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  #1426  
Old 01-31-2017, 09:26 PM
jbrownsjr jbrownsjr is offline
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Quote:
Originally Posted by michelej1 View Post
[From an article about ticket scalping]

TCBmag.com by Tad Simons January 30, 2017

High concert prices get all the headlines, but it’s also true that there are plenty of deals available on the secondary ticket market—for example, when Stevie Nicks performed solo at Xcel Energy Center on December 6 (see infographic). Ticket King’s Nowakowski lost some money that night. “It turns out that when Stevie Nicks isn’t playing with Fleetwood Mac, her tickets are worthless,” he says. “But that’s the way it goes sometimes.”

http://tcbmag.com/Industries/Sports-...icket-Scalping
I just threw all my chiffon out!! Just when I thought it was all about money!!

Fmac Sold out The Forum 6 times and probably another 6 had they kept playing here. The scalper seats were 10K up front. No comparison.

I hope LB and CM tour in small halls.. I really would love to see an intimate show.
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Last edited by jbrownsjr; 01-31-2017 at 09:29 PM..
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  #1427  
Old 02-01-2017, 05:21 AM
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Originally Posted by jbrownsjr View Post
I just threw all my chiffon out!! Just when I thought it was all about money!!

Fmac Sold out The Forum 6 times and probably another 6 had they kept playing here. The scalper seats were 10K up front. No comparison.

I hope LB and CM tour in small halls.. I really would love to see an intimate show.
Right now scalpers are asking $1k for front row Stevie in Pittsburgh.
Time to put your chiffon back on
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  #1428  
Old 02-01-2017, 09:09 AM
jbrownsjr jbrownsjr is offline
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Originally Posted by Macfan4life View Post
Right now scalpers are asking $1k for front row Stevie in Pittsburgh.
Time to put your chiffon back on
You know I look good in chiffon. But that's still one tenth.
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  #1429  
Old 02-01-2017, 01:49 PM
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You know I look good in chiffon. But that's still one tenth.
True dat
But Stevie is grossing similar revenue in some cities. She is on par with the Mac here and there.
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  #1430  
Old 02-01-2017, 01:57 PM
jbrownsjr jbrownsjr is offline
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Sure maybe in some cities. But they were third for the entire year. And they didn't have the Pretenders. (which I love)
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  #1431  
Old 02-02-2017, 06:59 PM
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Quote:
Originally Posted by michelej1 View Post
[From an article about ticket scalping]

TCBmag.com by Tad Simons January 30, 2017

High concert prices get all the headlines, but it’s also true that there are plenty of deals available on the secondary ticket market—for example, when Stevie Nicks performed solo at Xcel Energy Center on December 6 (see infographic). Ticket King’s Nowakowski lost some money that night. “It turns out that when Stevie Nicks isn’t playing with Fleetwood Mac, her tickets are worthless,” he says. “But that’s the way it goes sometimes.”

http://tcbmag.com/Industries/Sports-...icket-Scalping
impossible!! Stevie IS Fleetwood Mac, no?!?!?! so how can that be?
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  #1432  
Old 02-03-2017, 12:48 AM
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Originally Posted by michelej1 View Post
“It turns out that when Stevie Nicks isn’t playing with Fleetwood Mac, her tickets are worthless,”
I feel a new "signature" coming on....
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  #1433  
Old 02-04-2017, 01:29 PM
NotonRodeo NotonRodeo is offline
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I feel a new "signature" coming on....
Can I have permission to use it?
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  #1434  
Old 02-05-2017, 10:41 AM
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Yesterday on "All Things Considered" on NPR, there was a caller named, "Rhiannon," and Peter Sagal asked her if she was named after the FM song, and she said, 'yes.' He then asked her if she wore, 'gauzy, flowy outfits like Stevie Nicks.'
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  #1435  
Old 02-06-2017, 03:53 PM
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Car Share, Rumours, And Greatest Hits

John: ‘What?! Rumours! It’s one of the best albums int’ whole wide world.’

Kayleigh: “Never even heard of it.”

John: “Excuse me! You’ve never heard of Rumours? Ohhh, you’ll love it, I’ll burn you a copy...tonight! Ahhh, one of me all time favourite albums.”

Kayleigh: “Mine’s Now 48.”

John: “No, no I’m sorry you can’t have a Now album as your favourite album.”

Kayleigh: “Why not?”

John: “Cause... ‘cause... ‘cause you can’t have a compilation.”

Kayleigh: “I love it, it reminds me of the summer I worked in River Island.”

