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  1. It's strange to me that this is news NOW. What I didn't know is that LiveNation is also behind fan clubs too... that's disgusting. Around 2009, Trent Reznor ranted about the ticket scalping, not just outside the venue, but the BIG SCAM that LiveNation/TicketMaster are: 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… The venue, the promoter, the ticketing agency and often the artist camp (artist, management and agent) take tickets from the pool of available seats and feed them directly to the re-seller (which from this point on will be referred to by their true name: SCALPER). I am not saying every one of the above entities all do this, nor am I saying they do it for all shows but this is a very common practice that happens more often than not. There is money to be made and they feel they should participate in it. There are a number of scams they employ to pull this off which is beyond the scope of this note. is an example of a re-seller / scalper. So is Here’s the rub: TicketMaster has essentially been a monopoly for many years – certainly up until Live Nation’s exclusive deal ran out. They could have (and can right now) stop the secondary market dead in its tracks by doing the following: limit the amount of sales per customer, print names on the tickets and require ID / ticket matches at the venue. We know this works because we do it for our pre-sales. Why don’t THEY do it? It’s obvious – they make a lot of money fueling the secondary market. TicketMaster even bought a re-seller site and often bounces you over to that site to buy tickets (! NIN gets 10% of the available seats for our own pre-sale. We won a tough (and I mean TOUGH) battle to get the best seats. We require you to sign up at our site (for free) to get tickets. We limit the amount you can buy, we print your name on the tickets and we have our own person let you in a separate entrance where we check your ID to match the ticket. We charge you a surcharge that has been less than TicketMaster’s or Live Nation’s in all cases so far to pay for the costs of doing this – it’s not a profit center for us. We have essentially stopped scalping by doing these things – because we want true fans to be able to get great seats and not get ripped off by these parasites. I assure you nobody in the NIN camp supplies or supports the practice of supplying tickets to these re-sellers because it’s not something we morally feel is the right thing to do. We are leaving money on the table here but it’s not always about money. Being completely honest, it IS something I’ve had to consider. If people are willing to pay a lot of money to sit up front AND ARE GOING TO ANYWAY thanks to the rigged system, why let that money go into the hands of the scalpers? I’m the one busting my ass up there every night. The conclusion really came down to it not feeling like the right thing to do – simple as that. My guess as to what will eventually happen if / when Live Nation and TicketMaster merges is that they’ll move to an auction or market-based pricing scheme – which will simply mean it will cost a lot more to get a good seat for a hot show. They will simply BECOME the scalper, eliminating them from the mix. Nothing’s going to change until the ticketing entity gets serious about stopping the problem – which of course they don’t see as a problem. The ultimate way to hurt scalpers is to not support them. Leave them holding the merchandise. If this subject interests you, check out the following links. Don’t buy from scalpers, and be suspect of artists singing the praises of the Live Nation / TicketMaster merger. What’s in it for them? [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] * I fully realize by playing those venues we are getting into bed with all these guys. I’ve learned to choose my fights and at this point in time it would be logistically too difficult to attempt to circumvent the venues / promoter / ticketing infrastructure already in place for this type of tour. For those of you about to snipe “it’s your fault for playing there, etc… ” – I know it is. ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ So we are in a world post-LiveNation/TicketMaster merger... ticket scalping has become the norm, and the fans are screwed. Does the name Irving Azoff ring a bell? Well, there you go.
  2. That's not what I got from it. The only thing you can actually get out of that one comment, is that if gnr hadn't gone through all that bullshit, that level of dysfunction and excesses, they would have made it through, but they were doomed from the get go. He is talking about ALL THE RED FLAGS he saw and how all of that made the band go down the shitter after merely 3 years of success. Those are facts. That happened, and we know it. The band didn't implode because of creative differences, it did because they were too fucked up on drugs and controlled by a paranoid lunatic and he saw it first row during that tour. And it makes total sense, what else can you learn from that experience? He could see how the band was falling apart, and some of the reasons for that... 2 + 2 =...
  3. How does that refute in any way what Jason said? It doesn't, there's absolutely no connection or co-relation between what he said and what you are saying. You just missed the "Jason's mom is fat and ugly" and "Axl's dad could beat up Jason's dad" to make your point complete. GNR were a mess back then, a very disfunctional band of drunks, junkies, coke heads and a crazy singer with his head way too deep up his own ass. We all know that as a fact. Jason just gave his opinion of the time he shared touring with GNR. What happens backstage is irrelevant, what matters is what went on on stage, and it's completely understandable if he doesn't have fond memories of back then.
  4. I loved X Japan, but grew out of them quickly. Blue Blood and Jealousy are great albums, but I was never very happy with the direction Yoshiki was taking the band. If it wasn't for hide's input, Dahlia would be a very boring and flat album. No disrespect to him though, he's a great musician and composer, but I need more variety, otherwise I get bored. I saw them in Toronto in 2010 (I think) and it was an amazing show. Too bad I never got to see the hide/Pata duo perform, but Sugizo is a great player and some of his guitars are worthy of a boner. True, I've been waiting for a new release for a very long time. IV wasn't bad, but Jade and Scarlett didn't do it for me.
