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"content": "\u003cp>Billie Eilish has extended her Hit Me Hard and Soft Tour to include two dates at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/chase-center\">Chase Center\u003c/a> on Nov. 22 and 23, 2025, and we’ve got details on how to get tickets.\u003c/p>\n\u003cp>Normally, popular stars like Eilish have three or four different presales for tickets, including a fan club presale, a Live Nation presale, a venue presale, a CitiCard presale, and a Certified Member of Some Elite Club You’ve Never Heard Of And Will Never Get Into® presale.\u003c/p>\n\u003cp>Tickets for Eilish’s shows in San Francisco are simpler and a little more egalitarian.\u003c/p>\n\u003cfigure id=\"attachment_13838671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13838671\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946.jpg\" alt=\"Billie Eilish performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a presale for American Express cardholders on Tuesday, May 20, starting at noon. Then there’s a general onsale starting Thursday, May 22, at noon. Links for both are \u003ca href=\"https://www.ticketmaster.com/billie-eilish-tickets/artist/2257710?_ga=2.193644591.386331962.1747690777-1717370913.1739293577&_gl=1*c7mxrb*_ga*MTcxNzM3MDkxMy4xNzM5MjkzNTc3*_ga_C1T806G4DF*czE3NDc2OTA3NzYkbzIyJGcxJHQxNzQ3NjkxMTE5JGo2MCRsMCRoMCRkZG14clpyRFFZQnVYQlNKT05RRzQ4RGJnRnVZdktQQUhYUQ..*_ga_H1KKSGW33X*czE3NDc2OTA3NzYkbzIxJGcxJHQxNzQ3NjkxMTE5JGo2MCRsMCRoMCRkV3VramdCcUpoS2FmTTM0ZmI2S1p3eGJCYnV4ekJTT3RsZw..*_gcl_dc*R0NMLjE3NDQ5NDI2OTEuMmViNWJjNmU5NGNmMWI0MDhjYmRkNDZmMjE5ZWI4Yzc.*_gcl_au*MTI0MDI3OTk4OS4xNzQ3MTYzNTcz\">here\u003c/a>. That’s it.\u003c/p>\n\u003cp>Tickets \u003cem>can\u003c/em> be bought via a fan club presale, but presale codes have already been emailed by Ticketmaster to select fans who happened to sign up for Billie Eilish alerts. If you haven’t gotten that email by now, with a presale code unique to you and your Ticketmaster account, it’s likely you cannot access the fan presale. (You could try the \u003ca href=\"https://store.billieeilish.com/pages/tour\">“Sign Up for Info” link on this page\u003c/a>, I suppose, but no guarantees.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='forum_2010101892062']Options also exist for “Changemaker” tickets, which are essentially Platinum Tickets — far, far more expensive, with “a portion” of the proceeds going to charity. (Q: How much of a portion? A: ¯\\_(ツ)_/¯)\u003c/p>\n\u003cp>Notably, and laudably, Eilish has requested that resale tickets — think Stubhub, or Ticketmaster’s own ticket-scalping feature — \u003cstrong>only be sold for face value\u003c/strong>. According to the press release:\u003c/p>\n\u003cblockquote>\u003cp>Billie Eilish wants to give fans, not scalpers, the best chance to buy tickets at face value. To make this possible, they have chosen to use Ticketmaster’s Face Value Exchange. If fans purchase tickets for a show and can’t attend, they’ll have the option to resell them to other fans on Ticketmaster at the original price paid. To ensure Face Value Exchange works as intended, Billie Eilish has requested all tickets be mobile only and restricted from transfer.\u003c/p>\u003c/blockquote>\n\u003cp>(Laws in certain states, like New York, Illinois, Colorado, Virginia, Utah and Connecticut, allow people to resell tickets for any amount no matter how astronomical, but not California.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ticket links and more details for the two Chase Center shows can be found \u003ca href=\"https://www.ticketmaster.com/billie-eilish-tickets/artist/2257710?_ga=2.193644591.386331962.1747690777-1717370913.1739293577&_gl=1*c7mxrb*_ga*MTcxNzM3MDkxMy4xNzM5MjkzNTc3*_ga_C1T806G4DF*czE3NDc2OTA3NzYkbzIyJGcxJHQxNzQ3NjkxMTE5JGo2MCRsMCRoMCRkZG14clpyRFFZQnVYQlNKT05RRzQ4RGJnRnVZdktQQUhYUQ..*_ga_H1KKSGW33X*czE3NDc2OTA3NzYkbzIxJGcxJHQxNzQ3NjkxMTE5JGo2MCRsMCRoMCRkV3VramdCcUpoS2FmTTM0ZmI2S1p3eGJCYnV4ekJTT3RsZw..*_gcl_dc*R0NMLjE3NDQ5NDI2OTEuMmViNWJjNmU5NGNmMWI0MDhjYmRkNDZmMjE5ZWI4Yzc.*_gcl_au*MTI0MDI3OTk4OS4xNzQ3MTYzNTcz\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "The singer’s ’Hit Me Hard and Soft Tour’ comes to San Francisco in November — here's how to score tickets.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Billie Eilish has extended her Hit Me Hard and Soft Tour to include two dates at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/chase-center\">Chase Center\u003c/a> on Nov. 22 and 23, 2025, and we’ve got details on how to get tickets.