#nathan hubbard

[nofatclips]

Tranny by Montalban Quintet from their debut album

[tenshunnoise]

New Project and album by Troikastra

Curtis Glatter - keyboard(s), samples

Tenshun - turntable + modular synth

Nathan Hubbard - turntable, drum machine(s)

[snowonthebeachmp3]

my 2025 resolution needs to be 'never listen to an every single album episode again'

[dogsliampaynedoesntinstagram]

Can you explain why Louis is always claiming he was blindsided by the 1d break up if he was dating Harry?

I'm not sure what dating Harry has to do with this question anon. The way Louis talks about the break up doesn't quite make sense - completely independently from any questions about his personal life.

Hey talk in that way when talking about the period after 1d's last performance. But he can't actually have been blindsided in that moment. It'd be announced monthsl before - the process of not booking venues is hard to miss.

I think he's talking about his experience and memory - rather than the timetable. I'm sure he had all the feelings he described - but I don't think it gives a good indication of what he knew when.

[longliverockback]

Bryan Ferry Mamouna [Deluxe Edition] 2023 BMG ————————————————— Tracks LP One: Mamouna 01. Don’t Want to Know 02. N.Y.C. 03. Your Painted Smile 04. Mamouna 05. The Only Face 06. The 39 Steps 07. Which Way to Turn 08. Wildcat Days 09. Gemini Moon 10. Chain Reaction

Tracks LP Two: Horoscope 01. Where Do We Go from Here (the 39 Steps) 02. The Only Face 03. Desdemona (N.Y.C.) 04. S&M (Midnight Train) 05. Loop De Li 06. Gemini Moon 07. Raga 08. Mother of Pearl

Tracks LP Three: Sketches 01. Mamouna [instrumental] 02. Your Painted Smile [instrumental] 03. Your Painted Smile[with guide vocal, later version] 04. Your Painted Smile [piano and vocal ′93] 05. Desdemona (N.Y.C.) [instrumental ′91] 06. Robot [instrumental, first draft ′89] 07. The Only Face [instrumental, first draft ′89] 08. The Only Face (Piano and Vocal '93) 09. Loop De Li [instrumental, first draft ′89] 10. Horoscope [instrumental ′90] —————————————————

Nathan East

Brian Eno

Steve Ferrone

Bryan Ferry

Neil Hubbard

Andy Mackay

Phil Manzanera

Pino Palladino

Guy Pratt

Nile Rodgers

Robin Trower

* Long Live Rock Archive

[iwanthermidnightz]

As Taylor Swift rolled into Los Angeles this week, the frenzy surrounding her record-breaking Eras Tour was already in high gear.

Headlines gushed that she had given $100,000 bonuses to her crew. Politicians asked her to postpone her concerts in solidarity with striking hotel workers. Scalped tickets were going for $3,000 and up. And there were way, way too many friendship bracelets to count.

These days, the center of an otherwise splintered music world can only be Taylor Swift.

The pop superstar’s tour, which is now finishing its initial North American leg with six nights at SoFi Stadium outside Los Angeles, has been a both a business and a cultural juggernaut. Swift’s catalog of generation-defining hits and canny marketing sense have helped her achieve a level of white-hot demand and media saturation not seen since the 1980s heyday of Michael Jackson and Madonna — a dominance that the entertainment business had largely accepted as impossible to replicate in the fragmented 21st century.

“The only thing I can compare it to is the phenomenon of Beatlemania,” said Billy Joel, who attended Swift’s show in Tampa, Fla., with his wife and young daughters.

In a summer of tours by stars like Beyoncé, Bruce Springsteen, Morgan Wallen and Drake, Swift’s stands apart, in numbers and in media noise. Although Swift, 33, and her promoters do not publicly report box-office figures, the trade publication Pollstar estimated that she has been selling about $14 million in tickets each night. By the end of the full world tour, which is booked with 146 stadium dates well into 2024, Swift’s sales could reach $1.4 billion or more — exceeding Elton John’s $939 million for his multiyear farewell tour, the current record-holder.

Swift has now had more No. 1 albums on the Billboard 200 over the course of her career than any other woman, surpassing Barbra Streisand. With the tour lifting Swift’s entire body of work, she has placed 10 albums on that chart this year and is the first living artist since the trumpeter and bandleader Herb Alpert in 1966 to have four titles in the Top 10 at the same time.

“It’s a pretty amazing feat,” Alpert, 88, said in a phone interview. “With the way radio is these days, and the way music is distributed, with streaming, I didn’t think anyone in this era could do it.”

But how did a concert tour become so much more: fodder for gossip columns, the subject of weather reports, a boon for friendship-bracelet beads — the unofficial currency of Swiftie fandom — and the reason nobody could get a hotel room in Cincinnati at the end of June?

