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"content": "\u003cp>Over 75 clubs operated by Live Nation in the United States and Canada will stop taking a percentage of artist merch sales, and will pay performers an additional $1,500 travel stipend per concert, through an initiative called \u003ca href=\"https://roadagain.live/\">On the Road Again\u003c/a>, the company announced Tuesday.\u003c/p>\n\u003cp>In the Bay Area, only one Live Nation venue is included in the program: \u003ca href=\"https://www.livenation.com/venue/KovZpZAE6eeA/the-fillmore-events\">The Fillmore\u003c/a>, the historic, 1,315-capacity concert hall. For over 30 years, artists playing at The Fillmore “counted in” their T-shirts, albums and other merch, and, at the end of the show, “counted out” so the club could tally the night’s income and calculate the amount of profit to take.\u003c/p>\n\u003cp>\u003ca href=\"https://weareumaw.org/\">United Musicians and Allied Workers\u003c/a> (UMAW), an artist advocacy group, says it’s common for venues to take 15%-35% of merch sales, and some artists have reported fees as high as 40% at recent shows. [aside postid='arts_13857471']\u003c/p>\n\u003cp>On the Road Again also promises bonuses for tour staff and local promoters, and will contribute $5 million to Crew Nation, a global relief fund for live music crews facing hardship. Additional Live Nation venues in the Bay Area, including the Masonic, are not listed as participants. Statewide, 14 similarly sized clubs are included in the program, including The Wiltern in Los Angeles and Ace of Spades in Sacramento.\u003c/p>\n\u003cp>The initiative arrives at a challenging time for artists in today’s music industry, where visibility and acclaim do not translate to financial success. While Spotify and other streaming services pay \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">fractions of pennies per stream\u003c/a>, touring and merch sales have become the primary source of income for emerging and mid-level musicians. 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While La Doña handles many business aspects of her tour herself, it’s common for artists to pay booking agents, tour managers and publicists. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“O\u003c/span>ftentimes you can’t really get an offer that will support all of that,” she says. “Most artists \u003cspan style=\"font-weight: 400\">—\u003c/span> I know I do \u003cspan style=\"font-weight: 400\">—\u003c/span> usually end up paying out of pocket to go on tour, which is why you don’t do it very much.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For La Doña, merch sales are critical, and can account for up to a third of the money made each night. She hopes that On the Road Again will inspire more venues to let artists keep the profits from their merch tables, which would allow more diverse acts to succeed in the industry. “Y\u003c/span>ou don’t really get to see some of the best and most interesting musicians live because it’s tough to be on the road,” she notes.\u003c/p>\n\u003cp>[aside postid='arts_13934286']Some artists say that the economics of the industry have brought them close to quitting altogether. “You are either losing money, breaking even or coming home with such a little amount of money for such a big amount of work,” said Bethany Cosentino of Best Coast in a \u003ca href=\"https://www.tiktok.com/@bethanycosentino/video/7278097326621592878?lang=en\">TikTok video posted on Sept. 12\u003c/a>. “Most days I wake up and I question why I’m still even in this industry. There is no stability.”\u003c/p>\n\u003cp>In 2022, UMAW launched a campaign called \u003ca href=\"https://weareumaw.org/news/mymerch-campaign-launch\">#MyMerch\u003c/a>, through which 160 venues have so far pledged to stop charging artists for merch sales. 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(Rapino’s own total compensation for 2022 totaled $139 million.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, live music is clearly profitable — but artists aren’t seeing the payoff. New policies at clubs like the Fillmore could be the start of a change small musicians are asking for. “We hope that more [Live Nation] venues (especially small ones) will join the On the Road Again program,” UMAW wrote in an Instagram post on Tuesday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“This was our strongest second quarter ever, with 2023 on pace to be a record year, and early indicators for 2024 giving us confidence in continued growth,” said Live Nation Entertainment CEO and President Michael Rapino in a report to investors. (Rapino’s own total compensation for 2022 totaled $139 million.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, live music is clearly profitable — but artists aren’t seeing the payoff. New policies at clubs like the Fillmore could be the start of a change small musicians are asking for. “We hope that more [Live Nation] venues (especially small ones) will join the On the Road Again program,” UMAW wrote in an Instagram post on Tuesday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Senators Are Calling on the Justice Department to Look Into Ticketmaster’s Practices",
"headTitle": "Senators Are Calling on the Justice Department to Look Into Ticketmaster’s Practices | KQED",
"content": "\u003cp>Almost exactly one month after senators \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">held a hearing\u003c/a> on issues in the ticketing industry, they are calling on the U.S. Department of Justice to continue examining what they call the “anticompetitive conduct” of Ticketmaster and its parent company, Live Nation.\u003c/p>\n\u003cp>The ticketing giant came under renewed scrutiny after the \u003ca href=\"https://www.npr.org/2022/11/17/1137465465/taylor-swift-ticketmaster-klobuchar-tennessee\">Taylor Swift presale debacle\u003c/a> in November, which prompted widespread accusations of monopolistic behavior (as well as several state consumer protection investigations and a fan-led \u003ca href=\"https://www.npr.org/2022/12/06/1140968805/taylor-swift-fans-ticketmaster-lawsuit\">antitrust lawsuit\u003c/a>).\u003c/p>\n\u003cp>[aside postid='arts_13921777']The Justice Department had \u003ca href=\"https://www.nytimes.com/2022/11/18/technology/live-nation-ticketmaster-investigation-taylor-swift.html\">reportedly opened\u003c/a> an antitrust investigation into the company even before that ill-fated sale. NPR has reached out to Justice Department for comment.\u003c/p>\n\u003cp>Live Nation has acknowledged areas of improvement, especially when it comes to bots and scalpers, but has repeatedly — both in \u003ca href=\"https://www.livenationentertainment.com/2022/11/a-statement-from-live-nation-entertainment-2/\">written statements\u003c/a> and congressional testimony — denied engaging in behavior that would justify antitrust litigation or changes to its business practices.\u003c/p>\n\u003cp>On Thursday, the company issued a \u003ca href=\"https://www.livenationentertainment.com/2023/02/statement-from-live-nation-entertainment/\">new statement\u003c/a> urging people to “focus on the facts.” Live Nation has submitted “more than 35 pages of information” in recent weeks in an effort to provide context and transparency to policymakers “on the realities of the industry,” it said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We believe that policymakers would benefit from asking more questions about the chaos caused by scalpers and the resale-first side of the industry,” the statement added.\u003c/p>\n\u003cp>The company says it supports reforms to ticketing practices, including those it has outlined in \u003ca href=\"https://www.livenationentertainment.com/2023/02/live-nation-entertainment-announces-support-for-a-fair-ticketing-act/\">a proposal it called the “FAIR Ticketing Act.”\u003c/a>\u003c/p>\n\u003cp>Live Nation’s efforts have evidently done little to assuage the concerns of lawmakers on both sides of the aisle who have demanded answers and now say they aren’t satisfied with what they’ve gotten so far.\u003c/p>\n\u003cfigure id=\"attachment_13925511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-800x600.jpg\" alt=\"A man with a receding hairline smiles and leans to the right towards a smiling woman wearing a pink suit. She has a small microphone in front of her and a sign that reads 'Ms. Klobuchar.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sen. Mike Lee, R-Utah speaks with Sen. Amy Klobuchar, D-Minn., during a Senate Judiciary Committee hearing to examine promoting competition and protecting consumers in live entertainment on Capitol Hill in Washington, Tuesday, Jan. 24, 2023. \u003ccite>(AP Photo/Andrew Harnik))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sens. Amy Klobuchar, D-Minn., and Mike Lee, R-Utah — who lead the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights — \u003ca href=\"https://www.klobuchar.senate.gov/public/_cache/files/4/5/45fa9671-39a0-4749-bb9c-184e44196d42/74F90B7BF1BDBE3A06829530913FB8A3.klobuchar-lee-letter.pdf\">sent a letter\u003c/a> on Wednesday to the Justice Department presenting evidence from the January hearing and urging it to follow up on unanswered questions.\u003c/p>\n\u003cp>Writing to Jonathan Kanter, the assistant attorney general for the Antitrust Division, the senators stressed that all of the witnesses except for Live Nation’s president had testified that the company’s practices harm the music industry. And they said Live Nation hasn’t sufficiently responded to all of their questions, both at the hearing and after.\u003c/p>\n\u003cp>“Live Nation’s responses amount to ‘trust us.’ We believe that is wholly insufficient,” they wrote. “We thank you for your prompt attention to these matters and encourage the Antitrust Division to take action if it finds that Ticketmaster has walled itself off from competitive pressure at the expense of the industry and fans.”\u003c/p>\n\u003ch3>These are the questions that lawmakers want answered\u003c/h3>\n\u003cp>The senators’ letter is divided into two main lists: allegations against Ticketmaster and follow-up questions to which they found the company’s response lacking.\u003c/p>\n\u003cp>[aside postid='arts_13923059']The hearing featured testimony from antitrust experts, entertainment company executives and a musician, who collectively painted a picture of an industry that is dominated by one oversized company at the expense of fans, venues and artists.\u003c/p>\n\u003cp>Some of the issues they raised involved Live Nation’s pricing models and fees, increasingly long contracts with competitors and alleged retaliatory behavior against artists and venues that don’t want to work with it.\u003c/p>\n\u003cp>Lawmakers in the room seemed to agree that the company’s dominance poses a problem in the industry, even if they had different ideas for how to address it. After the hearing, the subcommittee leaders sent Live Nation \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=153645B0-39D9-45A0-A3DA-A5BAAC487D6E\">a letter\u003c/a> with seven additional questions, requesting a response by Feb. 15.\u003c/p>\n\u003cp>“As the hearing demonstrated, there is a strong bipartisan consensus about taking steps to improve the way America’s ticketing industry functions,” they wrote. “We must ensure that we have competition in the market to drive down prices, encourage companies to innovate, and give consumers choice.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.livenationentertainment.com/wp-content/uploads/2023/02/Response-to-Senate-Judiciary-Written-Questions-2.14.23-FINAL1.pdf\">a 38-page response dated Feb. 14\u003c/a>, Live Nation claimed that both primary and secondary ticketing markets are “highly competitive.”\u003c/p>\n\u003cp>“Ticketmaster remains the largest primary ticketing company, but it has steadily lost market share and has lowered pricing despite having by far the best product in the industry — sure signs that it is not the monopolist that some claim,” it said.\u003c/p>\n\u003cp>The letter, signed by executive vice president for corporate and regulatory affairs Daniel Wall, also urged Congress to take action against bots, to ban fraudulent resale practices and to mandate the ability for artists and other event providers to set their own resale terms on all ticketing websites.\u003c/p>\n\u003cp>[aside postid='arts_13861791']But Klobuchar and Lee say Live Nation “largely failed” to answer lawmakers’ questions.\u003c/p>\n\u003cp>Senators asked how many concerts each year were promoted by Live Nation and ticketed by Ticketmaster. It says the company said it was “unable to determine” the answer “in the time available” but did not ask for an extension.\u003c/p>\n\u003cp>They also asked Live Nation if it would commit to having third-party audits to confirm that it isn’t retaliating, in threat or actuality, against venues that pursue other ticketing providers.\u003c/p>\n\u003cp>Lawmakers say Live Nation refused, responding: “Live Nation does not need to be subject to a consent decree or any similar legal obligation to refrain from retaliating against a venue for using another company’s ticketing services, and from threatening to retaliate for such choosing of another ticketing company.”\u003c/p>\n\u003cp>There are also several questions that senators say Live Nation didn’t answer at all, including about how many of the top 100 arenas it provides ticketing services for and whether it’s entered into any agreements with venues where the contract term for ticketing services is longer than five years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Justice Department has not confirmed or commented publicly on a potential antitrust investigation into Live Nation, though Klobuchar and other senators have said that the evidence gathered at their recent hearing could be useful for such a probe — as well as for passing legislation in this area.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Senators+are+calling+on+the+Justice+Department+to+look+into+Ticketmaster%27s+practices+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost exactly one month after senators \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">held a hearing\u003c/a> on issues in the ticketing industry, they are calling on the U.S. Department of Justice to continue examining what they call the “anticompetitive conduct” of Ticketmaster and its parent company, Live Nation.\u003c/p>\n\u003cp>The ticketing giant came under renewed scrutiny after the \u003ca href=\"https://www.npr.org/2022/11/17/1137465465/taylor-swift-ticketmaster-klobuchar-tennessee\">Taylor Swift presale debacle\u003c/a> in November, which prompted widespread accusations of monopolistic behavior (as well as several state consumer protection investigations and a fan-led \u003ca href=\"https://www.npr.org/2022/12/06/1140968805/taylor-swift-fans-ticketmaster-lawsuit\">antitrust lawsuit\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Justice Department had \u003ca href=\"https://www.nytimes.com/2022/11/18/technology/live-nation-ticketmaster-investigation-taylor-swift.html\">reportedly opened\u003c/a> an antitrust investigation into the company even before that ill-fated sale. NPR has reached out to Justice Department for comment.\u003c/p>\n\u003cp>Live Nation has acknowledged areas of improvement, especially when it comes to bots and scalpers, but has repeatedly — both in \u003ca href=\"https://www.livenationentertainment.com/2022/11/a-statement-from-live-nation-entertainment-2/\">written statements\u003c/a> and congressional testimony — denied engaging in behavior that would justify antitrust litigation or changes to its business practices.\u003c/p>\n\u003cp>On Thursday, the company issued a \u003ca href=\"https://www.livenationentertainment.com/2023/02/statement-from-live-nation-entertainment/\">new statement\u003c/a> urging people to “focus on the facts.” Live Nation has submitted “more than 35 pages of information” in recent weeks in an effort to provide context and transparency to policymakers “on the realities of the industry,” it said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We believe that policymakers would benefit from asking more questions about the chaos caused by scalpers and the resale-first side of the industry,” the statement added.\u003c/p>\n\u003cp>The company says it supports reforms to ticketing practices, including those it has outlined in \u003ca href=\"https://www.livenationentertainment.com/2023/02/live-nation-entertainment-announces-support-for-a-fair-ticketing-act/\">a proposal it called the “FAIR Ticketing Act.”\u003c/a>\u003c/p>\n\u003cp>Live Nation’s efforts have evidently done little to assuage the concerns of lawmakers on both sides of the aisle who have demanded answers and now say they aren’t satisfied with what they’ve gotten so far.\u003c/p>\n\u003cfigure id=\"attachment_13925511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-800x600.jpg\" alt=\"A man with a receding hairline smiles and leans to the right towards a smiling woman wearing a pink suit. She has a small microphone in front of her and a sign that reads 'Ms. Klobuchar.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sen. Mike Lee, R-Utah speaks with Sen. Amy Klobuchar, D-Minn., during a Senate Judiciary Committee hearing to examine promoting competition and protecting consumers in live entertainment on Capitol Hill in Washington, Tuesday, Jan. 24, 2023. \u003ccite>(AP Photo/Andrew Harnik))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sens. Amy Klobuchar, D-Minn., and Mike Lee, R-Utah — who lead the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights — \u003ca href=\"https://www.klobuchar.senate.gov/public/_cache/files/4/5/45fa9671-39a0-4749-bb9c-184e44196d42/74F90B7BF1BDBE3A06829530913FB8A3.klobuchar-lee-letter.pdf\">sent a letter\u003c/a> on Wednesday to the Justice Department presenting evidence from the January hearing and urging it to follow up on unanswered questions.\u003c/p>\n\u003cp>Writing to Jonathan Kanter, the assistant attorney general for the Antitrust Division, the senators stressed that all of the witnesses except for Live Nation’s president had testified that the company’s practices harm the music industry. And they said Live Nation hasn’t sufficiently responded to all of their questions, both at the hearing and after.\u003c/p>\n\u003cp>“Live Nation’s responses amount to ‘trust us.’ We believe that is wholly insufficient,” they wrote. “We thank you for your prompt attention to these matters and encourage the Antitrust Division to take action if it finds that Ticketmaster has walled itself off from competitive pressure at the expense of the industry and fans.”