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"content": "\u003cp>In 1991, rock critic Gina Arnold stood under the 115-degree Arizona sun at a stop of the pioneering touring festival, Lollapalooza. The event was in its first year; Nine Inch Nails, Siouxsie & the Banshees and Ice-T headlined; tickets were $27; and the organizers had “this hippyish belief in music to elevate people,” Arnold recalls.\u003c/p>\n\u003cp>Twenty-seven years later, music festivals have swelled into a big business. Save for a few exceptions, two companies run the show: Goldenvoice—whose repertoire includes Coachella, Stagecoach and Firefly—and Live Nation, which produces Bonnaroo, Austin City Limits, Sasquatch! and dozens of other fests around the country. Attendance costs have ballooned to several hundreds of dollars and that hippie spirit has given way to corporatization.\u003c/p>\n\u003cp>Arnold, who once wrote for \u003cem>Rolling Stone\u003c/em>, \u003cem>Spin\u003c/em> and \u003cem>East Bay Express\u003c/em>, and now teaches at the University of San Francisco, studies the communal power and changing nature of the rock festival in her new book, \u003ca href=\"https://www.uipress.uiowa.edu/books/9781609386085/half-a-million-strong\" target=\"_blank\" rel=\"noopener\">\u003cem>Half a Million Strong: Crowds and Power from Woodstock to Coachella\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13845467\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover.jpg\" alt=\"\" width=\"334\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover.jpg 334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover-160x239.jpg 160w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/p>\n\u003cp>A comprehensive history of every American rock festival would be too unwieldy, so Arnold gave herself strict parameters: the events in question couldn’t take place in stadiums and had to draw over 400,000 people in attendance. With these guidelines, Arnold maps out a social history of music festivals in the United States. \u003c/p>\n\u003cp>The rock festival, she argues, sells a promise of utopia. For one weekend, attendees can enjoy a respite from the individualistic, isolating culture of capitalism and the work week’s grind. But more often than not, the promise is doomed from the start.\u003c/p>\n\u003cp>“We go to the rock festival with these high ideals,” Arnold says. “It holds out to us things that we really want in life: community and a sense of connection. But when you get there, it’s actually a harsh environment with a lot of crowds, noise and distress. … Sometimes, it extends to much worse things, especially if you’re a non-male, non-white person. What does it mean if our idea of utopia isn’t enjoyable for non-white, [non]-males?”\u003c/p>\n\u003cp>With large-scale festivals, this utopia-for-sale is mostly accessible to the privileged among us. To attend the “best weekend of the summer,” as Los Angeles’ FYF Fest sells it, attendees shell out hundreds for admission, travel and Instagram-worthy outfits. Once there, a “no ins or outs” policy forces the purchase of beer, food and other wares at high markups. The respite is there—depending on your tax bracket.\u003c/p>\n\u003cfigure id=\"attachment_13842831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842831\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4552-800x533.jpg\" alt=\"The crowd at Treasure Island Music Festival 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Treasure Island Music Festival 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>In Half a Million Strong\u003c/em>, Arnold highlights the tension between festivals’ utopian aims and the quest for profit. She examines how heavyweights of the 1960s, like Woodstock, Altamont and the Monterey International Pop Festival, laid the idealistic foundation for the modern-day music festival. Raves get a chapter as the natural extension of those ’60s fests, but Arnold looks at how the capitalistic aims of promoters complicate their ambitions of peace, love, unity and respect.\u003c/p>\n\u003cp>While examining these tensions, Arnold also looks to lesser-known events that have uplifted marginalized communities and advocated for social good. Wattstax festival in Los Angeles in 1972, a benefit put on by Stax records on the seventh anniversary of the 1965 Watts riots, offers an example of a festival that—boasting a bill of Isaac Hayes, the Staples Singers, Richard Pryor and Carla Thomas—carved out a refuge for and by black folks.\u003c/p>\n\u003cp>That human need for a sense of community, Arnold explains, is why festivals are in more demand today than ever. “There’s just a real emptiness in people’s experiences now,” Arnold says of the increasingly private and isolating experience of our technology-driven society. “People just have a huge hunger for what I called in the book ‘listening together’—that sense of being a part of something larger.”[ad fullwidth]\u003c/p>\n\u003cp>Despite the changes the festival landscape has undergone, Arnold still believes that sense of belonging to something bigger can exist. She’s seen it.