“She is the best C.E.O., and best chief marketing officer, in the history of music,” said Nathan Hubbard, a longtime music and ticketing executive who co-hosts a Swift podcast. “She is following people like Bono, Jay-Z and Madonna, who were acutely aware of their brands. But of all of them, Taylor is the first one to be natively online.”

Before Eras, Swift hadn’t been on tour since 2018. And her catalog has grown by seven No. 1 albums since then, fueled in part by three rerecorded “Taylor’s Versions” of her first LPs — a project hailed by Swift’s fans as a crusade to regain control of her music, though it is also an act of revenge after the sale of Swift’s former record label, a move that, she said, “stripped me of my life’s work.”

“Folklore” and “Evermore” expanded her palate into fantastical indie-folk and brought new collaborators into the fold: Aaron Dessner from the band the National and Justin Vernon, a.k.a. Bon Iver, rock-world figures who helped attract new listeners.

The other major tour this year that is enticing fans to book transcontinental flights, and to show up costumed and in rapture, is also by a woman: Beyoncé, 41, whose Renaissance tour is a fantasia of disco and retrofuturism. Like Swift, she is also a trailblazing artist-entrepreneur, maintaining tight control over her career and fostering a rich connection with fans online. Together with Greta Gerwig’s “Barbie,” a critique of the patriarchy told in hot pink, they are signs of powerful women ruling the discourse of pop culture.

But in music, at least, the scale and success of Swift’s tour is without equal. Later this month, after completing 53 shows in the United States, she will kick off an international itinerary of at least 78 more before returning to North America next fall. Beyoncé’s full tour has 56 dates; Springsteen’s, 90. (Recently, Harry Styles wrapped a 173-date tour in arenas and stadiums, grossing about $590 million.)

Outside Arrowhead Stadium in Kansas City, fans posed for selfies and shared their ticketing ordeals. Esmeralda Tinoco and Sami Cytron, 24-year-old former sorority sisters, said they had paid $645 for two seats. A stone’s throw away, Karlee Patrick and Emily DeGruson, both 18 and dressed as a pair in angel/devil costumes after a line in Swift’s “Cruel Summer,” sat “Taylorgating” at the edge of the parking lot; they said they had paid $100 for parking but couldn’t afford tickets.

As Swift’s opening acts finished, the crowd rushed in. Glaser, the comedian, later said that of the eight shows she had been to, her favorites were the ones where she had brought her mother — and converted her to Swiftie fandom.

“Everyone is in love with her,” Glaser said her mom told her after one show in Texas. “Now I get it.”

[sporadiceagleheart]

Here's my Tribute edit for the angels in heaven Semina Mary Halliwell, Saffie-Rose Brenda Roussos, Lily Peters, Olivia Pratt Korbel, Elizabeth Shelley, Sara Sharif, Charlotte Figi, Jersey Dianne Bridgeman, Sidra Hassouna, Sloan Mattingly, Audrii Cunningham, Athena Strand, Athena Brownfield, Macie Hill, Ava Jordan Wood, Skylar Annette Neese, Rachel Joy Scott, Hannah Louise Scott, Charlotte Bacon, Charlotte Louise Dunn, Riley Faith Steep, Jayce Carmelo Luevanos, Jailah Nicole Silguero, Louis XVII, Shirley Temple, Baby LeRoy, Baby Peggy Montgomery, Peggy Cartwright, Darla Jean Hood, Jean Darling, Peaches Jackson, Mary Ann Jackson, Dorothy DeBorba, Mary Kornman, Mildred Kornman, Lucy Morgan, Lily Rose Diaz, Colby Curtin, Jaquita Mack, Bella Bond, Opal Jo Dace Jennings, Amber Rene Hagerman, Jessica Rekos, Benjamin Wheeler, Allison Wyatt, Bella Edwards, Natalia Victoria Wallace, Sherin Mathews, Caylee Marie Mastin, Amanda Todd, Heather O'Rourke, Judith Barsi, Maria Agnes Virovacz Barsi, Michelle B. Norris, Anna D. Crnkovic, Irmgard Christine Winter, Rosalie Avila, Ashawnty Davis, Emily Grace Jones, Catherine Violet Hubbard, Norah Lee Howard, Sarah Payne, Alicia Lynn Clark, Tristyn Bailey, Aubreigh Paige Wyatt, Phoebe Prince, Gabriella Green, Millie Drew Kelly, Emilie Parker, Jack Pinto, Noah Pozner, Avielle Richman, Caroline Previdi, Daniel Barden, Olivia Engel, Josephine Gay, Dylan Hockley, Madeleine Hsu, Makenna Lee Elrod, Eliahna Torres, Nevaeh Bravo, Layla Salazar, Jackie Cazares, Tess Marie Mata, Maite Rodriguez, Alexandria Rubio, Destiny Norton, April Jones, Anissa Jones, April Marie Tinsley, Deborah Bricca, Rylie Nicholls, Moa Leontine Björk, Mercedes Losoya, Sidra twin sister, Emily Wilding Davison Statue, Emily Hope Mason, Emily Grace Leeann Akers, Emily Ann Bryant, Emily Kate Elise Conatzer, Emily Dickinson, Charlotte Ruby “Charlie” Emily, Judy Garland, Mary Pauline “Paulina” Olin, Edward Maitland Grover, John Orville Wright, Star Hobson, Breanna Leigh Rehbein, Nathan Luis Almaraz, Frank Nitti, Gonda Blindeman, Israel Blasbalg, Hedy Blum, Svetlana Blokh, Peter Blödy, Debora Rachel Sara Gertrud Bloch, Saszi Bodnar, Kuki Bodnar, Cato Rachel Boas,