\u003c/p>\n\u003ch3>These are the questions that lawmakers want answered\u003c/h3>\n\u003cp>The senators’ letter is divided into two main lists: allegations against Ticketmaster and follow-up questions to which they found the company’s response lacking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hearing featured testimony from antitrust experts, entertainment company executives and a musician, who collectively painted a picture of an industry that is dominated by one oversized company at the expense of fans, venues and artists.\u003c/p>\n\u003cp>Some of the issues they raised involved Live Nation’s pricing models and fees, increasingly long contracts with competitors and alleged retaliatory behavior against artists and venues that don’t want to work with it.\u003c/p>\n\u003cp>Lawmakers in the room seemed to agree that the company’s dominance poses a problem in the industry, even if they had different ideas for how to address it. After the hearing, the subcommittee leaders sent Live Nation \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=153645B0-39D9-45A0-A3DA-A5BAAC487D6E\">a letter\u003c/a> with seven additional questions, requesting a response by Feb. 15.\u003c/p>\n\u003cp>“As the hearing demonstrated, there is a strong bipartisan consensus about taking steps to improve the way America’s ticketing industry functions,” they wrote. “We must ensure that we have competition in the market to drive down prices, encourage companies to innovate, and give consumers choice.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.livenationentertainment.com/wp-content/uploads/2023/02/Response-to-Senate-Judiciary-Written-Questions-2.14.23-FINAL1.pdf\">a 38-page response dated Feb. 14\u003c/a>, Live Nation claimed that both primary and secondary ticketing markets are “highly competitive.”\u003c/p>\n\u003cp>“Ticketmaster remains the largest primary ticketing company, but it has steadily lost market share and has lowered pricing despite having by far the best product in the industry — sure signs that it is not the monopolist that some claim,” it said.\u003c/p>\n\u003cp>The letter, signed by executive vice president for corporate and regulatory affairs Daniel Wall, also urged Congress to take action against bots, to ban fraudulent resale practices and to mandate the ability for artists and other event providers to set their own resale terms on all ticketing websites.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Klobuchar and Lee say Live Nation “largely failed” to answer lawmakers’ questions.\u003c/p>\n\u003cp>Senators asked how many concerts each year were promoted by Live Nation and ticketed by Ticketmaster. It says the company said it was “unable to determine” the answer “in the time available” but did not ask for an extension.\u003c/p>\n\u003cp>They also asked Live Nation if it would commit to having third-party audits to confirm that it isn’t retaliating, in threat or actuality, against venues that pursue other ticketing providers.\u003c/p>\n\u003cp>Lawmakers say Live Nation refused, responding: “Live Nation does not need to be subject to a consent decree or any similar legal obligation to refrain from retaliating against a venue for using another company’s ticketing services, and from threatening to retaliate for such choosing of another ticketing company.”\u003c/p>\n\u003cp>There are also several questions that senators say Live Nation didn’t answer at all, including about how many of the top 100 arenas it provides ticketing services for and whether it’s entered into any agreements with venues where the contract term for ticketing services is longer than five years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Justice Department has not confirmed or commented publicly on a potential antitrust investigation into Live Nation, though Klobuchar and other senators have said that the evidence gathered at their recent hearing could be useful for such a probe — as well as for passing legislation in this area.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Senators+are+calling+on+the+Justice+Department+to+look+into+Ticketmaster%27s+practices+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé’s Renaissance Tour is Ticketmaster’s Next Big Test. Fans Are Already Stressed",
"headTitle": "Beyoncé’s Renaissance Tour is Ticketmaster’s Next Big Test. Fans Are Already Stressed | KQED",
"content": "\u003cp>News of Beyoncé’s first solo tour in more than six years has her many fans celebrating — and stressing out about whether they’ll actually be able to get tickets.\u003c/p>\n\u003cp>The singer \u003ca href=\"https://tour.beyonce.com/\">announced on Wednesday\u003c/a> that she will bring her \u003ca href=\"https://www.npr.org/2023/01/18/1149719027/beyonces-grammy-nominated-renaissance-is-a-thotty-and-ethereal-work-of-art\">Grammy-nominated album\u003c/a> \u003cem>Renaissance\u003c/em> to cities across Europe and North America between May and September, opening in Stockholm and ending in New Orleans.\u003c/p>\n\u003cp>Fans have been eagerly awaiting her return to venues since \u003cem>Renaissance\u003c/em> \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">dropped last summer\u003c/a>, if not earlier.\u003c/p>\n\u003cp>https://www.instagram.com/p/CoHxOQhrTHX/\u003c/p>\n\u003cp>Beyoncé’s last solo tour was \u003cem>Lemonade\u003c/em>, though she performed with her husband Jay-Z on his \u003cem>On the Run Tour II\u003c/em> in 2018. She took to the stage for the first time since at the end of January, when she headlined a private show at the opening of a \u003ca href=\"https://www.bbc.com/news/newsbeat-64371662\">luxury hotel in Dubai\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first round of ticket sales will open to members of Beyoncé’s official fan club on Monday through Ticketmaster, which is already facing heightened scrutiny for its botched Taylor Swift presale in November.\u003c/p>\n\u003cp>[aside postid='arts_13921777']\u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">Fans and lawmakers alike\u003c/a> say Ticketmaster’s problems run much deeper than the one concern, accusing it of being a monopoly (which its executives have denied) and calling for changes in the ticketing industry.\u003c/p>\n\u003cp>The company has apologized for the Swift presale chaos, which it blamed on outsize demand and bot attacks. Live Nation President and Chief Financial Officer Joe Berchtold told lawmakers at last month’s hearing that “we need to do better and we will do better.”\u003c/p>\n\u003cp>Many are wondering (and in some cases, doubting) whether sales will go more smoothly this time around. \u003ca href=\"https://www.npr.org/sections/therecord/2014/03/17/258155902/how-sweet-it-is-to-be-loved-by-you-the-beyhive\">The BeyHive\u003c/a>, as Beyoncé’s fandom is known, is bracing for what could be another frenzy.\u003c/p>\n\u003cp>Fans are flooding social media with their simultaneous excitement and concern about the prospect of snagging tickets to the highly anticipated tour. Some are \u003ca href=\"https://twitter.com/TheHilaryBuff/status/1620617690514866179?s=20&t=mbYp1cXIFlF7JpIHQTk9RQ\">jokingly dissing Beyoncé\u003c/a> to discourage potential buyers, others are \u003ca href=\"https://twitter.com/rgay/status/1620849849750155264?s=20&t=XZrmHKAEqUHpWGRwUOw_QQ\">poking fun at the pressure\u003c/a> Ticketmaster is facing from devotees like themselves.\u003c/p>\n\u003cp>https://twitter.com/TheHilaryBuff/status/1620617690514866179?s=20&t=mbYp1cXIFlF7JpIHQTk9RQ\u003c/p>\n\u003cp>The stakes are high: Senators slammed Ticketmaster’s market power at the hearing and have expressed interest in pursuing antitrust legislation, while the U.S. Justice Department \u003ca href=\"https://www.nytimes.com/2022/11/18/technology/live-nation-ticketmaster-investigation-taylor-swift.html\">is reported to be\u003c/a> investigating its parent company, Live Nation — which \u003ca href=\"https://www.npr.org/2022/12/06/1140968805/taylor-swift-fans-ticketmaster-lawsuit\">Swift fans are suing\u003c/a> over allegations of fraud and antitrust violations.\u003c/p>\n\u003cp>“Has Ticketmaster learned who run the world? Girls. Beyoncé. Taylor Swift. Fans. All of us are watching,” tweeted \u003ca href=\"https://twitter.com/SenBlumenthal/status/1620992854142365697?s=20&t=2rHle2XpB4DIrNL_dLcq8g\">Sen. Richard Blumenthal\u003c/a> (D-Conn.), a vocal advocate for antitrust reform and critic of the company’s behavior (and no stranger to \u003ca href=\"https://twitter.com/NBCNews/status/1617974292351778825?s=20&t=FJAOndLIl1mKja4b24XfBw\">referencing song lyrics\u003c/a>).\u003c/p>\n\u003ch3>Ticketmaster doesn’t expect to meet demand\u003c/h3>\n\u003cp>Ticketmaster and Beyoncé also appear to be bracing for overwhelming demand, trying to prioritize her biggest fans and warning that some will inevitably be disappointed.\u003c/p>\n\u003cp>[aside postid='arts_13923059']The North American leg of the Renaissance tour is using Ticketmaster’s \u003ca href=\"https://blog.ticketmaster.com/verifiedfan-faq/\">Verified Fan\u003c/a> system and starts with an exclusive sale to BeyHive members.\u003c/p>\n\u003cp>That’s presumably anyone who signs up for Beyoncé’s mailing list through her official website (though \u003ca href=\"https://www.hitc.com/en-gb/2023/02/02/beyhive-member-sign-up-page-disappears-as-beyonce-fans-seek-out-presale-tickets/\">some tweeted\u003c/a> that the signup page had disappeared from the site after the tour announcement).\u003c/p>\n\u003cp>The Verified Fan system aims to get tickets to real people and away from bots and professional resellers, by having fans register in advance for their preferred shows and vetting them individually.\u003c/p>\n\u003cp>But just because you’re verified doesn’t mean you’ll get a ticket. When demand is high, the company uses a lottery system to determine who gets an access code for the sale and who gets put on a waitlist.\u003c/p>\n\u003cp>“We expect there will be more demand than there are tickets available and a lottery-style process will determine which registered Verified Fans receive a unique access code and which are put on the waitlist,” \u003ca href=\"https://beyonce.livenation.com/\">Ticketmaster says\u003c/a> of Beyoncé’s tour.\u003c/p>\n\u003ch3>Taylor Swift’s Eras Tour wasn’t Ticketmaster’s first controversy\u003c/h3>\n\u003cp>Ticketmaster’s Renaissance tour warning has echoes in the \u003ca href=\"https://business.ticketmaster.com/business-solutions/taylor-swift-the-eras-tour-onsale-explained/\">public apology\u003c/a> its executives issued after Swift’s Eras Tour presale.\u003c/p>\n\u003cp>At the time, it said more than 3.5 million people registered as verified fans, with 1.5 million chosen to buy tickets and the other 2 million placed on the waiting list. It sold a record 2 million tickets on the first day of presale, but ended up experiencing more technical issues on the second day before canceling the general sale altogether.\u003c/p>\n\u003cp>[aside postid='arts_13861791']Swift said in a statement of her own that she had been assured multiple times the company was prepared for the demand.\u003c/p>\n\u003cp>“It’s really difficult for me to trust an outside entity with these relationships and loyalties, and excruciating for me to just watch mistakes happen with no recourse,” wrote Swift, who has been otherwise quiet about the issue (while her fans have been extremely vocal).\u003c/p>\n\u003cp>While company executives blamed bots, Ticketmaster’s critics say their issues with the company go far beyond what happened in November. Artists like Bad Bunny, BTS, Bruce Springsteen and Harry Styles have had issues with ticketing too, Sen. Amy Klobuchar, D-Minn., \u003ca href=\"https://www.npr.org/2023/01/24/1150942797/senate-panel-hearing-will-look-into-ticketmasters-dominance-in-live-entertainmen\">told \u003cem>Morning Edition\u003c/em>\u003c/a> before the hearing last month.\u003c/p>\n\u003cp>At the hearing, lawmakers from both parties, smaller entertainment company executives and a musician spoke about how the lack of competition in the ticketing industry hurts artists as well as fans. They fear that will be the case as long as Live Nation remains both the dominant concert promoter and ticket platform in the U.S.\u003c/p>\n\u003cp>Beyoncé fans “have reason to be concerned,” says Daniel Avital, chief strategy officer for CHEQ — a cybersecurity company focused on protecting businesses from bots.\u003c/p>\n\u003cp>“If a scalping attack of these proportions occurred once on Ticketmaster, it is likely to occur again,” unless more robust security measures are put in place, he told NPR via email.\u003c/p>\n\u003ch3>What to know if you’re looking for tickets\u003c/h3>\n\u003cp>Ticketmaster seems to be running things a little bit differently this time.\u003c/p>\n\u003cp>It’s divided registration into three groups of cities (though it says people can register for multiple groups). Each has its own deadline to register for presale tickets, starting Thursday night and ending Feb. 16.\u003c/p>\n\u003cp>[aside postid='arts_13841293']There are other steps fans can take to try to up their odds. Citi cardmembers can access presale tickets by registering with their credit or debit card number, and members of the Verizon Up rewards program can participate \u003ca href=\"https://www.verizon.com/featured/verizon-up/\">through its website\u003c/a>.\u003c/p>\n\u003cp>The Points Guy \u003ca href=\"https://thepointsguy.com/news/presale-tickets-beyonce-tour/\">offers tips\u003c/a> for anyone trying to snag presale tickets, including: add your eligible card to your Ticketmaster account ahead of time, sign in early and from a strong Wi-Fi network if possible and only refresh the page in very limited circumstances.\u003c/p>\n\u003cp>If you feel exhausted at the thought of strategizing, you’re not alone. Music writer Corbin Reiff put it this way \u003ca href=\"https://twitter.com/CorbinReiff/status/1620834530889449472?s=20&t=8Ag60jwMthCER99nQeGDnw\">in a tweet\u003c/a>:\u003c/p>\n\u003cp>“Hey, remember when concert tour announcements were exciting news drops instead of harbingers of an impossibly complicated and bewilderingly expensive buying process that ruins the entire experience before it ever kicks off?” he wrote, thanking Ticketmaster sarcastically.\u003c/p>\n\u003cp>https://twitter.com/CorbinReiff/status/1620834530889449472\u003c/p>\n\u003ch3>Dates and prices may change\u003c/h3>\n\u003cp>It’s not yet clear how much North American tour tickets will cost, and it’s worth remembering that Ticketmaster’s controversial “\u003ca href=\"https://www.gobankingrates.com/saving-money/entertainment/what-ticketmasters-dynamic-pricing-means-for-your-wallet/\">dynamic pricing” model\u003c/a> adjusts the price of tickets based on consumer demand.\u003c/p>\n\u003cp>The first tickets for Beyoncé’s five United Kingdom dates went on sale Thursday, and the \u003ca href=\"https://www.bbc.com/news/entertainment-arts-64496382\">BBC reports\u003c/a> that standard prices were roughly the same as the 2018 tour.\u003c/p>\n\u003cp>It said customers of the telecommunications provider O2 were the first to get access, and some reported problems with its app and website. People who did buy tickets reported paying between the equivalent of $68 to $245 for standard tickets and up to nearly $2,940 for VIP “on stage” seats.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The U.S. and Canada are next. Be sure to double check the dates and locations of tour stops, as \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/02/01/beyonce-renaissance-tour-tickets-verified-fan-presale/11162728002/\">\u003cem>USA Today\u003c/em> reports\u003c/a> some have changed (and fans are speculating — and hoping — on Twitter that more may be added).\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+Renaissance+tour+is+Ticketmaster%27s+next+big+test.+Fans+are+already+stressed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>News of Beyoncé’s first solo tour in more than six years has her many fans celebrating — and stressing out about whether they’ll actually be able to get tickets.\u003c/p>\n\u003cp>The singer \u003ca href=\"https://tour.beyonce.com/\">announced on Wednesday\u003c/a> that she will bring her \u003ca href=\"https://www.npr.org/2023/01/18/1149719027/beyonces-grammy-nominated-renaissance-is-a-thotty-and-ethereal-work-of-art\">Grammy-nominated album\u003c/a> \u003cem>Renaissance\u003c/em> to cities across Europe and North America between May and September, opening in Stockholm and ending in New Orleans.\u003c/p>\n\u003cp>Fans have been eagerly awaiting her return to venues since \u003cem>Renaissance\u003c/em> \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">dropped last summer\u003c/a>, if not earlier.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé’s last solo tour was \u003cem>Lemonade\u003c/em>, though she performed with her husband Jay-Z on his \u003cem>On the Run Tour II\u003c/em> in 2018. She took to the stage for the first time since at the end of January, when she headlined a private show at the opening of a \u003ca href=\"https://www.bbc.com/news/newsbeat-64371662\">luxury hotel in Dubai\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first round of ticket sales will open to members of Beyoncé’s official fan club on Monday through Ticketmaster, which is already facing heightened scrutiny for its botched Taylor Swift presale in November.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">Fans and lawmakers alike\u003c/a> say Ticketmaster’s problems run much deeper than the one concern, accusing it of being a monopoly (which its executives have denied) and calling for changes in the ticketing industry.\u003c/p>\n\u003cp>The company has apologized for the Swift presale chaos, which it blamed on outsize demand and bot attacks. Live Nation President and Chief Financial Officer Joe Berchtold told lawmakers at last month’s hearing that “we need to do better and we will do better.”\u003c/p>\n\u003cp>Many are wondering (and in some cases, doubting) whether sales will go more smoothly this time around. \u003ca href=\"https://www.npr.org/sections/therecord/2014/03/17/258155902/how-sweet-it-is-to-be-loved-by-you-the-beyhive\">The BeyHive\u003c/a>, as Beyoncé’s fandom is known, is bracing for what could be another frenzy.\u003c/p>\n\u003cp>Fans are flooding social media with their simultaneous excitement and concern about the prospect of snagging tickets to the highly anticipated tour. Some are \u003ca href=\"https://twitter.com/TheHilaryBuff/status/1620617690514866179?s=20&t=mbYp1cXIFlF7JpIHQTk9RQ\">jokingly dissing Beyoncé\u003c/a> to discourage potential buyers, others are \u003ca href=\"https://twitter.com/rgay/status/1620849849750155264?s=20&t=XZrmHKAEqUHpWGRwUOw_QQ\">poking fun at the pressure\u003c/a> Ticketmaster is facing from devotees like themselves.