\u003c/p>\n\u003cp>In 1991, she flew to Olympia, Washington for the International Pop Underground Convention. Only 450 people showed to watch Fugazi, The Melvins, Bikini Kill, Bratmobile and Heavens to Betsy. The small, focused festival took place as an independent music scene in the Pacific Northwest was bubbling. Nirvana was on the precipice of breaking and the riot grrrl movement had begun to gain traction.\u003c/p>\n\u003cp>“It changed my life,” Arnold remembers. “It was definitely a moment where you went, ‘There are my people, and I’m going to be with these people for the rest of my life.’”\u003c/p>\n\u003cp>That festival worked because it was small and knew its audience. Today, Arnold argues, smaller, niche festivals might be better suited to quench our thirst for a collective musical experience than the carnival-like behemoths.\u003c/p>\n\u003cfigure id=\"attachment_13840941\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1130-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Production companies seem to realize this, too. This year, Goldenvoice put on the alternative, Latinx-focused Tropicalia in Long Beach. Santa Ana venue and promotion company The Observatory has spent the last year or so booking genre-focused events like the R&B-heavy Soulquarius, reggae fest One Love and Day N Night, a survey of internet rap.\u003c/p>\n\u003cp>“It’s the way they got out of the trap,” Arnold says of promoters’ move to downsize. “I think that’s the only way that it became sustainable.”\u003c/p>\n\u003cp>These specialized events hold the most potential to make good on the philosophical pledge. As for the giants, who knows.\u003c/p>\n\u003cp>“They don’t have this belief the that music will make people better,” Arnold says. “They just think of it like, ‘Well. you’ll have a fun weekend. We’ll make money, you’ll have a great time.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Gina Arnold reads from \u003c/em>Half a Million Strong: Crowds and Power from Woodstock to Coachella\u003cem> at the Santa Clara Valley Brewing Company on Dec. 1. Details \u003ca href=\"https://www.scvbrewing.com/event/book-release-half-a-million-strong-gina-arnold/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1991, rock critic Gina Arnold stood under the 115-degree Arizona sun at a stop of the pioneering touring festival, Lollapalooza. The event was in its first year; Nine Inch Nails, Siouxsie & the Banshees and Ice-T headlined; tickets were $27; and the organizers had “this hippyish belief in music to elevate people,” Arnold recalls.\u003c/p>\n\u003cp>Twenty-seven years later, music festivals have swelled into a big business. Save for a few exceptions, two companies run the show: Goldenvoice—whose repertoire includes Coachella, Stagecoach and Firefly—and Live Nation, which produces Bonnaroo, Austin City Limits, Sasquatch! and dozens of other fests around the country. Attendance costs have ballooned to several hundreds of dollars and that hippie spirit has given way to corporatization.\u003c/p>\n\u003cp>Arnold, who once wrote for \u003cem>Rolling Stone\u003c/em>, \u003cem>Spin\u003c/em> and \u003cem>East Bay Express\u003c/em>, and now teaches at the University of San Francisco, studies the communal power and changing nature of the rock festival in her new book, \u003ca href=\"https://www.uipress.uiowa.edu/books/9781609386085/half-a-million-strong\" target=\"_blank\" rel=\"noopener\">\u003cem>Half a Million Strong: Crowds and Power from Woodstock to Coachella\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13845467\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover.jpg\" alt=\"\" width=\"334\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover.jpg 334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover-160x239.jpg 160w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/p>\n\u003cp>A comprehensive history of every American rock festival would be too unwieldy, so Arnold gave herself strict parameters: the events in question couldn’t take place in stadiums and had to draw over 400,000 people in attendance. With these guidelines, Arnold maps out a social history of music festivals in the United States. \u003c/p>\n\u003cp>The rock festival, she argues, sells a promise of utopia. For one weekend, attendees can enjoy a respite from the individualistic, isolating culture of capitalism and the work week’s grind. But more often than not, the promise is doomed from the start.\u003c/p>\n\u003cp>“We go to the rock festival with these high ideals,” Arnold says. “It holds out to us things that we really want in life: community and a sense of connection. But when you get there, it’s actually a harsh environment with a lot of crowds, noise and distress. … Sometimes, it extends to much worse things, especially if you’re a non-male, non-white person. What does it mean if our idea of utopia isn’t enjoyable for non-white, [non]-males?”