[niallsdaya]

heard the next @NiallOfficial single today and it is run through a wall of fire good 🔥🏃‍♂️

there is also a ballad on this album that is the best representation of his voice ever recorded

all this man does is make great, under appreciated music

-Nathan Hubbard, former Ticketmaster CEO, on Niall Horan, Meltdown and The Show.

[adambowielinks]

Favorite tweets: 1) As someone who was (briefly) in charge of the Twitter Media team - the group tasked with getting high profile people onto Twitter, and verification - AND as one of the few ever to voluntarily give up the blue check, I want to try to articulate how risky this policy change is. https://t.co/ABYu2kJIWa — Nathan Hubbard (@NathanCHubbard) Mar 31, 2023

http://twitter.com/NathanCHubbard

[thinkibetterfollowyouaround]

Brendan Canty meeting Nathan Hubbard and Alfredo Tellez. 2/22/23 @themessthetics @brendancanty @firecliffs @casbahsandiego #themessthetics #brendancanty #fugazi #nathanhubbard #casbahsandiego #casbah #itibfya #ithinkibetterfollowyouaround #wecouldntmakeit2theparty (at Casbah San Diego) https://www.instagram.com/p/Cpwmb_0OcB_/?igshid=NGJjMDIxMWI=

[walkingthroughthisworld]

In World War II, four brothers of the Borgstrom family, Elmer, Clyde, and twins Rolon and Rulon, were all killed within a few months of each other in 1944. Their parents then successfully petitioned for their fifth son Boyd, who was also on active duty, to be released from service. Their sixth son, Elton, who had not yet reached conscription age, was exempted from military service. The three Butehorn brothers of Bethpage, New York, Charles, Joseph, and Henry, were all deployed during World War II. After Charles was killed in action in France in November 1944 and Joseph was killed in action in the Pacific in May 1945, Henry, who was serving with the Army Air Forces in Italy, was ordered home by the War Department. The "Veterans of Foreign Wars" post in Bethpage is named after their sacrifice. In the case of the Niland brothers, U.S. intelligence believed that all but one of four siblings were killed in action. The eldest brother, Technical Sergeant Edward Niland, of the U.S. Army Air Forces, was later found to have been held in a prisoner of war camp in Burma. The Academy Award–winning film Saving Private Ryan, directed by Steven Spielberg, was loosely based on the Niland brothers' story. Both the Borgstrom and Butehorn incidents occurred before the Sole Survivor Policy was put into effect in 1948. They, along with the deaths of all of the Sullivan brothers in 1942, helped lead to it. Jason and Nathan Hubbard joined the Army after their brother Jared had died in Iraq in 2004. In 2007, Nathan died in a helicopter crash. Military officials ordered Jason home shortly after. Jeremy, Ben, and Beau Wise served in active combat roles in the Afghan War. Jeremy, a former Navy SEAL, was at a CIA base as a military contractor and was killed in 2009 when a suicide bomber attacked the base. Later in 2012, Ben, an Army Special Forces combat medic, was seriously wounded in Afghanistan and died of his injuries six days later at Landstuhl Regional Medical Center. Beau was deployed in Afghanistan with the Marines at that time and was immediately relieved of combat duties and returned to the United States.