I won’t waste any more than just one sentence to recommend watching Peter Kay’s Car Share: it’s brilliant, it’s absolutely hilarious. This scene always makes me laugh; John makes a statement a lot of music fans might agree with, especially people of his age (my mum happens to love the album and the band - it’s why I do), and Kayleigh’s response is something he just can’t cope with. Rumours (1977) is a well-loved album, grammy-winning, it marks the most successful release the band ever made, and one of the most successful albums ever.

As far as Rumours is concerned, I’m on John’s side here because it is in fact one of the best albums int’ whole wide world. I need to talk about the music itself though. I mean, it’s cracking: every single song is fantastic. But why? It probably has a lot to do with the conflict, romantic and otherwise, that Fleetwood Mac were experiencing during the making of the album, and during a significant part of their time as a band. The songs are charged with emotion, and the music is relentlessly passionate. ‘Go Your Own Way’ is maybe the best example of this feature of the album. However, the album also achieves a wonderfully ambient edge, which isn’t as obvious as the emotional songs would let you think. ‘Dreams’, the song that sparks the car share conversation, and my personal favourite from Fleetwood Mac, is a calm and accepting song. I’ve maybe listened to it a couple of times a day for the last week or so. It has some fantastic harmonies and Stevie Nicks chooses every word carefully and perfectly. The lyrics blend together with the instrumental section and become inseparable from it. It just fits. Both the first and second side of the record somehow strike a great balance, drifting in and out of moods and emotions, creating conflict and underlining tension.

If Rumours is as wholesome as I make it sound, then Fleetwood Mac, Greatest Hits (1988) is just a compilation, patched together from their best songs. Compilations are, in this way, apparently the Frankenstein’s monsters of the album world. Liking Now albums is a bit different though, I don’t really want to make a case for defending them; they’re probably like the result of Frankenstein’s monster having a baby with another patched together human/monster? But back on topic, this is the point where I disagree with John as I probably like the greatest hits album as much, if not more than Rumours. Although the project of Rumours - an expression of romantic and emotional conflict spanning multiple relationships - is incomparable, people have always liked albums because they tell stories, and there’s no reason why any best/greatest hits album can’t do this too.

I’m fully aware there’s no, ‘making of the album’ here, but for me, Greatest Hits indirectly reworks and refigures the complicated emotion in Rumours, using songs from Tango in the Night like, ‘Everywhere’ and, ‘Little Lies’ to stress the point that the emotions in their relationships don’t stop being complicated. It might seem like a lot of the tension and anger would be resolved by moving on - ‘Don’t stop’ seems to suggest this - but how do you move on? In light of this question, the sentiment of ‘Little lies’ is particularly poignant in showing resignation to the complication, preferring to deny an unhappy reality, whereas ‘Everywhere’, though it seems hopeful, might underline how difficult it is to resolve the tension in a relationship when you want to be with the other person everywhere and always. The energy of these two songs, and the manic energy of ‘Tusk’ from the album Tusk (1979), oppose the more measured features on the album like ‘As Long As You Follow’ and ‘No Questions Asked’ - both previously unreleased, and give the album an interesting pace which seems like it is desperately trying and failing to resolve the conflict reflected in the complicated relationships. ‘Tusk’ demonstrates this quite well: ‘Don’t say that you love me! Just tell me that you want me!’.

I’m willing to admit that Fleetwood Mac, Greatest Hits, is actually a collection of their best songs; it’s a window into the most successful period of the band’s career. This compilation and all compilations are reconstructed. They aren’t the same as the albums or songs from which they are created, but if music is about interpretation then it is about reinterpretation too. Books and screenplays are constantly adapted, and although the-book-was-better people might try and tell you otherwise, you can think that the reinvention of whatever the original thing was is better, and it has a new message of its own. I also don’t care if no message was intended for the album, because I know I’m the one giving it one. Greatest Hits (1988) might not seem as wholesome as any other Fleetwood Mac album, but it’s a fantastic achievement all the same.



http://www.huffingtonpost.co.uk/josh..._14572124.html
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  #1436  
Old 02-06-2017, 04:06 PM
FuzzyPlum FuzzyPlum is offline
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Quote:
Originally Posted by SisterNightroad View Post
Car Share, Rumours, And Greatest Hits

John: ‘What?! Rumours! It’s one of the best albums int’ whole wide world.’

Kayleigh: “Never even heard of it.”