\u003c/p>\n\u003cp>With large-scale festivals, this utopia-for-sale is mostly accessible to the privileged among us. To attend the “best weekend of the summer,” as Los Angeles’ FYF Fest sells it, attendees shell out hundreds for admission, travel and Instagram-worthy outfits. Once there, a “no ins or outs” policy forces the purchase of beer, food and other wares at high markups. The respite is there—depending on your tax bracket.\u003c/p>\n\u003cfigure id=\"attachment_13842831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842831\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4552-800x533.jpg\" alt=\"The crowd at Treasure Island Music Festival 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Treasure Island Music Festival 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>In Half a Million Strong\u003c/em>, Arnold highlights the tension between festivals’ utopian aims and the quest for profit. She examines how heavyweights of the 1960s, like Woodstock, Altamont and the Monterey International Pop Festival, laid the idealistic foundation for the modern-day music festival. Raves get a chapter as the natural extension of those ’60s fests, but Arnold looks at how the capitalistic aims of promoters complicate their ambitions of peace, love, unity and respect.\u003c/p>\n\u003cp>While examining these tensions, Arnold also looks to lesser-known events that have uplifted marginalized communities and advocated for social good. Wattstax festival in Los Angeles in 1972, a benefit put on by Stax records on the seventh anniversary of the 1965 Watts riots, offers an example of a festival that—boasting a bill of Isaac Hayes, the Staples Singers, Richard Pryor and Carla Thomas—carved out a refuge for and by black folks.\u003c/p>\n\u003cp>That human need for a sense of community, Arnold explains, is why festivals are in more demand today than ever. “There’s just a real emptiness in people’s experiences now,” Arnold says of the increasingly private and isolating experience of our technology-driven society. “People just have a huge hunger for what I called in the book ‘listening together’—that sense of being a part of something larger.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the changes the festival landscape has undergone, Arnold still believes that sense of belonging to something bigger can exist. She’s seen it.\u003c/p>\n\u003cp>In 1991, she flew to Olympia, Washington for the International Pop Underground Convention. Only 450 people showed to watch Fugazi, The Melvins, Bikini Kill, Bratmobile and Heavens to Betsy. The small, focused festival took place as an independent music scene in the Pacific Northwest was bubbling. Nirvana was on the precipice of breaking and the riot grrrl movement had begun to gain traction.\u003c/p>\n\u003cp>“It changed my life,” Arnold remembers. “It was definitely a moment where you went, ‘There are my people, and I’m going to be with these people for the rest of my life.’”\u003c/p>\n\u003cp>That festival worked because it was small and knew its audience. Today, Arnold argues, smaller, niche festivals might be better suited to quench our thirst for a collective musical experience than the carnival-like behemoths.\u003c/p>\n\u003cfigure id=\"attachment_13840941\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1130-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Production companies seem to realize this, too. This year, Goldenvoice put on the alternative, Latinx-focused Tropicalia in Long Beach. Santa Ana venue and promotion company The Observatory has spent the last year or so booking genre-focused events like the R&B-heavy Soulquarius, reggae fest One Love and Day N Night, a survey of internet rap.\u003c/p>\n\u003cp>“It’s the way they got out of the trap,” Arnold says of promoters’ move to downsize. “I think that’s the only way that it became sustainable.”\u003c/p>\n\u003cp>These specialized events hold the most potential to make good on the philosophical pledge. As for the giants, who knows.\u003c/p>\n\u003cp>“They don’t have this belief the that music will make people better,” Arnold says. “They just think of it like, ‘Well. you’ll have a fun weekend. We’ll make money, you’ll have a great time.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Gina Arnold reads from \u003c/em>Half a Million Strong: Crowds and Power from Woodstock to Coachella\u003cem> at the Santa Clara Valley Brewing Company on Dec. 1. Details \u003ca href=\"https://www.scvbrewing.com/event/book-release-half-a-million-strong-gina-arnold/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Ticketmaster Has Its Own Secret 'Scalping Program,' Canadian Journalists Report",