\u003c/p>\n\u003cp>Normally, popular stars like Eilish have three or four different presales for tickets, including a fan club presale, a Live Nation presale, a venue presale, a CitiCard presale, and a Certified Member of Some Elite Club You’ve Never Heard Of And Will Never Get Into® presale.\u003c/p>\n\u003cp>Tickets for Eilish’s shows in San Francisco are simpler and a little more egalitarian.\u003c/p>\n\u003cfigure id=\"attachment_13838671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13838671\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946.jpg\" alt=\"Billie Eilish performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a presale for American Express cardholders on Tuesday, May 20, starting at noon. Then there’s a general onsale starting Thursday, May 22, at noon. Links for both are \u003ca href=\"https://www.ticketmaster.com/billie-eilish-tickets/artist/2257710?_ga=2.193644591.386331962.1747690777-1717370913.1739293577&_gl=1*c7mxrb*_ga*MTcxNzM3MDkxMy4xNzM5MjkzNTc3*_ga_C1T806G4DF*czE3NDc2OTA3NzYkbzIyJGcxJHQxNzQ3NjkxMTE5JGo2MCRsMCRoMCRkZG14clpyRFFZQnVYQlNKT05RRzQ4RGJnRnVZdktQQUhYUQ..*_ga_H1KKSGW33X*czE3NDc2OTA3NzYkbzIxJGcxJHQxNzQ3NjkxMTE5JGo2MCRsMCRoMCRkV3VramdCcUpoS2FmTTM0ZmI2S1p3eGJCYnV4ekJTT3RsZw..*_gcl_dc*R0NMLjE3NDQ5NDI2OTEuMmViNWJjNmU5NGNmMWI0MDhjYmRkNDZmMjE5ZWI4Yzc.*_gcl_au*MTI0MDI3OTk4OS4xNzQ3MTYzNTcz\">here\u003c/a>. That’s it.\u003c/p>\n\u003cp>Tickets \u003cem>can\u003c/em> be bought via a fan club presale, but presale codes have already been emailed by Ticketmaster to select fans who happened to sign up for Billie Eilish alerts. If you haven’t gotten that email by now, with a presale code unique to you and your Ticketmaster account, it’s likely you cannot access the fan presale. (You could try the \u003ca href=\"https://store.billieeilish.com/pages/tour\">“Sign Up for Info” link on this page\u003c/a>, I suppose, but no guarantees.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Options also exist for “Changemaker” tickets, which are essentially Platinum Tickets — far, far more expensive, with “a portion” of the proceeds going to charity. (Q: How much of a portion? A: ¯\\_(ツ)_/¯)\u003c/p>\n\u003cp>Notably, and laudably, Eilish has requested that resale tickets — think Stubhub, or Ticketmaster’s own ticket-scalping feature — \u003cstrong>only be sold for face value\u003c/strong>. According to the press release:\u003c/p>\n\u003cblockquote>\u003cp>Billie Eilish wants to give fans, not scalpers, the best chance to buy tickets at face value. To make this possible, they have chosen to use Ticketmaster’s Face Value Exchange. If fans purchase tickets for a show and can’t attend, they’ll have the option to resell them to other fans on Ticketmaster at the original price paid. To ensure Face Value Exchange works as intended, Billie Eilish has requested all tickets be mobile only and restricted from transfer.\u003c/p>\u003c/blockquote>\n\u003cp>(Laws in certain states, like New York, Illinois, Colorado, Virginia, Utah and Connecticut, allow people to resell tickets for any amount no matter how astronomical, but not California.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ticket links and more details for the two Chase Center shows can be found \u003ca href=\"https://www.ticketmaster.com/billie-eilish-tickets/artist/2257710?_ga=2.193644591.386331962.1747690777-1717370913.1739293577&_gl=1*c7mxrb*_ga*MTcxNzM3MDkxMy4xNzM5MjkzNTc3*_ga_C1T806G4DF*czE3NDc2OTA3NzYkbzIyJGcxJHQxNzQ3NjkxMTE5JGo2MCRsMCRoMCRkZG14clpyRFFZQnVYQlNKT05RRzQ4RGJnRnVZdktQQUhYUQ..*_ga_H1KKSGW33X*czE3NDc2OTA3NzYkbzIxJGcxJHQxNzQ3NjkxMTE5JGo2MCRsMCRoMCRkV3VramdCcUpoS2FmTTM0ZmI2S1p3eGJCYnV4ekJTT3RsZw..*_gcl_dc*R0NMLjE3NDQ5NDI2OTEuMmViNWJjNmU5NGNmMWI0MDhjYmRkNDZmMjE5ZWI4Yzc.*_gcl_au*MTI0MDI3OTk4OS4xNzQ3MTYzNTcz\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Trump Tries to Curb Ticket Industry’s Price-Gouging in Executive Order",
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"content": "\u003cp>President Donald Trump invited Kid Rock into the Oval Office on Monday and signed an executive order that he says will help curb \u003ca href=\"https://www.kqed.org/arts/tag/tickets\">ticket scalping\u003c/a> and bring “commonsense” changes to the way live events are priced.\u003c/p>\n\u003cp>“Anyone who’s bought a concert ticket in the last decade, maybe 20 years — no matter what your politics are — knows that it’s a conundrum,” said Kid Rock, who wore a red bedazzled suit featuring an American flag motif and a straw fedora.