John: “Excuse me! You’ve never heard of Rumours? Ohhh, you’ll love it, I’ll burn you a copy...tonight! Ahhh, one of me all time favourite albums.”

Kayleigh: “Mine’s Now 48.”

John: “No, no I’m sorry you can’t have a Now album as your favourite album.”

Kayleigh: “Why not?”

John: “Cause... ‘cause... ‘cause you can’t have a compilation.”

Kayleigh: “I love it, it reminds me of the summer I worked in River Island.”

I won’t waste any more than just one sentence to recommend watching Peter Kay’s Car Share: it’s brilliant, it’s absolutely hilarious. This scene always makes me laugh; John makes a statement a lot of music fans might agree with, especially people of his age (my mum happens to love the album and the band - it’s why I do), and Kayleigh’s response is something he just can’t cope with. Rumours (1977) is a well-loved album, grammy-winning, it marks the most successful release the band ever made, and one of the most successful albums ever.

As far as Rumours is concerned, I’m on John’s side here because it is in fact one of the best albums int’ whole wide world. I need to talk about the music itself though. I mean, it’s cracking: every single song is fantastic. But why? It probably has a lot to do with the conflict, romantic and otherwise, that Fleetwood Mac were experiencing during the making of the album, and during a significant part of their time as a band. The songs are charged with emotion, and the music is relentlessly passionate. ‘Go Your Own Way’ is maybe the best example of this feature of the album. However, the album also achieves a wonderfully ambient edge, which isn’t as obvious as the emotional songs would let you think. ‘Dreams’, the song that sparks the car share conversation, and my personal favourite from Fleetwood Mac, is a calm and accepting song. I’ve maybe listened to it a couple of times a day for the last week or so. It has some fantastic harmonies and Stevie Nicks chooses every word carefully and perfectly. The lyrics blend together with the instrumental section and become inseparable from it. It just fits. Both the first and second side of the record somehow strike a great balance, drifting in and out of moods and emotions, creating conflict and underlining tension.

If Rumours is as wholesome as I make it sound, then Fleetwood Mac, Greatest Hits (1988) is just a compilation, patched together from their best songs. Compilations are, in this way, apparently the Frankenstein’s monsters of the album world. Liking Now albums is a bit different though, I don’t really want to make a case for defending them; they’re probably like the result of Frankenstein’s monster having a baby with another patched together human/monster? But back on topic, this is the point where I disagree with John as I probably like the greatest hits album as much, if not more than Rumours. Although the project of Rumours - an expression of romantic and emotional conflict spanning multiple relationships - is incomparable, people have always liked albums because they tell stories, and there’s no reason why any best/greatest hits album can’t do this too.

I’m fully aware there’s no, ‘making of the album’ here, but for me, Greatest Hits indirectly reworks and refigures the complicated emotion in Rumours, using songs from Tango in the Night like, ‘Everywhere’ and, ‘Little Lies’ to stress the point that the emotions in their relationships don’t stop being complicated. It might seem like a lot of the tension and anger would be resolved by moving on - ‘Don’t stop’ seems to suggest this - but how do you move on? In light of this question, the sentiment of ‘Little lies’ is particularly poignant in showing resignation to the complication, preferring to deny an unhappy reality, whereas ‘Everywhere’, though it seems hopeful, might underline how difficult it is to resolve the tension in a relationship when you want to be with the other person everywhere and always. The energy of these two songs, and the manic energy of ‘Tusk’ from the album Tusk (1979), oppose the more measured features on the album like ‘As Long As You Follow’ and ‘No Questions Asked’ - both previously unreleased, and give the album an interesting pace which seems like it is desperately trying and failing to resolve the conflict reflected in the complicated relationships. ‘Tusk’ demonstrates this quite well: ‘Don’t say that you love me! Just tell me that you want me!’.

I’m willing to admit that Fleetwood Mac, Greatest Hits, is actually a collection of their best songs; it’s a window into the most successful period of the band’s career. This compilation and all compilations are reconstructed. They aren’t the same as the albums or songs from which they are created, but if music is about interpretation then it is about reinterpretation too. Books and screenplays are constantly adapted, and although the-book-was-better people might try and tell you otherwise, you can think that the reinvention of whatever the original thing was is better, and it has a new message of its own. I also don’t care if no message was intended for the album, because I know I’m the one giving it one. Greatest Hits (1988) might not seem as wholesome as any other Fleetwood Mac album, but it’s a fantastic achievement all the same.



http://www.huffingtonpost.co.uk/josh..._14572124.html

What a complete load of bull***t.