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"content": "\u003cp>\u003cem>\u003cstrong>Updated 11:35 a.m. Sep. 20 \u003c/strong>with portions of a statement from Ticketmaster in response to the CBC and \u003c/em>Toronto Star\u003cem>‘s reporting.\u003c/em>\u003c/p>\n\u003cp>A team of Canadian journalists — from the Canadian Broadcasting Corporation (CBC), a public radio and television broadcaster, and the \u003cem>Toronto Star\u003c/em> newspaper — \u003ca href=\"https://www.cbc.ca/news/business/a-public-relations-nightmare-ticketmaster-recruits-pros-for-secret-scalper-program-1.4828535\">reported\u003c/a> on Wednesday that Ticketmaster, the live-event box office behemoth, has developed a secret tool called \u003ca href=\"https://tradedesk.ticketmaster.com/\">TradeDesk\u003c/a> that assists professional “scalpers” to resell tickets in ways that would seem to violate Ticketmaster’s own rules — and from which Ticketmaster would ostensibly benefit.\u003c/p>\n\u003cp>Two of the journalists went undercover with hidden cameras and posed as professional resellers to attend Ticket Summit 2018, a trade convention held in July at Caesars Palace in Las Vegas. A CBC journalist also obtained access to an online video conference demonstration of the TradeDesk platform back in March.\u003c/p>\n\u003cp>[contextly_sidebar id=”BuVGuCtbRdpVD00tgnEq1skdqKYTlv3L”]\u003c/p>\n\u003cp>In footage obtained by the journalists, a man purported to be a TradeDesk sales representative told them that the resellers he works with have “literally a couple of hundred” Ticketmaster.com accounts apiece — a violation of Ticketmaster’s own terms of use — through which they can buy huge swaths of tickets for resale, and that Ticketmaster’s “buyer abuse” division does not investigate at least some TradeDesk users.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the March video presentation, the CBC reports, a Ticketmaster employee said that 100 resellers across North America were using TradeDesk to each sell somewhere between a few thousand and several million tickets per year — “I think our biggest broker right now has probably grabbed around five million,” the representative is reported to have said.\u003c/p>\n\u003cp>The CBC has also made public a \u003ca href=\"https://www.documentcloud.org/documents/4901430-TMR-Professional-Reseller-Handbook-1-1.html\">document\u003c/a> which it says is Ticketmaster’s handbook for resellers. The handbook outlines a reward system for resellers. For example, the CBC writes, “As scalpers hit milestones such as $500,000 or $1 million in annual sales, Ticketmaster will knock a percentage point off its fees.”\u003c/p>\n\u003cfigure id=\"attachment_13841295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841295 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gettyimages-84749102-34fda82f91350120e44bd339ade6362ec392b837-e1537469703508.jpg\" alt=\"A 2009 Blockbuster sign advertising Live Nation's ticket sales, publicized shortly before the latter company's merger with Ticketmaste\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A 2009 Blockbuster sign advertising Live Nation’s ticket sales, publicized shortly before the latter company’s merger with Ticketmaste \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticketmaster is owned by Live Nation — the California-based company did not respond to NPR’s email for comment on the report.\u003c/p>\n\u003cp>The company declined to respond on the record to specific questions from the two Canadian media outlets, but offered a \u003ca href=\"https://www.documentcloud.org/documents/4891602-TICKETMASTER-S-STATEMENTS-to-CBC-NEWS-2FTORONTO.html\">statement\u003c/a> that reads, in part: “Ticketmaster is a technology platform that helps artists and teams connect with their fans. We do not own the tickets sold on our platform nor do we have any control over ticket pricing — either in the initial sale or the resale … As the world’s leading ticketing platform, representing thousands of teams, artists and venues, we believe it is our job to offer a marketplace that provides a safe and fair place for fans to shop, buy and sell tickets in both the primary and secondary markets.”\u003c/p>\n\u003cp>In a follow-up statement provided to NPR the morning of Sep. 20, Ticketmaster denies having a program that allows customers to buy large tranches of tickets, which was not at issue in the CBC/\u003cem>Star\u003c/em> report. The company continues by saying it does “not condone the statements made by the employee as the conduct described clearly violates our terms of service,” and that it will put “additional measures in place to proactively monitor for this type of inappropriate activity.”\u003c/p>\n\u003cp>Over the past decade, Live Nation has markedly changed course in its position on ticket resales. In 2009 — the year \u003ca href=\"https://www.nytimes.com/2010/04/25/business/25ticket.html\">before\u003c/a> Live Nation merged with Ticketmaster — Live Nation’s then-CEO, Irving Azoff, \u003ca href=\"https://www.theguardian.com/music/2009/feb/26/ticketmaster-secondary-market\">told\u003c/a> the Senate judiciary antitrust subcommittee that he believed “scalping and resale should be illegal.”\u003c/p>\n\u003cp>But in the\u003ca href=\"https://www.cbc.ca/news/business/ticketmaster-prices-scalpers-bruno-mars-1.4826914\"> first part\u003c/a> of the CBC/\u003cem>Toronto Star\u003c/em> investigation, published Tuesday, the journalists asserted that resold tickets are “particularly lucrative” for Ticketmaster, because the company reportedly profits from two separate sets of charges collected from the same ticket. “For example,” they write, “if Ticketmaster collects $25.75 on a $209.50 ticket on the initial sale, when the owner posts it for resale for $400 on the site, the company stands to collect an additional $76 on the same ticket.”