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The stakes are high: Senators slammed Ticketmaster’s market power at the hearing and have expressed interest in pursuing antitrust legislation, while the U.S. Justice Department \u003ca href=\"https://www.nytimes.com/2022/11/18/technology/live-nation-ticketmaster-investigation-taylor-swift.html\">is reported to be\u003c/a> investigating its parent company, Live Nation — which \u003ca href=\"https://www.npr.org/2022/12/06/1140968805/taylor-swift-fans-ticketmaster-lawsuit\">Swift fans are suing\u003c/a> over allegations of fraud and antitrust violations.\u003c/p>\n\u003cp>“Has Ticketmaster learned who run the world? Girls. Beyoncé. Taylor Swift. Fans. All of us are watching,” tweeted \u003ca href=\"https://twitter.com/SenBlumenthal/status/1620992854142365697?s=20&t=2rHle2XpB4DIrNL_dLcq8g\">Sen. Richard Blumenthal\u003c/a> (D-Conn.), a vocal advocate for antitrust reform and critic of the company’s behavior (and no stranger to \u003ca href=\"https://twitter.com/NBCNews/status/1617974292351778825?s=20&t=FJAOndLIl1mKja4b24XfBw\">referencing song lyrics\u003c/a>).\u003c/p>\n\u003ch3>Ticketmaster doesn’t expect to meet demand\u003c/h3>\n\u003cp>Ticketmaster and Beyoncé also appear to be bracing for overwhelming demand, trying to prioritize her biggest fans and warning that some will inevitably be disappointed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The North American leg of the Renaissance tour is using Ticketmaster’s \u003ca href=\"https://blog.ticketmaster.com/verifiedfan-faq/\">Verified Fan\u003c/a> system and starts with an exclusive sale to BeyHive members.\u003c/p>\n\u003cp>That’s presumably anyone who signs up for Beyoncé’s mailing list through her official website (though \u003ca href=\"https://www.hitc.com/en-gb/2023/02/02/beyhive-member-sign-up-page-disappears-as-beyonce-fans-seek-out-presale-tickets/\">some tweeted\u003c/a> that the signup page had disappeared from the site after the tour announcement).\u003c/p>\n\u003cp>The Verified Fan system aims to get tickets to real people and away from bots and professional resellers, by having fans register in advance for their preferred shows and vetting them individually.\u003c/p>\n\u003cp>But just because you’re verified doesn’t mean you’ll get a ticket. When demand is high, the company uses a lottery system to determine who gets an access code for the sale and who gets put on a waitlist.\u003c/p>\n\u003cp>“We expect there will be more demand than there are tickets available and a lottery-style process will determine which registered Verified Fans receive a unique access code and which are put on the waitlist,” \u003ca href=\"https://beyonce.livenation.com/\">Ticketmaster says\u003c/a> of Beyoncé’s tour.\u003c/p>\n\u003ch3>Taylor Swift’s Eras Tour wasn’t Ticketmaster’s first controversy\u003c/h3>\n\u003cp>Ticketmaster’s Renaissance tour warning has echoes in the \u003ca href=\"https://business.ticketmaster.com/business-solutions/taylor-swift-the-eras-tour-onsale-explained/\">public apology\u003c/a> its executives issued after Swift’s Eras Tour presale.\u003c/p>\n\u003cp>At the time, it said more than 3.5 million people registered as verified fans, with 1.5 million chosen to buy tickets and the other 2 million placed on the waiting list. It sold a record 2 million tickets on the first day of presale, but ended up experiencing more technical issues on the second day before canceling the general sale altogether.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Swift said in a statement of her own that she had been assured multiple times the company was prepared for the demand.\u003c/p>\n\u003cp>“It’s really difficult for me to trust an outside entity with these relationships and loyalties, and excruciating for me to just watch mistakes happen with no recourse,” wrote Swift, who has been otherwise quiet about the issue (while her fans have been extremely vocal).\u003c/p>\n\u003cp>While company executives blamed bots, Ticketmaster’s critics say their issues with the company go far beyond what happened in November. Artists like Bad Bunny, BTS, Bruce Springsteen and Harry Styles have had issues with ticketing too, Sen. Amy Klobuchar, D-Minn., \u003ca href=\"https://www.npr.org/2023/01/24/1150942797/senate-panel-hearing-will-look-into-ticketmasters-dominance-in-live-entertainmen\">told \u003cem>Morning Edition\u003c/em>\u003c/a> before the hearing last month.\u003c/p>\n\u003cp>At the hearing, lawmakers from both parties, smaller entertainment company executives and a musician spoke about how the lack of competition in the ticketing industry hurts artists as well as fans. They fear that will be the case as long as Live Nation remains both the dominant concert promoter and ticket platform in the U.S.\u003c/p>\n\u003cp>Beyoncé fans “have reason to be concerned,” says Daniel Avital, chief strategy officer for CHEQ — a cybersecurity company focused on protecting businesses from bots.\u003c/p>\n\u003cp>“If a scalping attack of these proportions occurred once on Ticketmaster, it is likely to occur again,” unless more robust security measures are put in place, he told NPR via email.\u003c/p>\n\u003ch3>What to know if you’re looking for tickets\u003c/h3>\n\u003cp>Ticketmaster seems to be running things a little bit differently this time.\u003c/p>\n\u003cp>It’s divided registration into three groups of cities (though it says people can register for multiple groups). Each has its own deadline to register for presale tickets, starting Thursday night and ending Feb. 16.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are other steps fans can take to try to up their odds. Citi cardmembers can access presale tickets by registering with their credit or debit card number, and members of the Verizon Up rewards program can participate \u003ca href=\"https://www.verizon.com/featured/verizon-up/\">through its website\u003c/a>.\u003c/p>\n\u003cp>The Points Guy \u003ca href=\"https://thepointsguy.com/news/presale-tickets-beyonce-tour/\">offers tips\u003c/a> for anyone trying to snag presale tickets, including: add your eligible card to your Ticketmaster account ahead of time, sign in early and from a strong Wi-Fi network if possible and only refresh the page in very limited circumstances.\u003c/p>\n\u003cp>If you feel exhausted at the thought of strategizing, you’re not alone. Music writer Corbin Reiff put it this way \u003ca href=\"https://twitter.com/CorbinReiff/status/1620834530889449472?s=20&t=8Ag60jwMthCER99nQeGDnw\">in a tweet\u003c/a>:\u003c/p>\n\u003cp>“Hey, remember when concert tour announcements were exciting news drops instead of harbingers of an impossibly complicated and bewilderingly expensive buying process that ruins the entire experience before it ever kicks off?” he wrote, thanking Ticketmaster sarcastically.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Dates and prices may change\u003c/h3>\n\u003cp>It’s not yet clear how much North American tour tickets will cost, and it’s worth remembering that Ticketmaster’s controversial “\u003ca href=\"https://www.gobankingrates.com/saving-money/entertainment/what-ticketmasters-dynamic-pricing-means-for-your-wallet/\">dynamic pricing” model\u003c/a> adjusts the price of tickets based on consumer demand.\u003c/p>\n\u003cp>The first tickets for Beyoncé’s five United Kingdom dates went on sale Thursday, and the \u003ca href=\"https://www.bbc.com/news/entertainment-arts-64496382\">BBC reports\u003c/a> that standard prices were roughly the same as the 2018 tour.\u003c/p>\n\u003cp>It said customers of the telecommunications provider O2 were the first to get access, and some reported problems with its app and website. People who did buy tickets reported paying between the equivalent of $68 to $245 for standard tickets and up to nearly $2,940 for VIP “on stage” seats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The U.S. and Canada are next. Be sure to double check the dates and locations of tour stops, as \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/02/01/beyonce-renaissance-tour-tickets-verified-fan-presale/11162728002/\">\u003cem>USA Today\u003c/em> reports\u003c/a> some have changed (and fans are speculating — and hoping — on Twitter that more may be added).\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+Renaissance+tour+is+Ticketmaster%27s+next+big+test.+Fans+are+already+stressed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster's Dominance",
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"content": "\u003cp>Ticket sales for Taylor Swift’s upcoming tour have not gone, in the words of the chart-topping singer, \u003ca href=\"https://www.npr.org/sections/now-playing/2021/11/12/1054886542/taylor-swift-all-too-well-10-minute-version-taylors-version-from-the-vault\">all too well\u003c/a>.\u003c/p>\n\u003cp>Mixed messages, long wait times and temporary \u003ca href=\"https://www.nbcnews.com/business/ticket-sales-taylor-swift-tour-reignite-fan-frustration-ticketmaster-rcna57164\">outages on the Ticketmaster website\u003c/a> left scores of fans frustrated and empty-handed when the first wave of tickets for the 52-date Eras Tour, scheduled for next year and Swift’s first since 2018, went on sale on Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13906513']Ticketmaster rescheduled additional rounds due to \u003ca href=\"https://twitter.com/Ticketmaster/status/1592579481449168898?s=20&t=aoZMp_rOwRJKG1d-0boJrQ\">what it called\u003c/a> “historically unprecedented demand,” saying “millions” had tried to buy pre-sale tickets and hundreds of thousands had done so successfully.\u003c/p>\n\u003cp>On Thursday afternoon, the day before tickets were due to open to the general public, \u003ca href=\"https://twitter.com/Ticketmaster/status/1593333211769106433?s=20&t=FUhACuptuukloKgaS0D_8A\">it announced\u003c/a> that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers. Would-be concertgoers have complained vocally about recent incidents with \u003ca href=\"https://www.npr.org/2021/12/10/1063237219/olivia-rodrigo-sour-tour-tickets\">near-instant sellouts\u003c/a> and \u003ca href=\"https://dailyhive.com/vancouver/ticketmaster-harry-styles-concert\">skyrocketing prices\u003c/a>, and artists like \u003ca href=\"https://www.nytimes.com/1994/07/01/arts/pearl-jam-musicians-testify-on-ticketmaster-s-prices.html\">Pearl Jam\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/bruce-springsteen-furious-at-ticketmaster-rails-against-live-nation-merger-97368/\">Bruce Springsteen\u003c/a> have feuded with it over the decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>[aside postid='arts_13846754']“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>[aside postid='arts_13841293']Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>[aside postid='arts_13884673']Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Taylor+Swift+ticket+fiasco+is+refocusing+a+spotlight+on+Ticketmaster%27s+dominance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ticket sales for Taylor Swift’s upcoming tour have not gone, in the words of the chart-topping singer, \u003ca href=\"https://www.npr.org/sections/now-playing/2021/11/12/1054886542/taylor-swift-all-too-well-10-minute-version-taylors-version-from-the-vault\">all too well\u003c/a>.\u003c/p>\n\u003cp>Mixed messages, long wait times and temporary \u003ca href=\"https://www.nbcnews.com/business/ticket-sales-taylor-swift-tour-reignite-fan-frustration-ticketmaster-rcna57164\">outages on the Ticketmaster website\u003c/a> left scores of fans frustrated and empty-handed when the first wave of tickets for the 52-date Eras Tour, scheduled for next year and Swift’s first since 2018, went on sale on Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster rescheduled additional rounds due to \u003ca href=\"https://twitter.com/Ticketmaster/status/1592579481449168898?s=20&t=aoZMp_rOwRJKG1d-0boJrQ\">what it called\u003c/a> “historically unprecedented demand,” saying “millions” had tried to buy pre-sale tickets and hundreds of thousands had done so successfully.\u003c/p>\n\u003cp>On Thursday afternoon, the day before tickets were due to open to the general public, \u003ca href=\"https://twitter.com/Ticketmaster/status/1593333211769106433?s=20&t=FUhACuptuukloKgaS0D_8A\">it announced\u003c/a> that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers. Would-be concertgoers have complained vocally about recent incidents with \u003ca href=\"https://www.npr.org/2021/12/10/1063237219/olivia-rodrigo-sour-tour-tickets\">near-instant sellouts\u003c/a> and \u003ca href=\"https://dailyhive.com/vancouver/ticketmaster-harry-styles-concert\">skyrocketing prices\u003c/a>, and artists like \u003ca href=\"https://www.nytimes.com/1994/07/01/arts/pearl-jam-musicians-testify-on-ticketmaster-s-prices.html\">Pearl Jam\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/bruce-springsteen-furious-at-ticketmaster-rails-against-live-nation-merger-97368/\">Bruce Springsteen\u003c/a> have feuded with it over the decades.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Taylor+Swift+ticket+fiasco+is+refocusing+a+spotlight+on+Ticketmaster%27s+dominance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Live Nation, a Company Behind Astroworld, Has a Long History of Safety Violations",
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"content": "\u003cp>Rapper Travis Scott was the most recognizable figure associated with Astroworld, the Houston music festival that \u003ca href=\"https://www.npr.org/2021/11/08/1053425095/astroworld-festival-travis-scott-concert\" target=\"_blank\" rel=\"noopener noreferrer\">ended in tragedy Friday\u003c/a> evening when eight people died and hundreds more were injured. Also among the event organizers, however, was the conglomerate Live Nation, the world’s largest live-events company—and one that has already been linked to hundreds of deaths and injuries in the past 15 years.\u003c/p>\n\u003cp>[aside postid='arts_13905983']Live Nation Entertainment and its subsidiary Live Nation Worldwide have been connected to about 200 deaths and at least 750 injuries since 2006, the \u003ca href=\"https://www.houstonchronicle.com/news/houston-texas/article/Astroworld-Festival-concert-producer-has-history-16597508.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Houston Chronicle \u003c/em>\u003c/a>reported on Monday after searching past court records, Occupational Safety and Health Administration (OSHA) reports and news coverage. NPR has also found numerous OSHA citations against Live Nation.\u003c/p>\n\u003cp>In a message \u003ca href=\"https://twitter.com/LiveNation/status/1457076597052166145?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">posted\u003c/a> to social media on Saturday, the company wrote: “Heartbroken for those lost and impacted at Astroworld last night. We will continue working to provide as much information and assistance as possible to the local authorities as they investigate the situation.”\u003c/p>\n\u003cp>Houston Public Media reported Monday that \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/arts-culture-news/2021/11/08/412891/victims-from-travis-scotts-astroworld-have-begun-to-sue-the-houston-rapper-and-concert-organizers/\" target=\"_blank\" rel=\"noopener noreferrer\">at least 12\u003c/a> lawsuits have been filed against Travis Scott as well as Live Nation thus far. Other defendants in the suits include Drake, who was also performing at the event, and the festival’s venue, NRG Park.\u003c/p>\n\u003cp>In a statement to NPR on Monday afternoon, Live Nation wrote: “We continue to support and assist local authorities in their ongoing investigation so that both the fans who attended and their families can get the answers they want and deserve, and we will address all legal matters at the appropriate time.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement Live Nation published on social media Monday afternoon, the company \u003ca href=\"https://twitter.com/LiveNation/status/1457781719885516809?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">added\u003c/a>: “Load out of the site and equipment is currently paused to give investigators the time they requested to walk and document the grounds. Full refunds are being offered for all those who purchased tickets.”\u003c/p>\n\u003cp>The statement continued: “And most importantly we are working on ways to support attendees, the families of victims, and staff, from providing mental health counseling to setting up a health fund to help with costs for medical expenses. Our entire team is mourning alongside the community.”\u003c/p>\n\u003cp>[aside postid='pop_84656']The Live Nation-linked incidents reported by the \u003cem>Houston Chronicle\u003c/em> include deaths and injuries committed by intruders, including the suicide bomber who \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/22/529588482/british-police-confirm-deaths-after-explosion-at-manchester-arena-concert\" target=\"_blank\" rel=\"noopener noreferrer\">attacked\u003c/a> an Ariana Grande concert in Manchester, England, in 2017 and the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">mass shooting\u003c/a> at the Route 91 Harvest country music festival in Las Vegas later that year.\u003c/p>\n\u003cp>However, those incidents also include a 2011 stage collapse in Indiana in which seven people were killed and 61 injured; the company settled with the victims for $50 million. In a 2013 incident, a concert staffer in Long Island, N.Y., suffered brain damage after a forklift tipped over the booth he had been working in. A jury awarded him $101 million.\u003c/p>\n\u003cp>NPR has also found records on OSHA’s website showing that Live Nation has been cited for previous safety violations, including an incident in 2018 when a Live Nation employee was hit on the head by a 6-foot steel metal post that tipped over; the victim required hospitalization.\u003c/p>\n\u003cp>Just last week, Live Nation reported \u003ca href=\"https://www.livenationentertainment.com/2021/11/live-nation-entertainment-reports-third-quarter-2021-results/\" target=\"_blank\" rel=\"noopener noreferrer\">$2.7 billion\u003c/a> in revenue for its third quarter, beating Wall Street expectations. The company attributed its growth to consumers’ pent-up demand for concerts, festivals and other live events that had been squelched by the coronavirus pandemic. The company has also been able to corner even more of the live-events market during the last 19 months, as smaller independent venues and organizers have struggled to stay afloat during lockdowns. (In the aftermath of the Astroworld tragedy, Live Nation’s stock price \u003ca href=\"https://finance.yahoo.com/quote/LYV/?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAD0eXgu8wGSeBaqgkIz7oDJqCrV6jCmssyr4VLvvvt5G4a1q04eDlgEb_-WoEPBEoPcZCGnr9w0yuxQm-ojKiVq4uClDU3EFKvylRFAEvdEZPqpMLG0n7B4AMxfFkxx12RJ4M3DyL8QQSXNEunsXktTx_2_mk7zJ8ETwW3X2wETU\" target=\"_blank\" rel=\"noopener noreferrer\">slid\u003c/a> more than 4% during trading Monday, as of publication time.)