“Dear Madam, I have been shown in the files of the War Department a statement of the Adjutant General of Massachusetts that you are the mother of five sons who have died gloriously on the field of battle. I feel how weak and fruitless must be any word of mine which should attempt to beguile you from the grief of a loss so overwhelming. But I cannot refrain from tendering to you the consolation that may be found in the thanks of the Republic they died to save. I pray that our Heavenly Father may assuage the anguish of your bereavement and leave you only the cherished memory of the loved and lost, and the solemn pride that must be yours to have laid so costly a sacrifice upon the altar of freedom. Yours, very sincerely and respectfully, A. Lincoln”

— On this day in history, November 21, 1864, Abraham Lincoln ‘pens’ letter to Mrs. Bixby

[snowonthebeachmp3]

i need nathan hubbard to stop having opinions on music because in what fucking world does apple by charli xcx sound reminiscent of never gonna give you up

[dogsliampaynedoesntinstagram]

I hope harry continues to reveal himself through his lyrics at a level he's comfortable at, not in order to follow popular trends or to apease crytics who dont feel like they know who he is. If other artists are taking a page out of Taylor's very sucessful mode of story telling and it's been working for them, then good for them. Though I will say they need to be careful before they start releasing 30 song essay albums in serious need of editing because they are so self referential to their life they make it impossible for anyone who's not deep in all the lore to enjoy the songs.

Oh anon. I do think a little bit of curiosity would help if you're going to engage in questions of how Harry might engage with the current moment (which you're not obligated to do). Describing other artists as 'taking a leaf out of Taylor's book' - misses what's going on entirely. And trying to use TTPD as a spectre of what might go wrong is quite absurd.

[kaelytraec]

Listening to The Ringer Dish Reputation episode, and it is really sad to me how the hosts dismiss the K*m/K*nye stuff as petty while lauding her assault trial as important. I feel like everyone forgets that K*nye literally made revenge porn of her, with known sexual abusers like Trump, Bill Cosby, and Chris Brown. He paid someone Thousands of dollars to make a life size wax sex doll of her. And that the man who was K*nye’s manager at the time now Owns Taylor’s body of work. This is always pushed to the wayside and she’s always called petty for standing up for herself against it. It makes me so sad that no one SEES that.

[robpegoraro]

Weekly output: T-Mobile and Verizon wireless home broadband, sports on streaming TV, MLB streaming (x2), Netflix earnings, WiFi hotspots, the future of live events, Fios TV, WWE, Facebook's new audio features, Mark Vena podcast

Weekly output: T-Mobile and Verizon wireless home broadband, sports on streaming TV, MLB streaming (x2), Netflix earnings, WiFi hotspots, the future of live events, Fios TV, WWE, Facebook’s new audio features, Mark Vena podcast

The list you see below reflects a lot of work done in earlier weeks–three virtual panels recorded in advance, plus a Wirecutter update that I started researching last year. 4/19/2021: Time to cut internet cords: T-Mobile, Verizon up their bids to be your next home broadband, USA Today I wrote about the fixed-wireless home-broadband services now available from these two carriers–one of which looks…

[dustedmagazine]

Dan Clucas / Kyle Motl / Nathan Hubbard — Daydreams and Nothing (FMR)

Daydream And Halting by Dan Clucas / Kyle Motl / Nathan Hubbard

One of the pleasures of large group improvisations are the windows they open onto hitherto unimagined next encounters. This session arose from a series of “yeah, we gotta play together sometime” moments experienced in bands led by cornetist Dan Clucas and reeds player Peter Kuhn. The chance to play together as a trio was a while, since Clucas and percussionist Nathan Hubbard are full-time west coasters, and bassist Kyle Motl is not. But perhaps the necessity of waiting contributed to the all-in spirit that the three brought to this session when it finally happened.

This trio’s chemistry derives from a fine balance of concord and difference. Motl is a stylistically wide-ranging musician, but whether it’s classically derived or swinging, his playing is likely to make aware that a strong technician is at work. Clucas, on the other hand, seems to downplay technique, even when he’s exercising it. On cornet, his main horn, he favors melodies drawn in quick, brushed-ink strokes punctuated by pregnant gaps. It takes some kind of control to put just the right sized holes in just the right places; it takes another kind of skill to sound like another guy altogether when you pick up a different instrument. On “Driftscope Reversal,” he plays moxeño, an Andean wooden flute, with a bolder sense of line, which Motl counters with pointillistic gestures, and Hubbard further balances with a ceaselessly morphing rustle. 

Clucas instigates yet another angle on “Before Long After” by switching to violin, which he plays with a disregard for precise pitch and a bold assertiveness that might make both Ornette Coleman and Billy Bang smile from whatever post-passing vantage point they currently occupy, knowing that their torch of raw expression has been passed, received and remains in motion. The simplicity of his playing presents Motl with the opportunity to fill up space, which he does with a brilliantly arranged barrage of snaps and rumbles while Hubbard generates a ceaselessly changing backdrop of motion and color. 

On first listen, this session imparts a strong sense of each player’s character. Each return trip reveals a bit more of the chemistry that makes this a cohesive trio with the potential to keep on creating, not just three guys that sound good together. 

Bill Meyer