\u003c/p>\n\u003cp>The Canadian report compounds some pressure on both Live Nation and Ticketmaster. According to reporting earlier this year \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">from \u003cem>The New York Times\u003c/em>\u003c/a>, the Justice Department is in the process of reviewing complaints that the concert giant “has used its control over concert tours to pressure venues into contracting with its subsidiary, Ticketmaster.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://insider.ticketmaster.com/ticketing-vertical-integration-and-the-nyts-recent-article/\">a blog post\u003c/a> responding to the \u003cem>Times\u003c/em>‘ allegations, Ticketmaster president Jared Smith wrote that the company’s success “is not the result of any unfair advantages resulting from being a part of Live Nation Entertainment,” but a result of its parent company’s investments into its products, alluding to the complaints as having been filed by AEG, its chief competition. “I would much rather talk about the things we are doing to ensure that consumers get fair access to tickets,” Smith continued, “but I guess none of that sells newspapers.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ticketmaster+Has+Its+Own+Secret+%27Scalping+Program%2C%27+Canadian+Journalists+Report&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Updated 11:35 a.m. Sep. 20 \u003c/strong>with portions of a statement from Ticketmaster in response to the CBC and \u003c/em>Toronto Star\u003cem>‘s reporting.\u003c/em>\u003c/p>\n\u003cp>A team of Canadian journalists — from the Canadian Broadcasting Corporation (CBC), a public radio and television broadcaster, and the \u003cem>Toronto Star\u003c/em> newspaper — \u003ca href=\"https://www.cbc.ca/news/business/a-public-relations-nightmare-ticketmaster-recruits-pros-for-secret-scalper-program-1.4828535\">reported\u003c/a> on Wednesday that Ticketmaster, the live-event box office behemoth, has developed a secret tool called \u003ca href=\"https://tradedesk.ticketmaster.com/\">TradeDesk\u003c/a> that assists professional “scalpers” to resell tickets in ways that would seem to violate Ticketmaster’s own rules — and from which Ticketmaster would ostensibly benefit.\u003c/p>\n\u003cp>Two of the journalists went undercover with hidden cameras and posed as professional resellers to attend Ticket Summit 2018, a trade convention held in July at Caesars Palace in Las Vegas. A CBC journalist also obtained access to an online video conference demonstration of the TradeDesk platform back in March.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In footage obtained by the journalists, a man purported to be a TradeDesk sales representative told them that the resellers he works with have “literally a couple of hundred” Ticketmaster.com accounts apiece — a violation of Ticketmaster’s own terms of use — through which they can buy huge swaths of tickets for resale, and that Ticketmaster’s “buyer abuse” division does not investigate at least some TradeDesk users.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the March video presentation, the CBC reports, a Ticketmaster employee said that 100 resellers across North America were using TradeDesk to each sell somewhere between a few thousand and several million tickets per year — “I think our biggest broker right now has probably grabbed around five million,” the representative is reported to have said.\u003c/p>\n\u003cp>The CBC has also made public a \u003ca href=\"https://www.documentcloud.org/documents/4901430-TMR-Professional-Reseller-Handbook-1-1.html\">document\u003c/a> which it says is Ticketmaster’s handbook for resellers. The handbook outlines a reward system for resellers. For example, the CBC writes, “As scalpers hit milestones such as $500,000 or $1 million in annual sales, Ticketmaster will knock a percentage point off its fees.”\u003c/p>\n\u003cfigure id=\"attachment_13841295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841295 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gettyimages-84749102-34fda82f91350120e44bd339ade6362ec392b837-e1537469703508.jpg\" alt=\"A 2009 Blockbuster sign advertising Live Nation's ticket sales, publicized shortly before the latter company's merger with Ticketmaste\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A 2009 Blockbuster sign advertising Live Nation’s ticket sales, publicized shortly before the latter company’s merger with Ticketmaste \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticketmaster is owned by Live Nation — the California-based company did not respond to NPR’s email for comment on the report.