\u003c/p>\n\u003cp>[aside postid='arts_13905536']At the inaugural edition of Astroworld, in 2019, three people \u003ca href=\"https://abc13.com/astroworld-2019-injuries-houston/5686133/\" target=\"_blank\" rel=\"noopener noreferrer\">were injured\u003c/a> in a stampede while trying to get into the festival, which was also held at NRG Park. The event was canceled in 2020 due to the pandemic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Monday, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/11/07/us/astroworld-travis-scott-deaths.html\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> that according to its sources, Houston Police Chief Troy Finner personally visited Scott in his trailer before Friday’s performance “and conveyed concerns about the energy in the crowd.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Live+Nation%2C+a+company+behind+Astroworld%2C+has+a+long+history+of+safety+violations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rapper Travis Scott was the most recognizable figure associated with Astroworld, the Houston music festival that \u003ca href=\"https://www.npr.org/2021/11/08/1053425095/astroworld-festival-travis-scott-concert\" target=\"_blank\" rel=\"noopener noreferrer\">ended in tragedy Friday\u003c/a> evening when eight people died and hundreds more were injured. Also among the event organizers, however, was the conglomerate Live Nation, the world’s largest live-events company—and one that has already been linked to hundreds of deaths and injuries in the past 15 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Live Nation Entertainment and its subsidiary Live Nation Worldwide have been connected to about 200 deaths and at least 750 injuries since 2006, the \u003ca href=\"https://www.houstonchronicle.com/news/houston-texas/article/Astroworld-Festival-concert-producer-has-history-16597508.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Houston Chronicle \u003c/em>\u003c/a>reported on Monday after searching past court records, Occupational Safety and Health Administration (OSHA) reports and news coverage. NPR has also found numerous OSHA citations against Live Nation.\u003c/p>\n\u003cp>In a message \u003ca href=\"https://twitter.com/LiveNation/status/1457076597052166145?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">posted\u003c/a> to social media on Saturday, the company wrote: “Heartbroken for those lost and impacted at Astroworld last night. We will continue working to provide as much information and assistance as possible to the local authorities as they investigate the situation.”\u003c/p>\n\u003cp>Houston Public Media reported Monday that \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/arts-culture-news/2021/11/08/412891/victims-from-travis-scotts-astroworld-have-begun-to-sue-the-houston-rapper-and-concert-organizers/\" target=\"_blank\" rel=\"noopener noreferrer\">at least 12\u003c/a> lawsuits have been filed against Travis Scott as well as Live Nation thus far. Other defendants in the suits include Drake, who was also performing at the event, and the festival’s venue, NRG Park.\u003c/p>\n\u003cp>In a statement to NPR on Monday afternoon, Live Nation wrote: “We continue to support and assist local authorities in their ongoing investigation so that both the fans who attended and their families can get the answers they want and deserve, and we will address all legal matters at the appropriate time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a statement Live Nation published on social media Monday afternoon, the company \u003ca href=\"https://twitter.com/LiveNation/status/1457781719885516809?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">added\u003c/a>: “Load out of the site and equipment is currently paused to give investigators the time they requested to walk and document the grounds. Full refunds are being offered for all those who purchased tickets.”\u003c/p>\n\u003cp>The statement continued: “And most importantly we are working on ways to support attendees, the families of victims, and staff, from providing mental health counseling to setting up a health fund to help with costs for medical expenses. Our entire team is mourning alongside the community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Live Nation-linked incidents reported by the \u003cem>Houston Chronicle\u003c/em> include deaths and injuries committed by intruders, including the suicide bomber who \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/22/529588482/british-police-confirm-deaths-after-explosion-at-manchester-arena-concert\" target=\"_blank\" rel=\"noopener noreferrer\">attacked\u003c/a> an Ariana Grande concert in Manchester, England, in 2017 and the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">mass shooting\u003c/a> at the Route 91 Harvest country music festival in Las Vegas later that year.\u003c/p>\n\u003cp>However, those incidents also include a 2011 stage collapse in Indiana in which seven people were killed and 61 injured; the company settled with the victims for $50 million. In a 2013 incident, a concert staffer in Long Island, N.Y., suffered brain damage after a forklift tipped over the booth he had been working in. A jury awarded him $101 million.\u003c/p>\n\u003cp>NPR has also found records on OSHA’s website showing that Live Nation has been cited for previous safety violations, including an incident in 2018 when a Live Nation employee was hit on the head by a 6-foot steel metal post that tipped over; the victim required hospitalization.\u003c/p>\n\u003cp>Just last week, Live Nation reported \u003ca href=\"https://www.livenationentertainment.com/2021/11/live-nation-entertainment-reports-third-quarter-2021-results/\" target=\"_blank\" rel=\"noopener noreferrer\">$2.7 billion\u003c/a> in revenue for its third quarter, beating Wall Street expectations. The company attributed its growth to consumers’ pent-up demand for concerts, festivals and other live events that had been squelched by the coronavirus pandemic. The company has also been able to corner even more of the live-events market during the last 19 months, as smaller independent venues and organizers have struggled to stay afloat during lockdowns. (In the aftermath of the Astroworld tragedy, Live Nation’s stock price \u003ca href=\"https://finance.yahoo.com/quote/LYV/?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAD0eXgu8wGSeBaqgkIz7oDJqCrV6jCmssyr4VLvvvt5G4a1q04eDlgEb_-WoEPBEoPcZCGnr9w0yuxQm-ojKiVq4uClDU3EFKvylRFAEvdEZPqpMLG0n7B4AMxfFkxx12RJ4M3DyL8QQSXNEunsXktTx_2_mk7zJ8ETwW3X2wETU\" target=\"_blank\" rel=\"noopener noreferrer\">slid\u003c/a> more than 4% during trading Monday, as of publication time.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the inaugural edition of Astroworld, in 2019, three people \u003ca href=\"https://abc13.com/astroworld-2019-injuries-houston/5686133/\" target=\"_blank\" rel=\"noopener noreferrer\">were injured\u003c/a> in a stampede while trying to get into the festival, which was also held at NRG Park. The event was canceled in 2020 due to the pandemic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Monday, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/11/07/us/astroworld-travis-scott-deaths.html\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> that according to its sources, Houston Police Chief Troy Finner personally visited Scott in his trailer before Friday’s performance “and conveyed concerns about the energy in the crowd.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Live+Nation%2C+a+company+behind+Astroworld%2C+has+a+long+history+of+safety+violations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "CBS Backtracks on 'The Activist' After a Backlash, Including From One of its Hosts",
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"content": "\u003cp>CBS thought it had a win when it announced \u003cem>The Activist\u003c/em>, a reality show where six contestants would compete in a variety of activism-themed contests before appearing at a summit of world leaders in Italy—a format that press materials called “awe-inspiring,” “ground-breaking” and sure to “inspire real change.”\u003c/p>\n\u003cp>[aside postid='arts_13901062']But in the week since the network’s announcement, backlash has come from all corners—including an apology from one of the program’s own hosts.\u003c/p>\n\u003cp>Now, the show’s producers have announced they will dramatically reformat the show, dropping the competitive elements to become a one-time documentary special rather than a five-episode series.\u003c/p>\n\u003cp>“It has become apparent the format of the show as announced distracts from the vital work these incredible activists do in their communities every day,” said CBS and its co-producers, advocacy group Global Citizen and entertainment giant Live Nation, in a joint statement emailed to NPR.\u003c/p>\n\u003cp>https://twitter.com/GlblCtzn/status/1438290442983022593\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Global activism centers on collaboration and cooperation, not competition. We apologize to the activists, hosts, and the larger activist community—we got it wrong,” wrote Global Citizen in a separate statement. The group declined to comment further.\u003c/p>\n\u003cp>[aside postid='arts_13902631']The change in format was\u003ca href=\"https://variety.com/2021/tv/news/activist-series-reconfigured-apology-cbs-global-citizen-live-nation-1235065908/\" target=\"_blank\" rel=\"noopener noreferrer\"> first reported by \u003cem>Variety\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The Activist\u003c/em> originally sought to combine activism and charitable causes with reality TV, starring six contestants taking part in a variety of challenges, described as “missions, media stunts, digital campaigns and community events” in CBS’\u003ca href=\"https://www.viacomcbspressexpress.com/cbs-entertainment/shows/the-activist/releases/view?id=58195\"> original news release\u003c/a>, with success based partly on online engagement and “social metrics.” Three celebrities—Usher, Priyanka Chopra Jonas and Julianne Hough—would host.\u003c/p>\n\u003cp>Over the course of five episodes, the contestants—all of whom have histories in activism—would work toward addressing issues of global health, education and the environment. The finale was to take place at the Group of 20 summit of world leaders in Italy next month.\u003c/p>\n\u003cp>But after CBS’ announcement, the backlash came both from TV heavyweights like Jameela Jamil and from activists themselves.\u003c/p>\n\u003cp>https://twitter.com/jameelajamil/status/1436170273774923778\u003c/p>\n\u003cp>“Besides the fact that there will be millions of dollars spent on hair, makeup, travel, celebrity hosts and judges, production, distribution that could have gone to the activists and organizations that will be featured, this is deeply dangerous,” said Brittany Packnett Cunningham, an anti-police-violence activist whose organization, Campaign Zero, has helped shape police-reform efforts around the U.S., \u003ca href=\"https://www.msnbc.com/american-voices/watch/-this-is-deeply-dangerous-competition-series-on-activists-draws-criticism-from-activists-120715845645\" target=\"_blank\" rel=\"noopener noreferrer\">speaking on MSNBC\u003c/a>.\u003c/p>\n\u003cp>“This extends a societal belief about what a good activist looks like: someone who is ready for prime time, someone who fits a particular archetype and is great on social media and is perfectly marketable,” Cunningham said.\u003c/p>\n\u003cp>Clover Hogan, a 22-year-old climate activist and founder of youth advocacy organization Force of Nature, wrote on Twitter that she had been interviewed by show producers and was ultimately offered a spot on \u003cem>The Activist\u003c/em>, which she says she declined.\u003c/p>\n\u003cp>https://twitter.com/cloverhogan/status/1436606130088816643\u003c/p>\n\u003cp>“I remember thinking I was in a \u003cem>Black Mirror\u003c/em> episode. When the call ended, I cried & called my mum. The whole time, I was made to feel as if I was failing a test,”\u003ca href=\"https://twitter.com/cloverhogan/status/1436606121540820993\" target=\"_blank\" rel=\"noopener noreferrer\"> she wrote\u003c/a>.\u003c/p>\n\u003cp>On Wednesday, one of the program’s hosts, former \u003cem>Dancing With the Stars \u003c/em>performer Julianne Hough, weighed in with an apologetic post to her Instagram account.\u003c/p>\n\u003cp>https://www.instagram.com/p/CT0SRywB-5-/\u003c/p>\n\u003cp>“The last few days have been a powerful demonstration of real-time activism,” Hough wrote. “I do not claim to be an activist and wholeheartedly agree that the judging aspect of the show missed the mark and furthermore, that I am not qualified to act as a judge.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The broadcast was originally scheduled to premiere on Oct. 22. It has now been postponed to an unannounced date.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=CBS+Backtracks+On+%27The+Activist%27+After+A+Backlash%2C+Including+From+One+Of+Its+Hosts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"title": "With No Timeline for Reopening, SF’s Independent Venues Seek Lifeline",
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"content": "\u003cp>When shelter-in-place orders went into effect eight weeks ago in California and the Bay Area, the booking agents, talent buyers, tour managers and promoters who comprise the live music industry scrambled to reschedule spring and summer concerts for as soon as this September. [aside postID=arts_13878116,arts_13850185,arts_13876535]\u003c/p>\n\u003cp>“Everyone went, ‘Okay, seven or eight months will be enough time,’” Tony Bedard, the independent rock and comedy promoter, said in an interview. Then came Governor Gavin Newsom’s statement that the resumption of large gatherings is dependent on the development of vaccines, which likely will not be complete until 2021. “Now with the four-phase plan,” Bedard said, “we know concerts are going to be last to restart, and I’m less confident about October every week.” \u003c/p>\n\u003cp>With local music venues’ economic hardship and uncertainty only growing more pronounced, many operators have joined the newly-formed \u003ca href=\"https://www.nivassoc.org/\">National Independent Venue Association\u003c/a> (NIVA). \u003c/p>\n\u003cp>NIVA’s 1,500 members nationwide include historic venues such as First Avenue in Minneapolis, where Prince made a name for himself; the Troubadour, a home to the 1970s Los Angeles singer-songwriter scene; and D.C.’s storied 9:30 Club. In Northern California, its members number 70 venues and promoters, a mix of small- to mid-sized venues and promoters, as well as large outfits such as Another Planet Entertainment, the Oakland-based company behind the Outside Lands music festival.\u003c/p>\n\u003cp>Bay Area venues that have signed on to NIVA include Bimbo’s 365 Club, Bottom of the Hill, Cornerstone Berkeley, DNA Lounge, the Chapel, Great American Music Hall, the Ivy Room, the UC Theatre, and many others. Local promoters such as Noise Pop, Ineffable Entertainment and the Stern Grove Festival are on board as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bedard has already cancelled or postponed some 40 shows at independent venues, including Eli’s Mile High Club, Starline Social Club and the Ivy Room. He’s one of many local promoters and talent buyers in the difficult position of trying to financially endure an industry standstill and at the same time plan for its resumption—without knowing when that will occur or what it will look like. \u003c/p>\n\u003cp>Bedard worries that smaller venues without backing from Live Nation or Goldenvoice, diversified corporations with credit lines deep enough to weather the storm (though not without layoffs), will shutter before they’re able to adapt. It could be “financially less ruinous,” Bedard said, for venues to close than to continue operating at a loss whenever the concert restrictions lift. \u003c/p>\n\u003cp>NIVA, funded in part by ticketing companies See Tickets and Lyte, has retained the lobbyist firm Akin Gump Strauss Hauer & Feld to represent its interests in Washington. In a letter to congressional leaders, NIVA board president Dayna Frank proposed various relief measures centered on tax relief, small business loan and mortgage and rent forbearance. \u003c/p>\n\u003cp>Due to public health concerns, venues were some of the first businesses to close and will be among the last to reopen, Frank’s letter explains. Yet the initial federal economic relief programs “fail to sustain an industry like ours,” it continues. “Without your help, thousands of independent venues will not survive to see the day when our doors can open to the public again.”\u003c/p>\n\u003cp>Independent venues closing could also solidify the \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">controversial expansion\u003c/a> of Live Nation and AEG, parent company of Coachella promoter Goldenvoice, into the local concert market. \u003c/p>\n\u003cp>Live Nation, which operates the Fillmore Auditorium and the Masonic, can burn $150 million a month for the rest of the year “without any concern,” company president Joe Berchtold told Billboard. And, separately from NIVA, the companies are lobbying for their own federal bailout. \u003c/p>\n\u003cp>Local promoters have concerns—not just about their unemployed workers, but also the risks of rescheduling concerts too soon and forcing repeat cancellations, not to mention overpromising fees for touring artists. If venues are only allowed to reopen with half or 25 percent capacity, for example, everyone stands to earn significantly less than initially expected. On top of it all is a big audience question: will anyone come out to shows?\u003c/p>\n\u003cp>Dan Strachota, talent buyer at the Rickshaw Stop in San Francisco, said he’s increasingly postponing fall concerts to next year, even some originally slated for this past March or April. With potential capacity limitations, he says promoters booking touring acts are striking less-risky “door deals,” where artists receive a percentage of total ticket sales rather than their usual guaranteed fee. \u003c/p>\n\u003cp>The Rickshaw Stop has joined on with NIVA, and Strachota is hopeful for some sort of federal aid. The Hayes Valley venue is ineligible for a Payroll Protection Program loan, he said, and has been denied for five other regional grants and loans. \u003c/p>\n\u003cp>Another problem is its ticketing provider, San Francisco company Eventbrite, has laid off 45 percent of its staff. “We’re doing a lot of the work they were doing now,” Strachota said, referring to customer service and refunds processing. The company, he continued, recently changed its policy nationwide to keep 100% of the money for tickets sold until five days after the shows occur. Naturally, no shows have occurred since the shelter-in-place order. \u003c/p>\n\u003cp>(KQED has contacted Eventbrite for comment.)