\u003c/p>\n\u003cp>Designed to stop “price-gouging by middlemen,” \u003ca href=\"https://www.whitehouse.gov/presidential-actions/2025/03/combating-unfair-practices-in-the-live-entertainment-market/\">the order\u003c/a> directs Attorney General Pam Bondi and Treasury Secretary Scott Bessent to ensure that scalpers offering tickets at higher prices than their face value comply with all Internal Revenue Service rules.\u003c/p>\n\u003cp>[aside postID='arts_13841293']It also orders the Federal Trade Commission to ensure “price transparency at all stages of the ticket-purchase process” and to “take enforcement action to prevent unfair, deceptive, and anti-competitive conduct in the secondary ticketing market,” which the Trump administration argues can restore sensibility and order to the ticket market.\u003c/p>\n\u003cp>Trump said he knows Kid Rock, a longtime supporter whose real name is Robert James Ritchie, as simply “Bob.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He’s been a good friend for a long time,” Trump said.\u003c/p>\n\u003cp>The president said rising fees for concerts and other events have “gotten worse and worse with time.” Kid Rock agreed.\u003c/p>\n\u003cp>“You can buy a ticket for $100. By the time you check out, it’s $170. You don’t know what you’ve been charged for,” Kid Rock said. “But, more importantly, the bots, you know, they come in, they get all the good tickets to your favorite shows you want to go to, and then they’re relisted immediately for sometimes 400-500% markup.”\u003c/p>\n\u003cp>[aside postID='arts_13958396']The order mostly directs federal agencies to enforce existing laws. Still, it marks a rare instance of policy crossover with the administration of Democratic President Joe Biden, which used the FTC to target “junk fees,” or levies tacked on at the end of the purchase process that can mask the full price of things like concert tickets, hotel rooms and utility bills.\u003c/p>\n\u003cp>Under Biden, the Justice Department also \u003ca href=\"https://https://www.kqed.org/arts/13958396/ticketmaster-lawsuit-justice-department-fees-scalping-monopoly\">sued Ticketmaster\u003c/a> and its parent company, Live Nation Entertainment, last year. It accused them of running an illegal monopoly over live events and asked a court to break up the system that squelches competition and drives up prices for fans.\u003c/p>\n\u003cp>Live Nation said Monday evening that “scalpers and bots prevent fans from getting tickets at the prices artists set, and we thank President Trump for taking them head-on.”\u003c/p>\n\u003cp>“We support any meaningful resale reforms,” the company said in a statement, adding that it included backing caps on resale prices. Live Nation CEO Michael Rapino also thanked Trump and Kid Rock in a post on X.\u003c/p>\n\u003cp>Those companies have a history of clashing with major artists, including Bruce Springsteen and \u003ca href=\"https://www.kqed.org/arts/tag/taylor-swift\">Taylor Swift\u003c/a>, whose summer 2022 stadium tour was plagued by difficulty getting tickets. Country music star Zach Bryan even released a 2022 album titled \u003ca href=\"https://www.kqed.org/arts/13923059/all-my-homies-hate-ticketmaster-zach-bryan\">\u003cem>All My Homies Hate Ticketmaster\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13923059']A representative for Bryan said he had “nothing to add” when asked to comment on the executive order.\u003c/p>\n\u003cp>The Biden administration used such initiatives as a way to protect consumers from rising prices that were already inflated. Trump, meanwhile, campaigned on combating high ticket prices, calling them “very unfortunate.”\u003c/p>\n\u003cp>Kid Rock, known for hits like “Cowboy” and “Bawitdaba,” called Trump’s order a “great first step” and said he’d eventually like to see a cap on resale prices on tickets — while quickly adding, “I’m a capitalist.” He also said he’d spoken to Ticketmaster, which he described as “on board” with the change.\u003c/p>\n\u003cp>The White House says America’s live concert and entertainment industry has a total nationwide economic impact of $132.6 billion and supports 913,000 jobs, “But it has become blighted by unscrupulous middle-men who impose egregious fees on fans with no benefit to artists,” according to a fact sheet it released Monday.\u003c/p>\n\u003cp>[aside postID='arts_13926475']Trump’s order further directs federal officials and the FTC to deliver a report in six months “summarizing actions taken to address the issue of unfair practices in the live concert and entertainment industry and recommend additional regulations or legislation needed to protect consumers in this industry.”