\u003c/p>\n\u003cp>The company declined to respond on the record to specific questions from the two Canadian media outlets, but offered a \u003ca href=\"https://www.documentcloud.org/documents/4891602-TICKETMASTER-S-STATEMENTS-to-CBC-NEWS-2FTORONTO.html\">statement\u003c/a> that reads, in part: “Ticketmaster is a technology platform that helps artists and teams connect with their fans. We do not own the tickets sold on our platform nor do we have any control over ticket pricing — either in the initial sale or the resale … As the world’s leading ticketing platform, representing thousands of teams, artists and venues, we believe it is our job to offer a marketplace that provides a safe and fair place for fans to shop, buy and sell tickets in both the primary and secondary markets.”\u003c/p>\n\u003cp>In a follow-up statement provided to NPR the morning of Sep. 20, Ticketmaster denies having a program that allows customers to buy large tranches of tickets, which was not at issue in the CBC/\u003cem>Star\u003c/em> report. The company continues by saying it does “not condone the statements made by the employee as the conduct described clearly violates our terms of service,” and that it will put “additional measures in place to proactively monitor for this type of inappropriate activity.”\u003c/p>\n\u003cp>Over the past decade, Live Nation has markedly changed course in its position on ticket resales. In 2009 — the year \u003ca href=\"https://www.nytimes.com/2010/04/25/business/25ticket.html\">before\u003c/a> Live Nation merged with Ticketmaster — Live Nation’s then-CEO, Irving Azoff, \u003ca href=\"https://www.theguardian.com/music/2009/feb/26/ticketmaster-secondary-market\">told\u003c/a> the Senate judiciary antitrust subcommittee that he believed “scalping and resale should be illegal.”\u003c/p>\n\u003cp>But in the\u003ca href=\"https://www.cbc.ca/news/business/ticketmaster-prices-scalpers-bruno-mars-1.4826914\"> first part\u003c/a> of the CBC/\u003cem>Toronto Star\u003c/em> investigation, published Tuesday, the journalists asserted that resold tickets are “particularly lucrative” for Ticketmaster, because the company reportedly profits from two separate sets of charges collected from the same ticket. “For example,” they write, “if Ticketmaster collects $25.75 on a $209.50 ticket on the initial sale, when the owner posts it for resale for $400 on the site, the company stands to collect an additional $76 on the same ticket.”\u003c/p>\n\u003cp>The Canadian report compounds some pressure on both Live Nation and Ticketmaster. According to reporting earlier this year \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">from \u003cem>The New York Times\u003c/em>\u003c/a>, the Justice Department is in the process of reviewing complaints that the concert giant “has used its control over concert tours to pressure venues into contracting with its subsidiary, Ticketmaster.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://insider.ticketmaster.com/ticketing-vertical-integration-and-the-nyts-recent-article/\">a blog post\u003c/a> responding to the \u003cem>Times\u003c/em>‘ allegations, Ticketmaster president Jared Smith wrote that the company’s success “is not the result of any unfair advantages resulting from being a part of Live Nation Entertainment,” but a result of its parent company’s investments into its products, alluding to the complaints as having been filed by AEG, its chief competition. “I would much rather talk about the things we are doing to ensure that consumers get fair access to tickets,” Smith continued, “but I guess none of that sells newspapers.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ticketmaster+Has+Its+Own+Secret+%27Scalping+Program%2C%27+Canadian+Journalists+Report&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hundreds of Victims of Las Vegas Shooting File Lawsuits",
"headTitle": "Hundreds of Victims of Las Vegas Shooting File Lawsuits | KQED",
"content": "\u003cp>Hundreds of victims of the Oct. 1 shooting in Las Vegas filed five lawsuits in Los Angeles Superior Court on Monday.\u003c/p>\n\u003cp>The largest of the suits names 450 plaintiffs. Among those being sued are MGM Resorts International, owner of the Mandalay Bay resort; Live Nation, organizer of the country music festival at which 58 people were killed; and the estate of Stephen Paddock, the shooter.\u003c/p>\n\u003cp>The victims claim negligence by both MGM and Live Nation. They accuse MGM of not having adequate security policies, not properly training staff, not properly surveilling the premises, and failing to respond quickly when security guard Jesus Campos was shot. The suit alleges that Paddock’s VIP status as a high-stakes gambler gave him access to a service elevator at the Mandalay Bay, which he used to stockpile weapons and ammunition in the days before the shooting.\u003c/p>\n\u003cp>In Live Nation’s case, the plaintiffs say the company failed to provide enough exits or properly train employees “in case of a foreseeable event, such as a terrorist attack or other emergency.”\u003c/p>\n\u003cp>The shooter’s estate is being sued for assault, battery and intentional infliction of emotional distress.