\u003c/p>\n\u003cp>But along with federal aid, Strachota wants clarity from local and state officials around the resumption of live music, saying reopening guidelines should better distinguish between small clubs and stadiums. To that end, he’s also a member of the Independent Venue Alliance, a \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\">new group formed\u003c/a> separately from NIVA in part to represent local nightlife at San Francisco City Hall. \u003c/p>\n\u003cp>The Rickshaw Stop is raising a hardship fund for its workers, and recently sold alcohol to supporters at little more than cost, offering a free plus-one to a future gig with every curbside pickup. Strachota was happy to be reminded of the venue’s audience, and to offer some staff a day gig. “It was the first time in six weeks I woke up without a sense of dread,” Strachota said. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated to more accurately reflect payouts from Eventbrite to the Rickshaw Stop. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When shelter-in-place orders went into effect eight weeks ago in California and the Bay Area, the booking agents, talent buyers, tour managers and promoters who comprise the live music industry scrambled to reschedule spring and summer concerts for as soon as this September. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everyone went, ‘Okay, seven or eight months will be enough time,’” Tony Bedard, the independent rock and comedy promoter, said in an interview. Then came Governor Gavin Newsom’s statement that the resumption of large gatherings is dependent on the development of vaccines, which likely will not be complete until 2021. “Now with the four-phase plan,” Bedard said, “we know concerts are going to be last to restart, and I’m less confident about October every week.” \u003c/p>\n\u003cp>With local music venues’ economic hardship and uncertainty only growing more pronounced, many operators have joined the newly-formed \u003ca href=\"https://www.nivassoc.org/\">National Independent Venue Association\u003c/a> (NIVA). \u003c/p>\n\u003cp>NIVA’s 1,500 members nationwide include historic venues such as First Avenue in Minneapolis, where Prince made a name for himself; the Troubadour, a home to the 1970s Los Angeles singer-songwriter scene; and D.C.’s storied 9:30 Club. In Northern California, its members number 70 venues and promoters, a mix of small- to mid-sized venues and promoters, as well as large outfits such as Another Planet Entertainment, the Oakland-based company behind the Outside Lands music festival.\u003c/p>\n\u003cp>Bay Area venues that have signed on to NIVA include Bimbo’s 365 Club, Bottom of the Hill, Cornerstone Berkeley, DNA Lounge, the Chapel, Great American Music Hall, the Ivy Room, the UC Theatre, and many others. Local promoters such as Noise Pop, Ineffable Entertainment and the Stern Grove Festival are on board as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bedard has already cancelled or postponed some 40 shows at independent venues, including Eli’s Mile High Club, Starline Social Club and the Ivy Room. He’s one of many local promoters and talent buyers in the difficult position of trying to financially endure an industry standstill and at the same time plan for its resumption—without knowing when that will occur or what it will look like. \u003c/p>\n\u003cp>Bedard worries that smaller venues without backing from Live Nation or Goldenvoice, diversified corporations with credit lines deep enough to weather the storm (though not without layoffs), will shutter before they’re able to adapt. It could be “financially less ruinous,” Bedard said, for venues to close than to continue operating at a loss whenever the concert restrictions lift. \u003c/p>\n\u003cp>NIVA, funded in part by ticketing companies See Tickets and Lyte, has retained the lobbyist firm Akin Gump Strauss Hauer & Feld to represent its interests in Washington. In a letter to congressional leaders, NIVA board president Dayna Frank proposed various relief measures centered on tax relief, small business loan and mortgage and rent forbearance. \u003c/p>\n\u003cp>Due to public health concerns, venues were some of the first businesses to close and will be among the last to reopen, Frank’s letter explains. Yet the initial federal economic relief programs “fail to sustain an industry like ours,” it continues. “Without your help, thousands of independent venues will not survive to see the day when our doors can open to the public again.”\u003c/p>\n\u003cp>Independent venues closing could also solidify the \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">controversial expansion\u003c/a> of Live Nation and AEG, parent company of Coachella promoter Goldenvoice, into the local concert market. \u003c/p>\n\u003cp>Live Nation, which operates the Fillmore Auditorium and the Masonic, can burn $150 million a month for the rest of the year “without any concern,” company president Joe Berchtold told Billboard. And, separately from NIVA, the companies are lobbying for their own federal bailout. \u003c/p>\n\u003cp>Local promoters have concerns—not just about their unemployed workers, but also the risks of rescheduling concerts too soon and forcing repeat cancellations, not to mention overpromising fees for touring artists. If venues are only allowed to reopen with half or 25 percent capacity, for example, everyone stands to earn significantly less than initially expected. On top of it all is a big audience question: will anyone come out to shows?\u003c/p>\n\u003cp>Dan Strachota, talent buyer at the Rickshaw Stop in San Francisco, said he’s increasingly postponing fall concerts to next year, even some originally slated for this past March or April. With potential capacity limitations, he says promoters booking touring acts are striking less-risky “door deals,” where artists receive a percentage of total ticket sales rather than their usual guaranteed fee. \u003c/p>\n\u003cp>The Rickshaw Stop has joined on with NIVA, and Strachota is hopeful for some sort of federal aid. The Hayes Valley venue is ineligible for a Payroll Protection Program loan, he said, and has been denied for five other regional grants and loans. \u003c/p>\n\u003cp>Another problem is its ticketing provider, San Francisco company Eventbrite, has laid off 45 percent of its staff. “We’re doing a lot of the work they were doing now,” Strachota said, referring to customer service and refunds processing. The company, he continued, recently changed its policy nationwide to keep 100% of the money for tickets sold until five days after the shows occur. Naturally, no shows have occurred since the shelter-in-place order. \u003c/p>\n\u003cp>(KQED has contacted Eventbrite for comment.)\u003c/p>\n\u003cp>But along with federal aid, Strachota wants clarity from local and state officials around the resumption of live music, saying reopening guidelines should better distinguish between small clubs and stadiums. To that end, he’s also a member of the Independent Venue Alliance, a \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\">new group formed\u003c/a> separately from NIVA in part to represent local nightlife at San Francisco City Hall. \u003c/p>\n\u003cp>The Rickshaw Stop is raising a hardship fund for its workers, and recently sold alcohol to supporters at little more than cost, offering a free plus-one to a future gig with every curbside pickup. Strachota was happy to be reminded of the venue’s audience, and to offer some staff a day gig. “It was the first time in six weeks I woke up without a sense of dread,” Strachota said. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated to more accurately reflect payouts from Eventbrite to the Rickshaw Stop. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The coronavirus pandemic has completely shut down the business of concerts and other live events. Some people, including Los Angeles mayor Eric Garcetti, are even predicting that live events won’t \u003ca href=\"https://www.politico.com/states/california/story/2020/04/15/garcetti-sporting-events-concerts-unlikely-in-los-angeles-until-2021-1276698\">resume until next year\u003c/a>.\u003c/p>\n\u003cp>That leaves ticket holders looking for refunds, but new rules Ticketmaster \u003ca href=\"https://blog.ticketmaster.com/guidelines-canceled-postponed-events/\">announced last week\u003c/a> stipulate that a show has to be either officially canceled or have new dates announced in order for the purchaser to be eligible for refunds. \u003c/p>\n\u003cp>Cachelle Cronin, a mental health therapist in Vancouver, Wash., says that before the coronavirus pandemic, she bought tickets for six events through Ticketmaster. \u003c/p>\n\u003cp>“I’ve got tickets to Russ, Halsey, [Green Day, Weezer and Fallout Boy’s] Hella Mega Tour, Journey with the Pretenders,” she lists off the top of her head. \u003c/p>\n\u003cp>Since none of those shows have been canceled or rescheduled, she’s ineligible for a refund. And Cronin bought pairs of tickets to each concert, which means she’s out nearly $1000. She says she’s thankful she’s still employed.\u003c/p>\n\u003cp>“I cannot even imagine what somebody would be going through right now if they had $1000 in tickets sitting there that they know they’re not gonna be able to use, and they’re stressing about being able to pay rent, or buy their kids food, or anything like that,” she says. \u003c/p>\n\u003cp>The live event economy is a complicated one, and it’s been a struggle for ticket buyers to get their money back because they aren’t Ticketmaster’s primary concern, says Dean Budnick who, along with Josh Baron, is the author of the book \u003cem>Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped\u003c/em>.\u003c/p>\n\u003cp>“Ticketmaster really, ultimately, is responsible to its venue clients and those are the individuals it wants to protect,” he says.\u003c/p>\n\u003cp>In other words, its primary business relationships are with concert promoters, stadiums and arenas — not ticket buyers. Before last week, Ticketmaster’s website \u003ca href=\"https://www.nytimes.com/2020/04/08/arts/music/ticketmaster-refunds-coronavirus.html\">seemed to back off of refunds\u003c/a> for postponed events entirely.\u003c/p>\n\u003cp>The ensuing media coverage caught the attention of two members of Congress. Democratic Representatives Katie Porter from California and Bill Pascrell from New Jersey \u003ca href=\"https://pascrell.house.gov/news/documentsingle.aspx?DocumentID=4260\">wrote a scathing letter\u003c/a> encouraging the ticket seller to reconsider.\u003c/p>\n\u003cp>“We fully expect the availability of refunds to continue to climb over the next 4-6 weeks and ultimately expect all our clients will make refunds available,” Ticketmaster said in a statement to NPR, adding that it has already returned $400 million to fans so far. But Ticketmaster, along with \u003ca href=\"https://www.billboard.com/articles/business/touring/9359919/aeg-ticket-refunds-concerts-coronavirus\">rival company AEG\u003c/a> — \u003ca href=\"https://www.nytimes.com/2020/04/17/arts/music/live-nation-refunds-virus.html\">announced new refund policies\u003c/a> last week, which still require a concert to be canceled or officially rescheduled with new dates to trigger a refund. Those policies don’t go into effect until May 1.\u003c/p>\n\u003cp>Dean Budnick says Live Nation and AEG simply don’t have the money to give back. “Because contractually, they’ve released that money to concert promoters, to event producers who put on those events,” he explains.\u003c/p>\n\u003cp>Budnick says with smaller, club level shows, those funds are usually held in escrow, so they’re easier to access. But for big shows at stadiums, ticket purchasers’ money is already in the hands of venues and artists.\u003c/p>\n\u003cp>“Now you may say, ‘Well gee, that is Ticketmaster’s fault because that’s their contract that they entered into,’ ” he points out.\u003c/p>\n\u003cp>Budnick says over the past few decades, artists have gotten a larger share of ticket sales to make up for declining record sales. That’s led to higher ticket prices and more service fees to be shared among the venues and promoters.\u003c/p>\n\u003cp>Keith Jopling, a consulting director for the media analysis firm MIDiA Research, says that in a post-shutdown world, the deals between all parties in the ecosystem are likely to change.\u003c/p>\n\u003cp>“Everyone on that value chain will be expected to take a hit on that, including artists,” he says. \u003c/p>\n\u003cp>But right now, it’s out-of-work stage hands, food vendors, security guards and ticket holders who are feeling the pain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Crystal Reilly, a teacher from Michigan, bought Red Wings hockey tickets as a gift for her dad. The game was set to take place last month and she still can’t get a refund. With schools closed for the foreseeable future, Reilly says getting that money back is important.\u003c/p>\n\u003cp>“I’m not working right now. I won’t work until September, so having that extra 230 bucks would be really awesome,” she says.\u003c/p>\n\u003cp>Some customers, including Reilly and Cachelle Cronin, are part of a group exploring a class action suit. It’s just \u003ca href=\"https://www.classaction.org/blog/class-action-against-ticketmaster-live-nation-seeks-refunds-for-rescheduled-events\">one such complaint\u003c/a> going through the courts now. Elsewhere, others have reached out to their credit card companies to try to get their money back. But either way, they’ll be waiting for a while. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Ticket+Holders+Are+Struggling+To+Get+Refunds+For+Concerts+And+Live+Events&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The coronavirus pandemic has completely shut down the business of concerts and other live events. Some people, including Los Angeles mayor Eric Garcetti, are even predicting that live events won’t \u003ca href=\"https://www.politico.com/states/california/story/2020/04/15/garcetti-sporting-events-concerts-unlikely-in-los-angeles-until-2021-1276698\">resume until next year\u003c/a>.\u003c/p>\n\u003cp>That leaves ticket holders looking for refunds, but new rules Ticketmaster \u003ca href=\"https://blog.ticketmaster.com/guidelines-canceled-postponed-events/\">announced last week\u003c/a> stipulate that a show has to be either officially canceled or have new dates announced in order for the purchaser to be eligible for refunds. \u003c/p>\n\u003cp>Cachelle Cronin, a mental health therapist in Vancouver, Wash., says that before the coronavirus pandemic, she bought tickets for six events through Ticketmaster. \u003c/p>\n\u003cp>“I’ve got tickets to Russ, Halsey, [Green Day, Weezer and Fallout Boy’s] Hella Mega Tour, Journey with the Pretenders,” she lists off the top of her head. \u003c/p>\n\u003cp>Since none of those shows have been canceled or rescheduled, she’s ineligible for a refund. And Cronin bought pairs of tickets to each concert, which means she’s out nearly $1000. She says she’s thankful she’s still employed.\u003c/p>\n\u003cp>“I cannot even imagine what somebody would be going through right now if they had $1000 in tickets sitting there that they know they’re not gonna be able to use, and they’re stressing about being able to pay rent, or buy their kids food, or anything like that,” she says. \u003c/p>\n\u003cp>The live event economy is a complicated one, and it’s been a struggle for ticket buyers to get their money back because they aren’t Ticketmaster’s primary concern, says Dean Budnick who, along with Josh Baron, is the author of the book \u003cem>Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped\u003c/em>.\u003c/p>\n\u003cp>“Ticketmaster really, ultimately, is responsible to its venue clients and those are the individuals it wants to protect,” he says.\u003c/p>\n\u003cp>In other words, its primary business relationships are with concert promoters, stadiums and arenas — not ticket buyers. Before last week, Ticketmaster’s website \u003ca href=\"https://www.nytimes.com/2020/04/08/arts/music/ticketmaster-refunds-coronavirus.html\">seemed to back off of refunds\u003c/a> for postponed events entirely.\u003c/p>\n\u003cp>The ensuing media coverage caught the attention of two members of Congress. Democratic Representatives Katie Porter from California and Bill Pascrell from New Jersey \u003ca href=\"https://pascrell.house.gov/news/documentsingle.aspx?DocumentID=4260\">wrote a scathing letter\u003c/a> encouraging the ticket seller to reconsider.\u003c/p>\n\u003cp>“We fully expect the availability of refunds to continue to climb over the next 4-6 weeks and ultimately expect all our clients will make refunds available,” Ticketmaster said in a statement to NPR, adding that it has already returned $400 million to fans so far. But Ticketmaster, along with \u003ca href=\"https://www.billboard.com/articles/business/touring/9359919/aeg-ticket-refunds-concerts-coronavirus\">rival company AEG\u003c/a> — \u003ca href=\"https://www.nytimes.com/2020/04/17/arts/music/live-nation-refunds-virus.html\">announced new refund policies\u003c/a> last week, which still require a concert to be canceled or officially rescheduled with new dates to trigger a refund. Those policies don’t go into effect until May 1.\u003c/p>\n\u003cp>Dean Budnick says Live Nation and AEG simply don’t have the money to give back. “Because contractually, they’ve released that money to concert promoters, to event producers who put on those events,” he explains.\u003c/p>\n\u003cp>Budnick says with smaller, club level shows, those funds are usually held in escrow, so they’re easier to access. But for big shows at stadiums, ticket purchasers’ money is already in the hands of venues and artists.\u003c/p>\n\u003cp>“Now you may say, ‘Well gee, that is Ticketmaster’s fault because that’s their contract that they entered into,’ ” he points out.\u003c/p>\n\u003cp>Budnick says over the past few decades, artists have gotten a larger share of ticket sales to make up for declining record sales. That’s led to higher ticket prices and more service fees to be shared among the venues and promoters.\u003c/p>\n\u003cp>Keith Jopling, a consulting director for the media analysis firm MIDiA Research, says that in a post-shutdown world, the deals between all parties in the ecosystem are likely to change.\u003c/p>\n\u003cp>“Everyone on that value chain will be expected to take a hit on that, including artists,” he says. \u003c/p>\n\u003cp>But right now, it’s out-of-work stage hands, food vendors, security guards and ticket holders who are feeling the pain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Crystal Reilly, a teacher from Michigan, bought Red Wings hockey tickets as a gift for her dad. The game was set to take place last month and she still can’t get a refund. With schools closed for the foreseeable future, Reilly says getting that money back is important.\u003c/p>\n\u003cp>“I’m not working right now. I won’t work until September, so having that extra 230 bucks would be really awesome,” she says.\u003c/p>\n\u003cp>Some customers, including Reilly and Cachelle Cronin, are part of a group exploring a class action suit. It’s just \u003ca href=\"https://www.classaction.org/blog/class-action-against-ticketmaster-live-nation-seeks-refunds-for-rescheduled-events\">one such complaint\u003c/a> going through the courts now. Elsewhere, others have reached out to their credit card companies to try to get their money back. But either way, they’ll be waiting for a while. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Ticket+Holders+Are+Struggling+To+Get+Refunds+For+Concerts+And+Live+Events&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Metallica's Secret Deal with Live Nation Reveals How Artists Scalp Their Own Tickets",