By the way, Peter Kay is a very, very funny man. I'm not sure he'd translate all that well outside the UK though. He very much relies upon the nuances and mundanety of working class language and northern English stereotypes. Very clever at what he does.
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  #1437  
Old 02-06-2017, 04:27 PM
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SisterNightroad SisterNightroad is offline
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Originally Posted by FuzzyPlum View Post
What a complete load of bull***t.

By the way, Peter Kay is a very, very funny man. I'm not sure he'd translate all that well outside the UK though. He very much relies upon the nuances and mundanety of working class language and northern English stereotypes. Very clever at what he does.
I would agree with you but I remembered that one of my favourite albums is Elton John's 1974 Greatest Hits so I have to shut up.
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  #1438  
Old 02-06-2017, 04:38 PM
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Originally Posted by SisterNightroad View Post
I would agree with you but I remembered that one of my favourite albums is Elton John's 1974 Greatest Hits so I have to shut up.
Don't get me wrong, there's nothing wrong at all with greatest hits albums. In fact, I've unfortunately reached an age whereby very few of the albums I buy are studio albums... I'm much more likely to buy compilations these days. I just find the whole article rather pretentious.
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  #1439  
Old 02-06-2017, 04:44 PM
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Originally Posted by FuzzyPlum View Post
Don't get me wrong, there's nothing wrong at all with greatest hits albums. In fact, I've unfortunately reached an age whereby very few of the albums I buy are studio albums... I'm much more likely to buy compilations these days. I just find the whole article rather pretentious.
Oh that's true, he sounds like some kind of hipster.
And now that I've checked his writer profile it says: "First year UCL student in French and German" and there's a picture of him with a ****ty long hairstyle so there you go.
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  #1440  
Old 02-11-2017, 09:44 AM
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This week’s best radio: Freddie Flintoff's banter, Fleetwood Mac and politics pods
The former cricketer leads a laddy new sports podcast and Jo Wood explores the recording of Rumours, plus the latest must-listen current affairs roundups


In a sign-of-the-times move, 5 Live this week launches a series of sport shows that will be podcast before broadcast. The first, called Flintoff, Savage And The Ping Pong Guy, features former cricketer Andrew Flintoff, former footballer Robbie Savage and former table tennis champion Matthew Syed talking about whatever sporting matters grab their attention. Syed promises “raw honesty”. Flintoff says: “I’m looking forward to an intelligent conversation with Matthew. Robbie will be there, too.” This cocktail of banter and insight is available on Monday 13 February.

The British love nothing more than an heroic failure, as our pride in Dunkirk suggests. And as Joe Queenan discovers in A Brief History Of Failure (Saturday 11 February, 8pm, Radio 4), we’re not alone. In the footsteps of hundreds of tourists, Queenan huffs and puffs his way to the top of the Château de Montségur, where the Cathars failed to hold off an encircling army in the 13th century. He winds up in Virginia, where thousands regularly re-enact a war their ancestors lost. In between, we hear from Armando Iannucci, journalist John Sergeant and classics professor Edith Hall.

The recording of Fleetwood Mac’s Rumours was a slow business. It was made even slower by the fact that none of the songwriters wanted to share their lyrics with the other members because the songs were mostly about the other members. Rumours is the main subject of the second part of Jo Wood’s Musical Muses (Wednesday 15 February, 10pm, Radio 2). It also covers the musical romans à clef of Leonard Cohen, Lionel Richie and Chris De Burgh. In Private Passions (Sunday 12 February, noon, Radio 3), crime writer Peter Robinson talks to Michael Berkeley about the music favoured by his famous creations and why Yorkshire is the best place to hide a body.

The White House has been producing so much news, tittle-tattle and black comedy recently you have to feel sorry for podcasts stuck with slow-moving beats like football. It’s particularly interesting to hear from the former White House staffers who make Pod Save America, which calls itself “a no-bull**** conversation about politics”. These speechwriters and advisers know no more than anybody else what’s actually going on but they’re good on what usually goes on, which is a useful benchmark against which to judge the present madness.

Every edition of the NPR Politics Podcast at the moment begins by telling you exactly what time of the day it was recorded and warns that things may have changed by the time you get to hear it. No kidding. Of all the podcasts offering a flavour of what reporters discuss with each other in the newsroom, this is the best. All the contributors have good voices, but I particularly like senior correspondent Ron Elving, who sounds as if he may have served under gnarly 70s US TV journalist Lou Grant.



https://www.theguardian.com/tv-and-r...-radio-preview
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