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The attorney heading the lawsuits, Muhammad Aziz, \u003ca href=\"https://www.reuters.com/article/us-lasvegas-shooting-lawsuit/hundreds-of-las-vegas-shooting-victims-file-lawsuits-in-california-court-idUSKBN1DK2OX\">told\u003c/a> Reuters that the cases were filed in California because most of the plaintiffs are from that state and received treatment there. He also noted that Live Nation is based in the state.\u003c/p>\n\u003cp>Last week, a different law firm filed 14 suits in Nevada court. In addition to MGM, Live Nation, and Paddock’s estate, these suits also name the manufacturers of the bump stock devices found in Paddock’s hotel suite. Attorneys for the plaintiffs argue that the shooting could have been stopped, and that the lawsuits are intended to prompt policy changes so it can’t happen again.\u003c/p>\n\u003cp>Similar to the California lawsuits, the suits filed in Nevada argue that MGM assisted Paddock in transporting his arsenal by giving him access to a service elevator not open to the public, and that the Mandalay Bay failed to adequately monitor the hotel premises, discover his weapons, have gunshot detection devices in hotel rooms, or have adequate procedures to handle an active shooter situation. The suit alleges that Live Nation failed to provide adequate exits or properly train staff to handle emergencies.\u003c/p>\n\u003cp>“The evidence we’ve seen thus far clearly indicates that the defendants were culpable in contributing to the 58 victims who lost their lives and the thousands more still suffering from severe injuries that will take years to overcome, if ever,” said attorney Antonio Romanucci in a press release. He is also lead counsel in lawsuits related to the 2016 shooting at Orlando’s Pulse nightclub.\u003c/p>\n\u003cp>Live Nation told NPR that it does not typically comment on ongoing litigation.\u003c/p>\n\u003cp>MGM wrote in a statement to NPR: “The incident that took place on October 1st was a terrible tragedy perpetrated by an evil man. These kinds of lawsuits are not unexpected and we intend to defend ourselves against them. That said, out of respect for the victims, we will give our response through the appropriate legal channels.”\u003c/p>\n\u003cp>It won’t be easy to prove the venues were negligent.\u003c/p>\n\u003cp>“One can’t blame the hotel for not predicting that this gunman would go up to their 32nd floor with an arsenal and break out the windows and start firing at people,” Tom Russell, a personal injury lawyer and law professor at the University of Denver \u003ca href=\"https://www.npr.org/2017/10/13/557520555/lawsuits-begin-after-las-vegas-massacre\">told\u003c/a> NPR’s Kirk Siegler. He said venues can also be victims, in the form of lost business or other harms.\u003c/p>\n\u003cp>As Kirk reported last month, victims sued the theater chain Cinemark after the 2012 Aurora, Colo., movie theater shooting. But the victims lost their suit, and were ordered to pay Cinemark’s legal fees. A legal expert also said that lawsuits against the gun industry tend to be unsuccessful.\u003c/p>\n\u003cp>“Laws like the Protection of Lawful Commerce in Arms Act passed as recently as 2005 broadly exempt the gun industry from any tort lawsuits when criminals use their products,” Kirk reported. “Meanwhile some victims, as in one motion already filed in Las Vegas, go after the gunman’s assets. But even if they win, there’s rarely enough money to go around.”\u003c/p>\n\u003cp>C. Chad Pinkerton, an attorney in the California suits, told the Associated Press that the shooting could have been avoided if officials had implemented safety recommendations and followed the weapons policies they had.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We know in this day and age that evil does happen, and we have to protect against that,” he told the AP. “This was the largest venue security failure in U.S. history.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hundreds+Of+Victims+Of+Las+Vegas+Shooting+File+Lawsuits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Defendants in the suits include MGM Resorts International, which owns the Mandalay Bay, and Live Nation, the organizer of the country music festival at which 58 people were killed last month.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hundreds of victims of the Oct. 1 shooting in Las Vegas filed five lawsuits in Los Angeles Superior Court on Monday.\u003c/p>\n\u003cp>The largest of the suits names 450 plaintiffs. Among those being sued are MGM Resorts International, owner of the Mandalay Bay resort; Live Nation, organizer of the country music festival at which 58 people were killed; and the estate of Stephen Paddock, the shooter.\u003c/p>\n\u003cp>The victims claim negligence by both MGM and Live Nation. They accuse MGM of not having adequate security policies, not properly training staff, not properly surveilling the premises, and failing to respond quickly when security guard Jesus Campos was shot. The suit alleges that Paddock’s VIP status as a high-stakes gambler gave him access to a service elevator at the Mandalay Bay, which he used to stockpile weapons and ammunition in the days before the shooting.