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"content": "\u003cp>You know that frustration when concert tickets you want finally go on sale, but they immediately sell out and are already on StubHub a split second later due to scalpers?\u003c/p>\n\u003cp>New evidence shows you might want to blame the band for scalping their own tickets.\u003c/p>\n\u003cp>A leaked recording of a phone call between a consultant who works with Metallica and a Live Nation executive reveals what’s long been talked about behind closed doors: that the promotions giant Live Nation—which also owns Ticketmaster—teams up with artists to resell their own tickets for a higher price on the secondary market through backdoor deals.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard’s Dave Brooks and Hannah Karp\u003c/a> first reported today, Tony DiCioccio coordinated with Live Nation to place 88,000 tickets from Metallica’s WorldWired North American tour on StubHub and other resale sites instead of giving fans a chance to buy them directly.\u003c/p>\n\u003cp>The hush-hush deal was conducted through surreptitious accounts, set up similarly to those of fan clubs and sponsors that receive large ticket quantities in exchange for helping promote tours. When Billboard reporters confronted Live Nation with the leaked phone tape, which was recorded by Vaughn Millette of Live Nation competitor Outback Presents, the company copped to the practice, stating that in 2016 and 2017, “about a dozen artists out of the thousands we work with asked us to do this.” (Live Nation representatives contend that the practice has dwindled as artists have found new ways to recover lost revenue, such as tiered pricing for premium seats and expensive VIP packages.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Live Nation’s admission runs contrary to Ticketmaster’s previous statement: as Brooks and Karp pointed out, Ticketmaster executives denied funneling tickets to resale sites as recently as 2018.\u003c/p>\n\u003cp>Industry experts quoted in Billboard’s report say the situation illustrates a catch-22 that major artists face amid the rise of ticket resale sites. When artists keep prices low for fans, it’s easier for scalpers to scoop tickets up and resell them for profit. Raise prices, and the artists risk looking greedy and turning off their base.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But are secret deals that inflate prices and make shows less accessible to the average fan really the answer? Read the \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard story here\u003c/a> to learn more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know that frustration when concert tickets you want finally go on sale, but they immediately sell out and are already on StubHub a split second later due to scalpers?\u003c/p>\n\u003cp>New evidence shows you might want to blame the band for scalping their own tickets.\u003c/p>\n\u003cp>A leaked recording of a phone call between a consultant who works with Metallica and a Live Nation executive reveals what’s long been talked about behind closed doors: that the promotions giant Live Nation—which also owns Ticketmaster—teams up with artists to resell their own tickets for a higher price on the secondary market through backdoor deals.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard’s Dave Brooks and Hannah Karp\u003c/a> first reported today, Tony DiCioccio coordinated with Live Nation to place 88,000 tickets from Metallica’s WorldWired North American tour on StubHub and other resale sites instead of giving fans a chance to buy them directly.\u003c/p>\n\u003cp>The hush-hush deal was conducted through surreptitious accounts, set up similarly to those of fan clubs and sponsors that receive large ticket quantities in exchange for helping promote tours. When Billboard reporters confronted Live Nation with the leaked phone tape, which was recorded by Vaughn Millette of Live Nation competitor Outback Presents, the company copped to the practice, stating that in 2016 and 2017, “about a dozen artists out of the thousands we work with asked us to do this.” (Live Nation representatives contend that the practice has dwindled as artists have found new ways to recover lost revenue, such as tiered pricing for premium seats and expensive VIP packages.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Live Nation’s admission runs contrary to Ticketmaster’s previous statement: as Brooks and Karp pointed out, Ticketmaster executives denied funneling tickets to resale sites as recently as 2018.\u003c/p>\n\u003cp>Industry experts quoted in Billboard’s report say the situation illustrates a catch-22 that major artists face amid the rise of ticket resale sites. When artists keep prices low for fans, it’s easier for scalpers to scoop tickets up and resell them for profit. Raise prices, and the artists risk looking greedy and turning off their base.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But are secret deals that inflate prices and make shows less accessible to the average fan really the answer? Read the \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard story here\u003c/a> to learn more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Slim’s, Great American Music Hall Workers Axed as Goldenvoice Expands",
"headTitle": "Slim’s, Great American Music Hall Workers Axed as Goldenvoice Expands | KQED",
"content": "\u003cp>In 1988, Bill Graham’s former assistant Queenie Taylor hired Tanya Pinkerton to help publicize events and distribute concert listings for a new venue called Slim’s. In 2000, when Slim’s acquired the Great American Music Hall, Pinkerton gladly added the historic venue to her client list.\u003c/p>\n\u003cp>But a year after Slim’s and the Great American Music Hall inked a booking agreement with corporate promoter Goldenvoice, Pinkerton was recently told her work is redundant.\u003c/p>\n\u003cp>She was let go in January, shortly after manager Dana Smith and promoter Tracey Buck were also laid off. Goldenvoice, Pinkerton was told by email, already had concert listings covered. “What’s funny is, after 30 years I decided to increase my price, by about $15 a month,” she said. “So finally I got the chutzpah to ask for a raise, and I was fired instead.”\u003c/p>\n\u003cp>The layoffs came one year after Slim’s and GAMH, for years considered two of the city’s flagship independent venues, \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\" target=\"_blank\" rel=\"noopener\">outsourced booking\u003c/a> to Goldenvoice, the Coachella promoter that, like competitor Live Nation, has dramatically expanded in the Bay Area. [contextly_sidebar id=”M02WlLvasLOY4Nr5liulnoTByM8DUWqb”]\u003c/p>\n\u003cp>Based in Los Angeles, Goldenvoice first entered San Francisco when it \u003ca href=\"https://www.sfgate.com/bayarea/article/Battle-of-the-Bay-Area-concert-promoters-3278473.php\" target=\"_blank\" rel=\"noopener\">took over\u003c/a> the Warfield and the Regency Ballroom in 2008. Last year, it launched the Blurry Vision music festival in Oakland. Recently the company also announced a concert series at Stanford University’s Frost Amphitheater. With Slim’s and GAMH, Goldenvoice now runs concert promotions at every level—from a small club to a large festival—in the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The company is not without controversy. AEG, Goldenvoice’s parent company, is owned by Philip Anschutz, a multibillionaire conservative philanthropist with \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\" target=\"_blank\" rel=\"noopener\">an anti-LGBTQ record\u003c/a>. Corporate saturation of the local concert market is also detrimental, critics say, to a healthy local scene of independent venues and promoters, as well as local bands and fans.\u003c/p>\n\u003cp>Jamie Zawinski, the owner of Slim’s neighbor DNA Lounge, is among the local music industry figures sounding the alarm about Goldenvoice and Live Nation. In response to the Slim’s and GAMH partnership, he wrote a \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">widely shared blog post\u003c/a> arguing that the companies’ expansive concert and ticketing holdings are monopolistic and “bad for our culture as a whole.”\u003c/p>\n\u003cfigure id=\"attachment_13846954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846954\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg\" alt=\"Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters' expansion in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters’ expansion in San Francisco. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pinkerton likened her relationship with Slim’s and GAMH workers to a familial bond, calling them friends and a steady source of referrals. It was a tight-knit operation that \u003ca href=\"http://www.ampthemag.com/the-real/dawn-holliday-im-not-retiring-im-resisting/\" target=\"_blank\" rel=\"noopener\">until 2017\u003c/a> was overseen by talent buyer Dawn Holliday, who last year \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707&showFullText=true\">called\u003c/a> the Goldenvoice partnership a “great source of sadness.”\u003c/p>\n\u003cp>Since Goldenvoice took over the calendars, venue management left its SoMa office. Anthony Bedard, the junior talent buyer and longtime Hemlock Tavern booker, was let go early last year. The most recent layoffs, according to Pinkerton, reflect Goldenvoice’s regional workers taking on more promotions and marketing duties for the venues.\u003c/p>\n\u003cp>Pinkerton said Buck and Smith, who declined to be interviewed, were laid off Monday, Jan. 7, and cleared out that day. The next Tuesday, Pinkerton received an email from Kent Jamieson, the venues’ new general manager, saying the partnership with Goldenvoice made her company, Bay Area Entertainment Listings, a “redundancy.” [contextly_sidebar id=”PK16JBKPiZNgDb9e5ewQLNLkdKFK9QEA”]\u003c/p>\n\u003cp>“It was crappy,” she said. “After 30 years I would’ve liked to have been told in person.”\u003c/p>\n\u003cp>Jamieson declined to discuss the cutbacks, calling the layoffs “unfortunate decisions.” Previously the manager of long-running punk band NOFX, Jamieson said the venue owners, a group including Boz Scaggs, hired him last year. “I was brought on separate from Goldenvoice,” he said.\u003c/p>\n\u003cp>Scaggs, the famed musician and songwriter who founded Slim’s, appears to be stepping back from the venues himself. In a 2017 document he was listed as the sole director of his company, Big Billy Inc. But his name doesn’t appear on the corporation’s most recent statement of information, which lists directors Jamieson plus David Fortune and Alexander Levy.\u003c/p>\n\u003cp>Pinkerton said she still has plenty of clients, and added that losing Slim’s and GAMH gives her more time to spend with her husband during his second bout with cancer. She also stressed her sympathy for Buck and Harrison.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They were professionals,” she said. “They were also warm and kind people, which is rare these days in the music business.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1988, Bill Graham’s former assistant Queenie Taylor hired Tanya Pinkerton to help publicize events and distribute concert listings for a new venue called Slim’s. In 2000, when Slim’s acquired the Great American Music Hall, Pinkerton gladly added the historic venue to her client list.\u003c/p>\n\u003cp>But a year after Slim’s and the Great American Music Hall inked a booking agreement with corporate promoter Goldenvoice, Pinkerton was recently told her work is redundant.\u003c/p>\n\u003cp>She was let go in January, shortly after manager Dana Smith and promoter Tracey Buck were also laid off. Goldenvoice, Pinkerton was told by email, already had concert listings covered. “What’s funny is, after 30 years I decided to increase my price, by about $15 a month,” she said. “So finally I got the chutzpah to ask for a raise, and I was fired instead.”\u003c/p>\n\u003cp>The layoffs came one year after Slim’s and GAMH, for years considered two of the city’s flagship independent venues, \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\" target=\"_blank\" rel=\"noopener\">outsourced booking\u003c/a> to Goldenvoice, the Coachella promoter that, like competitor Live Nation, has dramatically expanded in the Bay Area. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Based in Los Angeles, Goldenvoice first entered San Francisco when it \u003ca href=\"https://www.sfgate.com/bayarea/article/Battle-of-the-Bay-Area-concert-promoters-3278473.php\" target=\"_blank\" rel=\"noopener\">took over\u003c/a> the Warfield and the Regency Ballroom in 2008. Last year, it launched the Blurry Vision music festival in Oakland. Recently the company also announced a concert series at Stanford University’s Frost Amphitheater. With Slim’s and GAMH, Goldenvoice now runs concert promotions at every level—from a small club to a large festival—in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The company is not without controversy. AEG, Goldenvoice’s parent company, is owned by Philip Anschutz, a multibillionaire conservative philanthropist with \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\" target=\"_blank\" rel=\"noopener\">an anti-LGBTQ record\u003c/a>. Corporate saturation of the local concert market is also detrimental, critics say, to a healthy local scene of independent venues and promoters, as well as local bands and fans.\u003c/p>\n\u003cp>Jamie Zawinski, the owner of Slim’s neighbor DNA Lounge, is among the local music industry figures sounding the alarm about Goldenvoice and Live Nation. In response to the Slim’s and GAMH partnership, he wrote a \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">widely shared blog post\u003c/a> arguing that the companies’ expansive concert and ticketing holdings are monopolistic and “bad for our culture as a whole.”\u003c/p>\n\u003cfigure id=\"attachment_13846954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846954\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg\" alt=\"Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters' expansion in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters’ expansion in San Francisco. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pinkerton likened her relationship with Slim’s and GAMH workers to a familial bond, calling them friends and a steady source of referrals. It was a tight-knit operation that \u003ca href=\"http://www.ampthemag.com/the-real/dawn-holliday-im-not-retiring-im-resisting/\" target=\"_blank\" rel=\"noopener\">until 2017\u003c/a> was overseen by talent buyer Dawn Holliday, who last year \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707&showFullText=true\">called\u003c/a> the Goldenvoice partnership a “great source of sadness.”\u003c/p>\n\u003cp>Since Goldenvoice took over the calendars, venue management left its SoMa office. Anthony Bedard, the junior talent buyer and longtime Hemlock Tavern booker, was let go early last year. The most recent layoffs, according to Pinkerton, reflect Goldenvoice’s regional workers taking on more promotions and marketing duties for the venues.\u003c/p>\n\u003cp>Pinkerton said Buck and Smith, who declined to be interviewed, were laid off Monday, Jan. 7, and cleared out that day. The next Tuesday, Pinkerton received an email from Kent Jamieson, the venues’ new general manager, saying the partnership with Goldenvoice made her company, Bay Area Entertainment Listings, a “redundancy.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It was crappy,” she said. “After 30 years I would’ve liked to have been told in person.”\u003c/p>\n\u003cp>Jamieson declined to discuss the cutbacks, calling the layoffs “unfortunate decisions.” Previously the manager of long-running punk band NOFX, Jamieson said the venue owners, a group including Boz Scaggs, hired him last year. “I was brought on separate from Goldenvoice,” he said.\u003c/p>\n\u003cp>Scaggs, the famed musician and songwriter who founded Slim’s, appears to be stepping back from the venues himself. In a 2017 document he was listed as the sole director of his company, Big Billy Inc. But his name doesn’t appear on the corporation’s most recent statement of information, which lists directors Jamieson plus David Fortune and Alexander Levy.\u003c/p>\n\u003cp>Pinkerton said she still has plenty of clients, and added that losing Slim’s and GAMH gives her more time to spend with her husband during his second bout with cancer. She also stressed her sympathy for Buck and Harrison.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They were professionals,” she said. “They were also warm and kind people, which is rare these days in the music business.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pandora’s New Corporate Parents Gave Millions to Trump, GOP",