  5. Quite a few... hide (incredible musician all around, extremely versatile and great guitar player), Kuroyume, Sads, Kiyoharu, Tomoyasu Hotei, Kyosuke Himuro, Boøwy, YMO, Pizzicato 5, Kazuma Endo, Daita, Siam Shade, Susumu Hirasawa, Akira Yamaoka, L'arc en ciel. Those come to mind right now. To less extent X Japan and Luna Sea.
  6. Estranged, Don't Cry, Civil War and Yesterdays were released as singles and they even had promotional music videos! (except for Civil War). I wouldn't consider them deep cuts at all. Deep Cuts? Locomotive, Coma, DTJ, Breakdown, Pretty Tied Up, RNDTH, Dust N Bones, etc... The Garden has to be my favourite song by GNR, and I would consider it a deep cut despite it having a video.
  7. Funny enough, GNR are the band that have influenced me the least musically despite being one of my favourites. I don't know why. I have learned some of their songs, and I have certainly enjoyed listening to their albums, but they never inspired me to create anything. I guess their influence on me was more about attitude and not giving a fuck, but anyone can get that from almost any rock band. Robin Finck has been an immense influence in style and stage presence, but to me he will always be NIN's guitarist. Dave Navarro has been a source of inspiration and influence as well, but that's as far as it goes when it comes to GNR-related musicians. Other bands have had a way bigger musical impact in me: Trent Reznor/NIN (synths), Kevin Shields/My Bloody Valentine (mostly tone and melody), Placebo (melody), Kurt Cobain/Nirvana (guitar, melody), Jane's Addiction/Dave Navarro/Eric Avery (bass, guitar, licks, solos), Flaco Spinetta (guitar, chords), Charly Garcia (piano, piano, piano, piano), Bowie, and a bunch of japanese bands and musicians.
  8. I don't know, I just feel that Prostitute doesn't quite fill that slot. An album needs a good closer. Rocket Queen, for example is such a perfect way to close AFD, the outro of that songs is so intense, it lifts you and ends the song and the album on a high note. Hurt is a great closer for The Downward Spiral (NIN), very emotional and dramatic. Soon is a masterpiece and it closes Loveless (My Bloody Valentine) in a beautiful way, that beautiful distorted guitar and the lead on the keyboard keeps looping in your head endlessly after the song is over. Classic Girl is a beautiful way to close Ritual de lo Habitual (Jane's Addiction). It's almost a lullaby to put you to a peaceful sleep after making love for the full length of the album. There are so many examples of this that prove that a great ALBUM is not just a collection of good songs. The sequencing is just as important, and CD closes miserably with Prostitute... it's like you're having sex and your dick goes flaccid halfway through the song, even if it has great melodies and the solos are amazing, the song fails to give the album a proper closure. As much as I like the songs on CD, I don't think the album flows properly, and that is probably because it was never conceived as a unit, and ended up coming out as bits and pieces put together for over 15 years as some kind of experiment/Frankenstein.
  9. My least favourite song of the album. The song is not bad, but the bridge feels anti-climatic and the end of the song is just MEH (with capital letters). I liked Chinese Democracy, but I find that Prostitute was a poor choice as a closer. It feels like a shitty orgasm, or a lousy shag that never really gets there.
  10. Anyone can sing, but having control of your voice is a completely different story, and that's where Axl fails miserably, and thats nothing bit lack of practice. It's not learning the songs, it's knowing how to breathe and basically knowing how to control your vocal chords.
  11. You clearly missed the point. He doesn't need to rehearse specific songs, he needs to practice singing, period.
  12. I think the posts in this thread focus on what's not THAT important: rasp and tone. Those have changed and will continue to change over time, they come and go... and for that there is no right or wrong, just a matter of preference. What IS important is PITCH: hitting the right notes, and that's where Axl's sloppiness cannot be justified by medical conditions or any shit like that. That is plain lack of control of his voice. Of course as we age, the pitch of our voice gets lower and it becomes harder to hit the same high notes, but as a musician, Axl knows exactly that instead of failing miserably at hitting the right high note, he could choose a lower note that does the trick (let's say the 5th or major/minor 3rd an octave below). But sometimes it is not even that, it's notes that pose no challenge because they Re not on either end of his register, but he still misses them... that's just lack of control, and the only reason for that is lack of practice. Thats what pisses me off about his live performances, it's nothing but disrespect to every single person in the crowd who payed BIG BUCKS to attend a show performed by PROFESSIONAL MUSICIANS, not a garage band of 17-year olds.
  13. I don't know if those videos reflect Slash's best takes on those 2 songs, but based on them, I'll stick to the studio versions. It seems like Slash listened to the songs a couple times and just mprovised. Too much noodling going on, and not properly crafted solos/licks. I'm sure that if he put enough effort, he could do something beautiful with CIR, which of the 2, might be the one that is more up his alley. Sorry is great as it is and I doubt Slash could come up with something that tops the studio version.
  14. I have a lot of respect for Izzy. He had it all to become eaten up by his own ego, but he managed to stay cool and do his thing (music) without the whole rockstar bs. I am glad he got clean when he did, even if that was the beginning of the end for GNR. He chose life and kept his sanity, and that didn't stop him from making kick-ass music. He is incredibly prolific too, and his humble attitude makes me think that of all the musicians I admire, he would be the coolest and least intimidating to jam with. My love and biggest respect go to Mr. Stradlin.