\u003c/p>\n\u003cp>“Ticket scalpers use bots and other unfair means to acquire large quantities of face-value tickets, then re-sell them at an enormous markup on the secondary market, price-gouging consumers and depriving fans of the opportunity to see their favorite artists without incurring extraordinary expenses,” the White House fact sheet said.\u003c/p>\n\u003cp>It also noted that higher prices don’t mean additional profits for artists but instead go “solely to the scalper and the ticketing agency.”\u003c/p>\n\u003cp>Kid Rock agreed that such markups don’t benefit artists like himself, then chuckled while offering, “I’ll be the first one to say, and I know the president doesn’t like when I say this, but, I’m a little overpaid right now.”\u003c/p>\n\u003cp>“It’s kind of ridiculous. I would rather be, you know, a hero to working-class people and have them be able to come attend my shows and give them a fair ticket price,” he said. “I can’t control that right now so hopefully this is a step to make that happen.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press writer Maria Sherman contributed to this report from New York.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>President Donald Trump invited Kid Rock into the Oval Office on Monday and signed an executive order that he says will help curb \u003ca href=\"https://www.kqed.org/arts/tag/tickets\">ticket scalping\u003c/a> and bring “commonsense” changes to the way live events are priced.\u003c/p>\n\u003cp>“Anyone who’s bought a concert ticket in the last decade, maybe 20 years — no matter what your politics are — knows that it’s a conundrum,” said Kid Rock, who wore a red bedazzled suit featuring an American flag motif and a straw fedora.\u003c/p>\n\u003cp>Designed to stop “price-gouging by middlemen,” \u003ca href=\"https://www.whitehouse.gov/presidential-actions/2025/03/combating-unfair-practices-in-the-live-entertainment-market/\">the order\u003c/a> directs Attorney General Pam Bondi and Treasury Secretary Scott Bessent to ensure that scalpers offering tickets at higher prices than their face value comply with all Internal Revenue Service rules.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It also orders the Federal Trade Commission to ensure “price transparency at all stages of the ticket-purchase process” and to “take enforcement action to prevent unfair, deceptive, and anti-competitive conduct in the secondary ticketing market,” which the Trump administration argues can restore sensibility and order to the ticket market.\u003c/p>\n\u003cp>Trump said he knows Kid Rock, a longtime supporter whose real name is Robert James Ritchie, as simply “Bob.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He’s been a good friend for a long time,” Trump said.\u003c/p>\n\u003cp>The president said rising fees for concerts and other events have “gotten worse and worse with time.” Kid Rock agreed.\u003c/p>\n\u003cp>“You can buy a ticket for $100. By the time you check out, it’s $170. You don’t know what you’ve been charged for,” Kid Rock said. “But, more importantly, the bots, you know, they come in, they get all the good tickets to your favorite shows you want to go to, and then they’re relisted immediately for sometimes 400-500% markup.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The order mostly directs federal agencies to enforce existing laws. Still, it marks a rare instance of policy crossover with the administration of Democratic President Joe Biden, which used the FTC to target “junk fees,” or levies tacked on at the end of the purchase process that can mask the full price of things like concert tickets, hotel rooms and utility bills.\u003c/p>\n\u003cp>Under Biden, the Justice Department also \u003ca href=\"https://https://www.kqed.org/arts/13958396/ticketmaster-lawsuit-justice-department-fees-scalping-monopoly\">sued Ticketmaster\u003c/a> and its parent company, Live Nation Entertainment, last year. It accused them of running an illegal monopoly over live events and asked a court to break up the system that squelches competition and drives up prices for fans.\u003c/p>\n\u003cp>Live Nation said Monday evening that “scalpers and bots prevent fans from getting tickets at the prices artists set, and we thank President Trump for taking them head-on.”\u003c/p>\n\u003cp>“We support any meaningful resale reforms,” the company said in a statement, adding that it included backing caps on resale prices. Live Nation CEO Michael Rapino also thanked Trump and Kid Rock in a post on X.