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"content": "\u003cp>Pandora Media shareholders voted Tuesday to approve its $3.5 billion acquisition by satellite radio company Sirius XM, adding the struggling webcaster and one of Oakland’s largest employers to the portfolio of major Donald Trump and Republican Party donors at parent company Liberty Media.\u003c/p>\n\u003cp>The closely watched acquisition, announced in September and expected to close by March, creates what the companies call the world’s largest audio entertainment company.\u003c/p>\n\u003cp>Pandora has more than 70 million listeners, mostly on its ad-supported free tier, but the company has long lost money and lately fallen behind on-demand streaming competitors such as Spotify and Apple Music. Sirius, by contrast, is profitable with more than 30 million subscribers.\u003c/p>\n\u003cp>The deal consolidates Pandora and Sirius XM under the control of Liberty Media, a Colorado company owned and run by conservative donors, at a time when music industry political giving and tech ties to the Trump administration are increasingly scrutinized. Policy experts also say the merger empowers a company that’s aggressively fought to suppress royalty payments for artists and copyright holders. [contextly_sidebar id=”Ssb7QJZrkAgtiTRvG9JTtq0YEJwooM5O”]\u003c/p>\n\u003cp>Liberty founder John Malone, a longtime media mogul, and CEO Greg Maffei, who’s also the board chairman at Sirius, have donated millions to Trump and GOP candidates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Individually and through Liberty political action committees, Malone and Maffei collectively gave $1 million to Trump’s 58th Presidential Inaugural Committee, according to Federal Election Commission filings. The donation follows roughly $1 million each to conservative national candidates for office, FEC records show.\u003c/p>\n\u003cp>Trump’ inaugural committee and a related super PAC are the subject of \u003ca href=\"https://www.nytimes.com/2018/12/13/us/politics/trump-inauguration-investigation.html\">federal investigation\u003c/a> for influence peddling and illegal coordination. Donors of $1 million or more, according to a brochure \u003ca href=\"https://publicintegrity.org/federal-politics/donald-trump-offering-huge-perks-for-inauguration-donors/\">published\u003c/a> by the Center for Public Integrity, received four tickets to a “leadership luncheon” advertised as an “exclusive inaugural event.”\u003c/p>\n\u003cp>Liberty spokespeople didn’t respond to comment requests from KQED. In interviews, Malone has voiced his \u003ca href=\"https://www.youtube.com/watch?v=tByi-4LuNE0\">support\u003c/a> for Trump’s positions on trade and immigration, and said he expects the administration to be favorable to the entertainment industry.\u003c/p>\n\u003cfigure id=\"attachment_13849654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849654\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Tim-Westergren-800x532.jpg\" alt=\"Co-founder of Pandora Radio Tim Westergren speaks on stage in December 2016 in New York City. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Tim-Westergren.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Tim-Westergren-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Tim-Westergren-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Co-founder of Pandora Radio Tim Westergren speaks on stage in December 2016 in New York City. \u003ccite>(Theo Wargo/Getty Images for Pandora Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Liberty’s controlling interest in Sirius has received little media attention, the Pandora acquisition comes at a time when conservative music industry giving has prompted protest. 2017 reports of Philip Anschutz, Goldenvoice parent company AEG’s owner, financially supporting \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\">anti-gay organizations\u003c/a> spurred calls to boycott Goldenvoice music festival Coachella. (Anschutz called the stories, based on public records of his charity, “fake news.”)\u003c/p>\n\u003cp>Liberty connections to Trump aside, Sirius has attracted liberal criticism for its own programming decisions. In 2016, a media coalition \u003ca href=\"https://futureofmusic.org/pressmention/latino-civil-rights-groups-media-coalition-take-aim-siriusxm-shifting-eight-latin-music\">protested\u003c/a> Sirius’ move to eliminate 80 percent of its Latin music channels, saying the satellite service turned its back on Spanish-speaking listeners “at a time when Latinos are most misunderstood and fighting constant attacks.”\u003c/p>\n\u003cp>The next year, Sirius reintroduced Steve Bannon as a regular host on its Patriot channel, calling the former Trump advisor a “conservative populist icon” as part of a Breitbart expansion. In response, celebrities such as Seth Rogen and Melissa Etheridge called for a \u003ca href=\"https://money.cnn.com/2017/12/10/media/sirius-xm-steve-bannon-boycott/index.html\">boycott\u003c/a> of Sirius. “I will not be a part of normalizing hate speech,” Etheridge said at the time.\u003c/p>\n\u003cp>(Breitbart eventually cut ties with Bannon in 2018, forcing him to also step down from Sirius.) [contextly_sidebar id=”behKZRs8K9PFoI9nTiaF7vymcBN4fSiN”]\u003c/p>\n\u003cp>Liberty is also a partial 34-percent owner of Live Nation, the world’s largest concert promoter, where Maffei also chairs the board. So the Pandora acquisition is, however indirectly, an expansion of Live Nation’s presence in the Bay Area. Goldenvoice and Live Nation have aggressively angled for more control of the local concert market in recent years—to the detriment, \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">critics say\u003c/a>, of show-goers and independent venues.\u003c/p>\n\u003cp>Though the relationship between Pandora and other Liberty holdings such as Live Nation remains to be seen, Pandora cofounder and on-and-off executive Tim Westergren approvingly cited Sirius’s connection to “the live business” last year. And Liberty plans to expand further in the music business: According to a recent \u003ca href=\"https://www.rollingstone.com/music/music-features/liberty-media-about-to-become-the-most-powerful-company-in-music-780411/\">feature\u003c/a> in \u003cem>Rolling Stone\u003c/em>, it’s even eyeing broadcast giant iHeart Media.\u003c/p>\n\u003cp>Sirius XM is itself the result of onetime competitors Sirius and XM merging despite antitrust concerns in 2008. Kevin Erickson, director of Washington, D.C. artist advocacy group the Future of Music Coalition, said the Pandora-Sirius deal continues a troubling consolidation trend.\u003c/p>\n\u003cp>“If one company is allowed to combine the satellite radio monopoly with the largest company in digital radio, the largest broadcast radio station group, and potentially one of the two dominant forces in live music, that’s truly unprecedented gatekeeper power,” Erickson said, calling the plan “a catastrophe for independent musicians and a fans.” [contextly_sidebar id=”c2seARt6xoGD1iDGE2YLuYIMqQseZ1v1″]\u003c/p>\n\u003cp>As so called non-interactive services, Sirius and Pandora rely on statutory licenses issued by the government as a baseline for their royalty obligations to artists and copyright holders. Without competition, Erickson said, that baseline becomes the ceiling instead of the floor. “When one buyer effectively controls an entire marketplace—what’s called a monopsony—they have the bargaining power to drive wages down,” he said.\u003c/p>\n\u003cp>As an example of Liberty’s artist relations, Erickson pointed to the Music Modernization Act. The legislation, signed into law last year, aimed to adapt copyright for the streaming era in part by extending federal copyright protection to sound recordings made before February 15, 1972. Liberty, according to Erickson, was the act’s most aggressive opponent.\u003c/p>\n\u003cp>“So we already know something about how much respect they have for musicians,” he said.\u003c/p>\n\u003cp>Meanwhile, Bay Area tech industry ties to the Trump administration have begun to draw the ire of rank-and-file workers. Last June, protesters disrupted Salesforce’s annual Dreamforce conference to decry the software company’s contract with U.S. Customs and Border Patrol. The Tech Workers Coalition has argued that the contract makes Salesforce complicit in Trump’s anti-immigrant campaign, despite the company’s outspoken liberal leader Marc Benioff.\u003c/p>\n\u003cp>The mood among Pandora employees towards Liberty’s little-publicized political affinities is unclear. Two workers who asked to remain anonymous told KQED office talk is focused on the company’s move last year to cut 5 percent of its workforce amid an expansion in Atlanta. The combined company, according to an internal document \u003ca href=\"http://www.insideradio.com/free/after-merger-with-siriusxm-pandora-will-move-hq-to-new/article_efc95f62-d10f-11e8-aead-0f9a98996a12.html\">reported\u003c/a> in October, will be headquartered in New York.\u003c/p>\n\u003cp>Pandora had 2,488 full-time workers worldwide as of late last year.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Records show that Westergren, for years Pandora’s public face, has mostly donated to Democrats. According to a \u003cem>Billboard \u003c/em>\u003ca href=\"https://www.billboard.com/articles/business/6191206/pandora-tim-westergren-political-donations\">analysis\u003c/a>, his political giving generally targeted elected officials involved in Pandora-related policy making. The streaming company has spent millions \u003ca href=\"https://www.eastbayexpress.com/oakland/the-tyranny-of-free/Content?oid=4126731&showFullText=true\">lobbying Washington\u003c/a> to reduce its royalty obligation to artists and copyright holders.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pandora Media shareholders voted Tuesday to approve its $3.5 billion acquisition by satellite radio company Sirius XM, adding the struggling webcaster and one of Oakland’s largest employers to the portfolio of major Donald Trump and Republican Party donors at parent company Liberty Media.\u003c/p>\n\u003cp>The closely watched acquisition, announced in September and expected to close by March, creates what the companies call the world’s largest audio entertainment company.\u003c/p>\n\u003cp>Pandora has more than 70 million listeners, mostly on its ad-supported free tier, but the company has long lost money and lately fallen behind on-demand streaming competitors such as Spotify and Apple Music. Sirius, by contrast, is profitable with more than 30 million subscribers.\u003c/p>\n\u003cp>The deal consolidates Pandora and Sirius XM under the control of Liberty Media, a Colorado company owned and run by conservative donors, at a time when music industry political giving and tech ties to the Trump administration are increasingly scrutinized. Policy experts also say the merger empowers a company that’s aggressively fought to suppress royalty payments for artists and copyright holders. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Liberty founder John Malone, a longtime media mogul, and CEO Greg Maffei, who’s also the board chairman at Sirius, have donated millions to Trump and GOP candidates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Individually and through Liberty political action committees, Malone and Maffei collectively gave $1 million to Trump’s 58th Presidential Inaugural Committee, according to Federal Election Commission filings. The donation follows roughly $1 million each to conservative national candidates for office, FEC records show.\u003c/p>\n\u003cp>Trump’ inaugural committee and a related super PAC are the subject of \u003ca href=\"https://www.nytimes.com/2018/12/13/us/politics/trump-inauguration-investigation.html\">federal investigation\u003c/a> for influence peddling and illegal coordination. Donors of $1 million or more, according to a brochure \u003ca href=\"https://publicintegrity.org/federal-politics/donald-trump-offering-huge-perks-for-inauguration-donors/\">published\u003c/a> by the Center for Public Integrity, received four tickets to a “leadership luncheon” advertised as an “exclusive inaugural event.”\u003c/p>\n\u003cp>Liberty spokespeople didn’t respond to comment requests from KQED. In interviews, Malone has voiced his \u003ca href=\"https://www.youtube.com/watch?v=tByi-4LuNE0\">support\u003c/a> for Trump’s positions on trade and immigration, and said he expects the administration to be favorable to the entertainment industry.\u003c/p>\n\u003cfigure id=\"attachment_13849654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849654\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Tim-Westergren-800x532.jpg\" alt=\"Co-founder of Pandora Radio Tim Westergren speaks on stage in December 2016 in New York City. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Tim-Westergren.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Tim-Westergren-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Tim-Westergren-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Co-founder of Pandora Radio Tim Westergren speaks on stage in December 2016 in New York City. \u003ccite>(Theo Wargo/Getty Images for Pandora Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Liberty’s controlling interest in Sirius has received little media attention, the Pandora acquisition comes at a time when conservative music industry giving has prompted protest. 2017 reports of Philip Anschutz, Goldenvoice parent company AEG’s owner, financially supporting \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\">anti-gay organizations\u003c/a> spurred calls to boycott Goldenvoice music festival Coachella. (Anschutz called the stories, based on public records of his charity, “fake news.”)\u003c/p>\n\u003cp>Liberty connections to Trump aside, Sirius has attracted liberal criticism for its own programming decisions. In 2016, a media coalition \u003ca href=\"https://futureofmusic.org/pressmention/latino-civil-rights-groups-media-coalition-take-aim-siriusxm-shifting-eight-latin-music\">protested\u003c/a> Sirius’ move to eliminate 80 percent of its Latin music channels, saying the satellite service turned its back on Spanish-speaking listeners “at a time when Latinos are most misunderstood and fighting constant attacks.”\u003c/p>\n\u003cp>The next year, Sirius reintroduced Steve Bannon as a regular host on its Patriot channel, calling the former Trump advisor a “conservative populist icon” as part of a Breitbart expansion. In response, celebrities such as Seth Rogen and Melissa Etheridge called for a \u003ca href=\"https://money.cnn.com/2017/12/10/media/sirius-xm-steve-bannon-boycott/index.html\">boycott\u003c/a> of Sirius. “I will not be a part of normalizing hate speech,” Etheridge said at the time.\u003c/p>\n\u003cp>(Breitbart eventually cut ties with Bannon in 2018, forcing him to also step down from Sirius.) \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Liberty is also a partial 34-percent owner of Live Nation, the world’s largest concert promoter, where Maffei also chairs the board. So the Pandora acquisition is, however indirectly, an expansion of Live Nation’s presence in the Bay Area. Goldenvoice and Live Nation have aggressively angled for more control of the local concert market in recent years—to the detriment, \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">critics say\u003c/a>, of show-goers and independent venues.\u003c/p>\n\u003cp>Though the relationship between Pandora and other Liberty holdings such as Live Nation remains to be seen, Pandora cofounder and on-and-off executive Tim Westergren approvingly cited Sirius’s connection to “the live business” last year. And Liberty plans to expand further in the music business: According to a recent \u003ca href=\"https://www.rollingstone.com/music/music-features/liberty-media-about-to-become-the-most-powerful-company-in-music-780411/\">feature\u003c/a> in \u003cem>Rolling Stone\u003c/em>, it’s even eyeing broadcast giant iHeart Media.\u003c/p>\n\u003cp>Sirius XM is itself the result of onetime competitors Sirius and XM merging despite antitrust concerns in 2008. Kevin Erickson, director of Washington, D.C. artist advocacy group the Future of Music Coalition, said the Pandora-Sirius deal continues a troubling consolidation trend.\u003c/p>\n\u003cp>“If one company is allowed to combine the satellite radio monopoly with the largest company in digital radio, the largest broadcast radio station group, and potentially one of the two dominant forces in live music, that’s truly unprecedented gatekeeper power,” Erickson said, calling the plan “a catastrophe for independent musicians and a fans.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As so called non-interactive services, Sirius and Pandora rely on statutory licenses issued by the government as a baseline for their royalty obligations to artists and copyright holders. Without competition, Erickson said, that baseline becomes the ceiling instead of the floor. “When one buyer effectively controls an entire marketplace—what’s called a monopsony—they have the bargaining power to drive wages down,” he said.\u003c/p>\n\u003cp>As an example of Liberty’s artist relations, Erickson pointed to the Music Modernization Act. The legislation, signed into law last year, aimed to adapt copyright for the streaming era in part by extending federal copyright protection to sound recordings made before February 15, 1972. Liberty, according to Erickson, was the act’s most aggressive opponent.\u003c/p>\n\u003cp>“So we already know something about how much respect they have for musicians,” he said.\u003c/p>\n\u003cp>Meanwhile, Bay Area tech industry ties to the Trump administration have begun to draw the ire of rank-and-file workers. Last June, protesters disrupted Salesforce’s annual Dreamforce conference to decry the software company’s contract with U.S. Customs and Border Patrol. The Tech Workers Coalition has argued that the contract makes Salesforce complicit in Trump’s anti-immigrant campaign, despite the company’s outspoken liberal leader Marc Benioff.\u003c/p>\n\u003cp>The mood among Pandora employees towards Liberty’s little-publicized political affinities is unclear. Two workers who asked to remain anonymous told KQED office talk is focused on the company’s move last year to cut 5 percent of its workforce amid an expansion in Atlanta. The combined company, according to an internal document \u003ca href=\"http://www.insideradio.com/free/after-merger-with-siriusxm-pandora-will-move-hq-to-new/article_efc95f62-d10f-11e8-aead-0f9a98996a12.html\">reported\u003c/a> in October, will be headquartered in New York.\u003c/p>\n\u003cp>Pandora had 2,488 full-time workers worldwide as of late last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When news broke in January of corporate promoter Goldenvoice assuming control of booking concerts at both Slim’s and the Great American Music Hall, Jamie Zawinski was dismayed. The DNA Lounge owner had long looked to Slim’s, his neighbor on 11th Street in SoMa, as a model independent music venue in San Francisco. “They were the example,” he said of the 500-capacity club founded in 1988. “If Slim’s can’t make it work anymore, who can?”\u003c/p>\n\u003cp>Zawinski also realized that few people, not even his own employees, knew the extent of local music venues’ corporate consolidation, or of its effects on the remaining independents.