\u003c/p>\n\u003cp>In Live Nation’s case, the plaintiffs say the company failed to provide enough exits or properly train employees “in case of a foreseeable event, such as a terrorist attack or other emergency.”\u003c/p>\n\u003cp>The shooter’s estate is being sued for assault, battery and intentional infliction of emotional distress.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The attorney heading the lawsuits, Muhammad Aziz, \u003ca href=\"https://www.reuters.com/article/us-lasvegas-shooting-lawsuit/hundreds-of-las-vegas-shooting-victims-file-lawsuits-in-california-court-idUSKBN1DK2OX\">told\u003c/a> Reuters that the cases were filed in California because most of the plaintiffs are from that state and received treatment there. He also noted that Live Nation is based in the state.\u003c/p>\n\u003cp>Last week, a different law firm filed 14 suits in Nevada court. In addition to MGM, Live Nation, and Paddock’s estate, these suits also name the manufacturers of the bump stock devices found in Paddock’s hotel suite. Attorneys for the plaintiffs argue that the shooting could have been stopped, and that the lawsuits are intended to prompt policy changes so it can’t happen again.\u003c/p>\n\u003cp>Similar to the California lawsuits, the suits filed in Nevada argue that MGM assisted Paddock in transporting his arsenal by giving him access to a service elevator not open to the public, and that the Mandalay Bay failed to adequately monitor the hotel premises, discover his weapons, have gunshot detection devices in hotel rooms, or have adequate procedures to handle an active shooter situation. The suit alleges that Live Nation failed to provide adequate exits or properly train staff to handle emergencies.\u003c/p>\n\u003cp>“The evidence we’ve seen thus far clearly indicates that the defendants were culpable in contributing to the 58 victims who lost their lives and the thousands more still suffering from severe injuries that will take years to overcome, if ever,” said attorney Antonio Romanucci in a press release. He is also lead counsel in lawsuits related to the 2016 shooting at Orlando’s Pulse nightclub.\u003c/p>\n\u003cp>Live Nation told NPR that it does not typically comment on ongoing litigation.\u003c/p>\n\u003cp>MGM wrote in a statement to NPR: “The incident that took place on October 1st was a terrible tragedy perpetrated by an evil man. These kinds of lawsuits are not unexpected and we intend to defend ourselves against them. That said, out of respect for the victims, we will give our response through the appropriate legal channels.”\u003c/p>\n\u003cp>It won’t be easy to prove the venues were negligent.\u003c/p>\n\u003cp>“One can’t blame the hotel for not predicting that this gunman would go up to their 32nd floor with an arsenal and break out the windows and start firing at people,” Tom Russell, a personal injury lawyer and law professor at the University of Denver \u003ca href=\"https://www.npr.org/2017/10/13/557520555/lawsuits-begin-after-las-vegas-massacre\">told\u003c/a> NPR’s Kirk Siegler. He said venues can also be victims, in the form of lost business or other harms.\u003c/p>\n\u003cp>As Kirk reported last month, victims sued the theater chain Cinemark after the 2012 Aurora, Colo., movie theater shooting. But the victims lost their suit, and were ordered to pay Cinemark’s legal fees. A legal expert also said that lawsuits against the gun industry tend to be unsuccessful.\u003c/p>\n\u003cp>“Laws like the Protection of Lawful Commerce in Arms Act passed as recently as 2005 broadly exempt the gun industry from any tort lawsuits when criminals use their products,” Kirk reported. “Meanwhile some victims, as in one motion already filed in Las Vegas, go after the gunman’s assets. But even if they win, there’s rarely enough money to go around.”\u003c/p>\n\u003cp>C. Chad Pinkerton, an attorney in the California suits, told the Associated Press that the shooting could have been avoided if officials had implemented safety recommendations and followed the weapons policies they had.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We know in this day and age that evil does happen, and we have to protect against that,” he told the AP. “This was the largest venue security failure in U.S. history.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hundreds+Of+Victims+Of+Las+Vegas+Shooting+File+Lawsuits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\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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"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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"mindshift": {
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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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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"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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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"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": {
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