas Jackson combined R&B, urban/dance pop, and rock elements into a compelling amalgam.

Do any of the details about music sales actually matter, though, when tens of millions of people now listen to most of the music they encounter–and frequently without buying anything–on such streaming services such as Spotify and YouTube? Probably not. Could music writers please get around to discussing music in more useful ways? Same answer, unfortunately.

Rush’s “Cygnus X-1”

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Rob Bowman quoted me about Rush’s song “Cygnus X-1” in his liner notes for the 40th anniversary edition of the band’s 1977 album A Farewell to Kings. http://cygnus-x1.net/…/rush/albums-afarewelltokings-40th.php. Thanks, Rob!

As Durrell Bowman (no relation) has noted, the piece “features a substantial amount of electronically generated sounds and sound effects, frequent metrical complexities (28% in asymmetrical meters alone), a large number of tonal areas (eight), a high degree of unison playing (35%), and one of the smallest sung proportions on Rush’s first five studio albums (16%).”

It’s nice to know that someone got as far as page 130 of my 318-page dissertation!  I say pretty much the same thing in Experiencing Rush: A Listener’s Companion, but without such nerdy things as percentages and words like “asymmetrical.”

Book Chapter on Music in The Simpsons

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I’m working on a chapter about music in The Simpsons for a book that the independent publisher McFarlane has requested. I presented six conference papers on the topic between 2006 and 2013 and also completed about half of a book on it, so it shouldn’t take take too long! The editor in 2010 co-authored a book for the same press, called: The Simpsons in the Classroom: Embiggening the Learning Experience with the Wisdom of Springfield. The new book is intended for undergraduate students and the general public, so it’s a good opportunity to get some more “public music history” out there.