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.dnalounge.com/backstage/log/2018/01/31.html\">blog post\u003c/a>, Zawinski tallied the rooms controlled by Goldenvoice, Live Nation and local competitor Another Planet Entertainment, arguing that the companies’ “vertically integrated” club and festival holdings, along with ticketing services, provides a monopolistic advantage. Zawinski also included a list of 18 independently owned and operated clubs, hoping to encourage readers to patronize venues that aren’t what he recently called “fronts for chains.” [contextly_sidebar id=”ZMlm6piZqqTvtCF9CH62CaDbK8rKOpHO”]\u003c/p>\n\u003cp>But less than a year later, three of those 18 independent clubs have shuttered or announced impending closure. (The co-owner of another, Brick & Mortar Music Hall, was \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\">accused\u003c/a> of threatening and assaulting homeless people.) The closures of the Hemlock Tavern, Elbo Room and Mezzanine all involve plans for redevelopment—the latter venue’s landlord plainly \u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\">told\u003c/a> KQED that Mezzanine doesn’t earn him as much as offices.\u003c/p>\n\u003cfigure id=\"attachment_13816998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816998\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg\" alt=\"The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated 'Hemlock Tavern.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated ‘Hemlock Tavern.’ \u003ccite>(Courtesy Hemlock Tavern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Zawinski, Slim’s and GAMH ceding to Goldenvoice is practically the loss of two civic treasures. Other industry figures agree, lamenting the takeover as if the venues had shut down outright.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It isn’t that San Franciscans aren’t interested in concerts; corporate promoters taking over clubs and launching new festivals itself illustrates tremendous demand. But stakeholders say the erosion of the independent venue ecosystem, which follows the virtual disappearance of the city’s underground DIY spaces, diminishes the concert experience for attendee and performer alike. [contextly_sidebar id=”B5Qqcmv9noLlwMFVR5jPGj5XhaR6wgY2″]\u003c/p>\n\u003cp>In San Francisco, the 1960s counterculture pioneered multimedia concerts, presaged the modern music festival, and birthed the nationally recognized Bill Graham Presents, which trained a generation of local promoters. Today, though, Live Nation owns what was once Graham’s flagship venue, The Fillmore. And Slim’s and the Great American, long booked by a Graham protégé, are run by a company, Goldenvoice, whose corporate parent is owned by a \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\">right-wing philanthropist\u003c/a>.\u003c/p>\n\u003cp>Goldenvoice and Live Nation’s diversified businesses—the latter made $2.1 billion in ticketing \u003cem>fees\u003c/em> last year alone, according to its shareholder report—are so anticompetitive, they’ve prompted criticism from legislators on antitrust grounds. Artists, too, have cried foul: In the 2000s, indie singer-songwriter Conor Oberst of Bright Eyes boycotted venues affiliated with Live Nation predecessor Clear Channel.\u003c/p>\n\u003cfigure id=\"attachment_13846930\" class=\"wp-caption aligncenter\" style=\"max-width: 789px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846930\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976.jpg\" alt=\"This year Goldenvoice assumed control of booking at the Great American Music Hall, seen here in the 1970s.\" width=\"789\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976.jpg 789w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976-768x657.jpg 768w\" sizes=\"(max-width: 789px) 100vw, 789px\">\u003cfigcaption class=\"wp-caption-text\">This year Goldenvoice assumed control of booking at the Great American Music Hall, seen here in the 1970s. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With national venue infrastructures, the companies can book entire tours, or entice groups away from competitors with the possibility of future festival appearances, effectively shutting out independents such as DNA Lounge. For example, Zawinski said he lost an act he’d booked several times previously to what he called a “corporate-owned” venue just a week before we spoke. “They reluctantly made it clear it was about getting a shot at a festival,” he said.\u003c/p>\n\u003cp>Undercutting independent venues’ in-house talent buyers also tends to deprive show-goers of a well-curated slate of local openers, not to mention lessening all-local lineups. As a talent-buyer since 2002, Anthony Bedard built the Hemlock’s reputation as a rocker haunt, and early last year he landed a job booking the Great American Music Hall. This past year, though, he lost both gigs: first after Goldenvoice’s GAMH partnership, and then ahead of the Hemlock’s demolition.\u003c/p>\n\u003cfigure id=\"attachment_10746787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10746787\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/TonyBedardMain-800x450.jpg\" alt=\"Anthony Bedard booked the Hemlock Tavern for 16 years. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Bedard booked the Hemlock Tavern for 16 years. \u003ccite>(Julie Michelle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bedard’s work is inflected with fandom. At the Hemlock, he took risks promoting emerging or underground acts, building a record of ear-to-the-street discernment and prescience that landed him roles at Great American, however short lived, and Hardly Strictly Bluegrass.\u003c/p>\n\u003cp>His corporate successors at Great American Music Hall, by contrast, aren’t even pretending to support grassroots music scenes in San Francisco. Earlier this year \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\">I asked Danny Bell\u003c/a>, a Goldenvoice talent buyer in San Francisco, if Great American patrons should expect the sort of local programming that Bedard brought to the venue.\u003c/p>\n\u003cp>“Is it a priority? It’s tough to say,” Bell said. “I think it just naturally happens.”\u003c/p>\n\u003cp>In Chicago, local club owners recently rallied to oppose the inclusion of several Live Nation-run venues in a new waterfront development, saying city tax incentives on the project effectively subsidized their corporate competitors. Bedard and Zawinski aren’t sure political organizing is a solution. “Even if a venue is thriving, there’s the looming question of how much more the landlord can make by redeveloping the property,” Bedard said. “It’s bigger than the music industry.” [contextly_sidebar id=”nTimG1VOgOCzHFYgnzRjwmQgTsdDMHVj”]\u003c/p>\n\u003cp>Even the San Francisco Entertainment Commission, a government body tasked with regulating and promoting nightlife, sounds defeated by the cascade of closures and corporatization. Discussing news of Mezzanine’s ouster at a hearing last month, the commissioners bemoaned “greed,” and wondered if some other city officials could “put some pressure on the landlord.”\u003c/p>\n\u003cfigure id=\"attachment_13831544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_8562-1-800x533.jpg\" alt=\"The crowd at Mezzanine on May 5 during night three of the 2018 Mutek festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Mezzanine on May 5 during night three of the 2018 Mutek festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For music venue success stories, you’d have to expand the definition of “music venue” to accommodate the broader performing arts. Counterpulse, the Center for New Music, The Lab (which is currently \u003ca href=\"http://www.sfexaminer.com/mission-nonprofit-seeks-buy-historic-redstone-building-keep-tenants-place/\">rallying\u003c/a> to buy its building), and the Grand Theater have all opened or reopened since 2013, and this past year provided crucial outlets for improvised, experimental, and electronic music. But their shared nonprofit status, involving heavy reliance on grant support, illustrates the difficulty of subsisting on a traditional mix of ticket and drink sales.\u003c/p>\n\u003cp>There are reasons for optimism. Noise Pop, the booking outfit with close ties to Another Planet, will bring dozens of shows to independent venues—including the Swedish American Hall, Rickshaw Stop and Bottom of the Hill—as part of its decentralized annual festival in February and March. And Bedard, rebounding from the loss of two jobs, months ago launched Talent Moat, bringing choice lineups to independent venues including Thee Parkside, the Chapel and the Knockout.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But for another in-house talent buyer position, Bedard had to make the bittersweet transition to the East Bay. (Likewise, the Elbo Room this year opened an Oakland location.) He recently started booking the Ivy Room in Albany, where the new ownership’s enthusiasm, along with the service-industry worker clientele, reminds him of the Hemlock in the mid-2000s. “The takeover hasn’t done me in,” he said. “My shows hit the calendar in January.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When news broke in January of corporate promoter Goldenvoice assuming control of booking concerts at both Slim’s and the Great American Music Hall, Jamie Zawinski was dismayed. The DNA Lounge owner had long looked to Slim’s, his neighbor on 11th Street in SoMa, as a model independent music venue in San Francisco. “They were the example,” he said of the 500-capacity club founded in 1988. “If Slim’s can’t make it work anymore, who can?”\u003c/p>\n\u003cp>Zawinski also realized that few people, not even his own employees, knew the extent of local music venues’ corporate consolidation, or of its effects on the remaining independents.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.dnalounge.com/backstage/log/2018/01/31.html\">blog post\u003c/a>, Zawinski tallied the rooms controlled by Goldenvoice, Live Nation and local competitor Another Planet Entertainment, arguing that the companies’ “vertically integrated” club and festival holdings, along with ticketing services, provides a monopolistic advantage. Zawinski also included a list of 18 independently owned and operated clubs, hoping to encourage readers to patronize venues that aren’t what he recently called “fronts for chains.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But less than a year later, three of those 18 independent clubs have shuttered or announced impending closure. (The co-owner of another, Brick & Mortar Music Hall, was \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\">accused\u003c/a> of threatening and assaulting homeless people.) The closures of the Hemlock Tavern, Elbo Room and Mezzanine all involve plans for redevelopment—the latter venue’s landlord plainly \u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\">told\u003c/a> KQED that Mezzanine doesn’t earn him as much as offices.\u003c/p>\n\u003cfigure id=\"attachment_13816998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816998\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg\" alt=\"The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated 'Hemlock Tavern.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated ‘Hemlock Tavern.’ \u003ccite>(Courtesy Hemlock Tavern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Zawinski, Slim’s and GAMH ceding to Goldenvoice is practically the loss of two civic treasures. Other industry figures agree, lamenting the takeover as if the venues had shut down outright.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It isn’t that San Franciscans aren’t interested in concerts; corporate promoters taking over clubs and launching new festivals itself illustrates tremendous demand. But stakeholders say the erosion of the independent venue ecosystem, which follows the virtual disappearance of the city’s underground DIY spaces, diminishes the concert experience for attendee and performer alike. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In San Francisco, the 1960s counterculture pioneered multimedia concerts, presaged the modern music festival, and birthed the nationally recognized Bill Graham Presents, which trained a generation of local promoters. Today, though, Live Nation owns what was once Graham’s flagship venue, The Fillmore. And Slim’s and the Great American, long booked by a Graham protégé, are run by a company, Goldenvoice, whose corporate parent is owned by a \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\">right-wing philanthropist\u003c/a>.\u003c/p>\n\u003cp>Goldenvoice and Live Nation’s diversified businesses—the latter made $2.1 billion in ticketing \u003cem>fees\u003c/em> last year alone, according to its shareholder report—are so anticompetitive, they’ve prompted criticism from legislators on antitrust grounds. Artists, too, have cried foul: In the 2000s, indie singer-songwriter Conor Oberst of Bright Eyes boycotted venues affiliated with Live Nation predecessor Clear Channel.\u003c/p>\n\u003cfigure id=\"attachment_13846930\" class=\"wp-caption aligncenter\" style=\"max-width: 789px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846930\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976.jpg\" alt=\"This year Goldenvoice assumed control of booking at the Great American Music Hall, seen here in the 1970s.\" width=\"789\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976.jpg 789w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976-768x657.jpg 768w\" sizes=\"(max-width: 789px) 100vw, 789px\">\u003cfigcaption class=\"wp-caption-text\">This year Goldenvoice assumed control of booking at the Great American Music Hall, seen here in the 1970s. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With national venue infrastructures, the companies can book entire tours, or entice groups away from competitors with the possibility of future festival appearances, effectively shutting out independents such as DNA Lounge. For example, Zawinski said he lost an act he’d booked several times previously to what he called a “corporate-owned” venue just a week before we spoke. “They reluctantly made it clear it was about getting a shot at a festival,” he said.\u003c/p>\n\u003cp>Undercutting independent venues’ in-house talent buyers also tends to deprive show-goers of a well-curated slate of local openers, not to mention lessening all-local lineups. As a talent-buyer since 2002, Anthony Bedard built the Hemlock’s reputation as a rocker haunt, and early last year he landed a job booking the Great American Music Hall. This past year, though, he lost both gigs: first after Goldenvoice’s GAMH partnership, and then ahead of the Hemlock’s demolition.\u003c/p>\n\u003cfigure id=\"attachment_10746787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10746787\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/TonyBedardMain-800x450.jpg\" alt=\"Anthony Bedard booked the Hemlock Tavern for 16 years. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Bedard booked the Hemlock Tavern for 16 years. \u003ccite>(Julie Michelle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bedard’s work is inflected with fandom. At the Hemlock, he took risks promoting emerging or underground acts, building a record of ear-to-the-street discernment and prescience that landed him roles at Great American, however short lived, and Hardly Strictly Bluegrass.\u003c/p>\n\u003cp>His corporate successors at Great American Music Hall, by contrast, aren’t even pretending to support grassroots music scenes in San Francisco. Earlier this year \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\">I asked Danny Bell\u003c/a>, a Goldenvoice talent buyer in San Francisco, if Great American patrons should expect the sort of local programming that Bedard brought to the venue.\u003c/p>\n\u003cp>“Is it a priority? It’s tough to say,” Bell said. “I think it just naturally happens.”\u003c/p>\n\u003cp>In Chicago, local club owners recently rallied to oppose the inclusion of several Live Nation-run venues in a new waterfront development, saying city tax incentives on the project effectively subsidized their corporate competitors. Bedard and Zawinski aren’t sure political organizing is a solution. “Even if a venue is thriving, there’s the looming question of how much more the landlord can make by redeveloping the property,” Bedard said. “It’s bigger than the music industry.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Even the San Francisco Entertainment Commission, a government body tasked with regulating and promoting nightlife, sounds defeated by the cascade of closures and corporatization. Discussing news of Mezzanine’s ouster at a hearing last month, the commissioners bemoaned “greed,” and wondered if some other city officials could “put some pressure on the landlord.”\u003c/p>\n\u003cfigure id=\"attachment_13831544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_8562-1-800x533.jpg\" alt=\"The crowd at Mezzanine on May 5 during night three of the 2018 Mutek festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Mezzanine on May 5 during night three of the 2018 Mutek festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For music venue success stories, you’d have to expand the definition of “music venue” to accommodate the broader performing arts. Counterpulse, the Center for New Music, The Lab (which is currently \u003ca href=\"http://www.sfexaminer.com/mission-nonprofit-seeks-buy-historic-redstone-building-keep-tenants-place/\">rallying\u003c/a> to buy its building), and the Grand Theater have all opened or reopened since 2013, and this past year provided crucial outlets for improvised, experimental, and electronic music. But their shared nonprofit status, involving heavy reliance on grant support, illustrates the difficulty of subsisting on a traditional mix of ticket and drink sales.\u003c/p>\n\u003cp>There are reasons for optimism. Noise Pop, the booking outfit with close ties to Another Planet, will bring dozens of shows to independent venues—including the Swedish American Hall, Rickshaw Stop and Bottom of the Hill—as part of its decentralized annual festival in February and March. And Bedard, rebounding from the loss of two jobs, months ago launched Talent Moat, bringing choice lineups to independent venues including Thee Parkside, the Chapel and the Knockout.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for another in-house talent buyer position, Bedard had to make the bittersweet transition to the East Bay. (Likewise, the Elbo Room this year opened an Oakland location.) He recently started booking the Ivy Room in Albany, where the new ownership’s enthusiasm, along with the service-industry worker clientele, reminds him of the Hemlock in the mid-2000s. “The takeover hasn’t done me in,” he said. “My shows hit the calendar in January.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
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