Tag Archives: Rush

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.

Conference Paper – Rush’s “Hemispheres” – Progect 2021

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Here’s a link to my online conference paper bio, abstract, and video for “Rush’s ‘Hemispheres’: Uniting Heard and Mind (and Progressive Rock with Heavy Metal)”. May 2021 Progect Conference, hosted by the University of Ottawa.

https://progectconference2.wixsite.com/website-5/durrell-bowman

Abstract:

If progressive rock and heavy metal sometimes appropriate ideas from classical music—instead of, say, the blues—would that be enough to explain their appeal? Of course not. If they’re often musically and lyrically “complex,” are these complexities straightforwardly more so than the underlying grooves and vocal practices of funk and hip hop? Well … no. On the other hand, even though they may not reach a particularly diverse audience, progressive rock and heavy metal actually espoused eclecticism right from the start. 

The Canadian rock band Rush (1968-2018)—one of the godfathers of progressive metal—would not have developed an eccentric, eclectic progressive/hard style without the example of musicianly progressive rock from 1969-77. However, the band’s music also relates to the influence of blues-oriented hard rock and power-oriented heavy metal from the same period. Rush’s 1978 album Hemispheres begins with its title-track, and with it the band provided its last of three album-side-length compositions. “Hemispheres” establishes a conflict between the left (thought or “reason-oriented”) and right (emotion or “feelings-oriented”) halves of the human brain. The band anthropomorphizes these according to classical/mythological references to the gods Apollo and Dionysus, respectively. 

The paper explores the large-scale design of Rush’s “Hemispheres,” including its sections, form, metrical construction (including 12/8 and 7/8), lyrical features, and tonal complexities. The latter include extended chords, inversions, cross-relations, chromaticism, modes, ambiguous progressions, and various solutions to a particular cadential figure. Among other things, Rush uses nearly identical music to equate a pair of extended lyrical frames as equally inadequate ideologically. The band then converges on additional musical and lyrical frames that themselves become a reconciliation. In this manner, Rush mythologizes the post-counterculture of needing to unite heart and mind into something new.

Two (Three) Guys Talking Rush

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I show up at around 22:50 minutes.

Neil Peart, RIP

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I always sort of hoped that Rush’s drummer-lyricist Neil Peart and I would cross paths at some point and have an interesting conversation. We both first lived on family farms in Ontario, our fathers both worked at International Harvester dealerships, we both wrote multiple books (much of my work being about Rush’s music), we are both Canadians who lived in Los Angeles for a time, he was nicknamed “The Professor,” and I actually once was a Visiting Assistant Professor. Rush’s music is not everyone’s cup of tea, but the complexity (definitely present in the drumming), the constant stream of influences (lyrical and musical), and the work ethic were remarkable. Please consider giving a monetary gift in his memory to a cancer charity of your choice. RIP, Neil.

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.”

A Review of “Experiencing Rush: A Listener’s Companion”

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A positive, substantial review of Experiencing Rush: A Listener’s Companion​ (and my colleague Gregg Akkerman’s Experiencing Led Zeppelin) appeared in the Cleveland Music Examiner on February 11. See: http://www.examiner.com/review/listener-s-companion-series-to-help-fans-experience-led-zeppelin-rush-anew.

Excerpts: “While Bowman’s Rush reader need not be versed in theory, it nonetheless helps to keep one’s thinking cap on for his fascinating forage into what is arguably the world’s foremost intellectual rock band. … [T]he real success of the series is in the way the books rekindle readers’ interest in the subject matter by shedding light on the musical minutiae that might’ve escaped one’s attention till now. We knew these artists were good, but perhaps we couldn’t articulate precisely why. These authors effectively take reader / listeners undercover to view the musicians working all those levers behind the curtain. And it’s in their study and scholarly elucidation of all this musical sorcery that we arrive at a more profound understanding of (and appreciation for) the wizards responsible.”

Purchase “Experiencing Rush”

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Please purchase a copy of Experiencing Rush: A Listener’s Companion
(October 2014) at Rowman & Littlefield (the publisher), Amazon.com (or a non-US Amazon, such as in Canada or the UK), Barnes & Noble, Chapters Indigo, or another book retailer. Thanks!

Experiencing Rush - full cover

Experiencing Rush – full cover

Experiencing Rush: A Listener’s Companion

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My chapter outlines for Experiencing Rush: A Listener’s Companion are going very well.  For my proposal (I have two weeks left to complete it), the folks at Scarecrow Press really only want one paragraph per chapter.  I can easily focus on what I want to cover, because I know the topic extremely well.

The book and the proposal both need to be in short, accessible sentences and without any kind of technical or academic jargon.  The trick will be to translate some of my more powerful song-discussion ideas from my UCLA musicology dissertation into “normal” language.

Another part of the proposal involves a writing sample of a page or two about a specific piece of music.   I need to sneak selected lyrics directly into my prose sentences, otherwise permissions would be a nightmare.   However, I might opt to include a short table that summarizes the main aspects of the structure and textures of whichever song I choose.

I should be able to write the entire book very quickly.  I need to, because I have other things to do, and I’ve mostly moved on from this topic anyhow.