\u003c/p>\n\u003cp>Those companies have a history of clashing with major artists, including Bruce Springsteen and \u003ca href=\"https://www.kqed.org/arts/tag/taylor-swift\">Taylor Swift\u003c/a>, whose summer 2022 stadium tour was plagued by difficulty getting tickets. Country music star Zach Bryan even released a 2022 album titled \u003ca href=\"https://www.kqed.org/arts/13923059/all-my-homies-hate-ticketmaster-zach-bryan\">\u003cem>All My Homies Hate Ticketmaster\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A representative for Bryan said he had “nothing to add” when asked to comment on the executive order.\u003c/p>\n\u003cp>The Biden administration used such initiatives as a way to protect consumers from rising prices that were already inflated. Trump, meanwhile, campaigned on combating high ticket prices, calling them “very unfortunate.”\u003c/p>\n\u003cp>Kid Rock, known for hits like “Cowboy” and “Bawitdaba,” called Trump’s order a “great first step” and said he’d eventually like to see a cap on resale prices on tickets — while quickly adding, “I’m a capitalist.” He also said he’d spoken to Ticketmaster, which he described as “on board” with the change.\u003c/p>\n\u003cp>The White House says America’s live concert and entertainment industry has a total nationwide economic impact of $132.6 billion and supports 913,000 jobs, “But it has become blighted by unscrupulous middle-men who impose egregious fees on fans with no benefit to artists,” according to a fact sheet it released Monday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Trump’s order further directs federal officials and the FTC to deliver a report in six months “summarizing actions taken to address the issue of unfair practices in the live concert and entertainment industry and recommend additional regulations or legislation needed to protect consumers in this industry.”\u003c/p>\n\u003cp>“Ticket scalpers use bots and other unfair means to acquire large quantities of face-value tickets, then re-sell them at an enormous markup on the secondary market, price-gouging consumers and depriving fans of the opportunity to see their favorite artists without incurring extraordinary expenses,” the White House fact sheet said.\u003c/p>\n\u003cp>It also noted that higher prices don’t mean additional profits for artists but instead go “solely to the scalper and the ticketing agency.”\u003c/p>\n\u003cp>Kid Rock agreed that such markups don’t benefit artists like himself, then chuckled while offering, “I’ll be the first one to say, and I know the president doesn’t like when I say this, but, I’m a little overpaid right now.”\u003c/p>\n\u003cp>“It’s kind of ridiculous. I would rather be, you know, a hero to working-class people and have them be able to come attend my shows and give them a fair ticket price,” he said. “I can’t control that right now so hopefully this is a step to make that happen.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press writer Maria Sherman contributed to this report from New York.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/kendrick-lamar\">Kendrick Lamar\u003c/a> has announced \u003ca href=\"https://grandnationaltour.com/\">a show with SZA in San Francisco on May 29, 2025\u003c/a>, in yet another victory lap after scoring the \u003ca href=\"https://pitchfork.com/features/lists-and-guides/best-songs-2024/\">song of the year\u003c/a>. Tickets go on sale this week, including an early onsale with a presale code. Here’s how to get them. \u003c/p>\n\u003cp>Presale tickets for Kendrick go on sale \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">Wednesday, Dec. 4, at 10 a.m. Pacific Time\u003c/a>, and because we live in a corporate dystopia, they’re only available to Cash App Visa cardholders. Ticketmaster, as usual, doesn’t provide details about what that means.\u003c/p>\n\u003cp>Here’s what to know.\u003c/p>\n\u003cp>[aside postID='arts_13968608']You can get a Cash App Visa card by opening the Cash App app and selecting the rectangular card icon at the bottom, second from the left. Select “Get Your Free Card.” Choose the free option, enter your street address, and — because we live in a \u003cem>surveillance\u003c/em> dystopia — enter your social security number. Scroll past a bunch of terms and conditions that nobody reads, hit “continue,” and you’re done. \u003c/p>\n\u003cp>Your physical card will show up in the mail later, but you can still use your card number to buy tickets. Select the card icon at the bottom of the app again, and your virtual card will be displayed. Tap the “eye” icon in the upper right of the card to show the full card number. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then, about 10-15 minutes before 10 a.m. Pacific Time, go to \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">the San Francisco show ticket link\u003c/a> (you may be put in a “waiting room”) and enter the first nine digits of your Cash App Visa card. That is your presale code which will unlock the presale, and when you finally see a seat map and select the tickets you want, you’ll have to buy the tickets using your Cash App card number.\u003c/p>\n\u003cp>[aside postID='arts_13960019']You will also need to \u003ca href=\"https://cash.app/exclusives/kendrickandsza\">active your card and pre-load money into your Cash App balance\u003c/a> before this entire process; the card is not a conventional credit card, and works more like a debit card. How much money, you may wonder? Who knows, because we live in a \u003cem>consumerist\u003c/em> dystopia, and Ticketmaster refuses to advertise ticket prices before the onsale, while Cash App will be happy for you to anxiously pre-load $1,000 on their card and then forget about your remaining balance afterward. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you want to skip this labyrinthian nonsense and take your chances with the general public onsale, that happens on \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">Friday, Dec. 6, at 10 a.m. Pacific Time\u003c/a>. Oracle Park holds over 40,000 people. If you’re okay with sitting in the stands, you might be good. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/kendrick-lamar\">Kendrick Lamar\u003c/a> has announced \u003ca href=\"https://grandnationaltour.com/\">a show with SZA in San Francisco on May 29, 2025\u003c/a>, in yet another victory lap after scoring the \u003ca href=\"https://pitchfork.com/features/lists-and-guides/best-songs-2024/\">song of the year\u003c/a>. Tickets go on sale this week, including an early onsale with a presale code. Here’s how to get them. \u003c/p>\n\u003cp>Presale tickets for Kendrick go on sale \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">Wednesday, Dec. 4, at 10 a.m. Pacific Time\u003c/a>, and because we live in a corporate dystopia, they’re only available to Cash App Visa cardholders. Ticketmaster, as usual, doesn’t provide details about what that means.\u003c/p>\n\u003cp>Here’s what to know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You can get a Cash App Visa card by opening the Cash App app and selecting the rectangular card icon at the bottom, second from the left. Select “Get Your Free Card.” Choose the free option, enter your street address, and — because we live in a \u003cem>surveillance\u003c/em> dystopia — enter your social security number. Scroll past a bunch of terms and conditions that nobody reads, hit “continue,” and you’re done. \u003c/p>\n\u003cp>Your physical card will show up in the mail later, but you can still use your card number to buy tickets. Select the card icon at the bottom of the app again, and your virtual card will be displayed. Tap the “eye” icon in the upper right of the card to show the full card number. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then, about 10-15 minutes before 10 a.m. Pacific Time, go to \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">the San Francisco show ticket link\u003c/a> (you may be put in a “waiting room”) and enter the first nine digits of your Cash App Visa card. That is your presale code which will unlock the presale, and when you finally see a seat map and select the tickets you want, you’ll have to buy the tickets using your Cash App card number.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You will also need to \u003ca href=\"https://cash.app/exclusives/kendrickandsza\">active your card and pre-load money into your Cash App balance\u003c/a> before this entire process; the card is not a conventional credit card, and works more like a debit card. How much money, you may wonder? Who knows, because we live in a \u003cem>consumerist\u003c/em> dystopia, and Ticketmaster refuses to advertise ticket prices before the onsale, while Cash App will be happy for you to anxiously pre-load $1,000 on their card and then forget about your remaining balance afterward. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you want to skip this labyrinthian nonsense and take your chances with the general public onsale, that happens on \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">Friday, Dec. 6, at 10 a.m. Pacific Time\u003c/a>. Oracle Park holds over 40,000 people. If you’re okay with sitting in the stands, you might be good. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The U.S. Justice Department filed a sweeping antitrust lawsuit against Ticketmaster and parent company Live Nation Entertainment on Thursday, accusing them of running an illegal monopoly over live events in America — squelching competition and driving up prices for fans.\u003c/p>\n\u003cp>The lawsuit, filed in federal court in Manhattan, was brought with 30 state and district attorneys general, and seeks to break up the monopoly they say is squeezing out smaller promoters, hurting artists and drowning fans with endless fees.\u003c/p>\n\u003cp>“It’s time for fans and artists to stop paying the price for Live Nation’s monopoly,” Attorney General Merrick Garland said Thursday. “It is time to restore competition and innovation in the entertainment industry. It is time to break up Live Nation, Ticketmaster. The American people are ready for it.”\u003c/p>\n\u003cp>[aside postID='forum_2010101892062']The Justice Department accused Live Nation of a slew of tactics — including threats and retaliation — that Garland said has allowed the entertainment giant to “suffocate the competition” by keeping a stronghold on virtually every aspect of the industry, from concert promotion to ticketing. The impact on consumers is seen in an “endless list of fees on fans,” the attorney general said.\u003c/p>\n\u003cp>“Live music should not be available only to those who can afford to pay the Ticketmaster tax,” said Assistant Attorney General Jonathan Kanter of the Justice Department’s Antitrust Division. “We are here today to fight for competition so that we can reopen the doors to the live music industry for all.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Live Nation has for years denied that it is violating antitrust laws and said Thursday that the lawsuit “won’t solve the issues fans care about relating to ticket prices, service fees, and access to in-demand shows.”\u003c/p>\n\u003cfigure id=\"attachment_11718499\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline.jpg\" alt=\"A large concert venue with people sitting on the lawn.\" width=\"1200\" height=\"849\" class=\"size-full wp-image-11718499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-960x679.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Shoreline Amphitheater in Mountain View is one of hundreds of concert venues operated by Live Nation, which merged with Ticketmaster in 2010.\u003c/figcaption>\u003c/figure>\n\u003cp>“Calling Ticketmaster a monopoly may be a PR win for the DOJ in the short term, but it will lose in court because it ignores the basic economics of live entertainment,” Live Nation added, stating that most service fees go to venues and that outside competition has “steadily eroded” Ticketmaster’s market share. The company said it would defend itself “against these baseless allegations” and push for other reforms.\u003c/p>\n\u003cp>Around 70% of tickets for major concert venues in the U.S. are sold through Ticketmaster, according to data in a federal lawsuit filed by consumers in 2022.\u003c/p>\n\u003cp>Live Nation owns or controls more than 265 of North America’s concert venues and dozens of top amphitheaters, according to the Justice Department. In the Bay Area, those include The Fillmore, the Shoreline Amphitheater, the Masonic, August Hall, the Toyota Pavilion at Concord, and the comedy clubs Cobb’s and the Punch Line. \u003c/p>\n\u003cp>Live Nation also contracts regularly with most commercial concert venues in the Bay Area. Those include large venues like Oracle Park, the Chase Center, the SAP Center and the Oakland Arena; theaters like the Paramount Theatre and the Rio Theater; and an increasing number of smaller clubs like the Chapel and Cafe du Nord.\u003c/p>\n\u003cp>[aside postID='arts_13926475']The Justice Department said Live Nation’s anti-competitive practices include using long-term contracts to keep venues from choosing rival ticketers, blocking venues from using multiple ticket sellers and threatening venues that they could lose money and fans if they don’t choose Ticketmaster. The Justice Department says Live Nation also threatened to retaliate against one firm if it didn’t stop a subsidiary from competing for artist promotion contracts.\u003c/p>\n\u003cp>The lawsuit is the latest example of the Biden administration’s aggressive antitrust enforcement approach targeting companies accused of engaging in illegal monopolies that box out competitors and drive up prices. In March, the Justice Department filed a lawsuit against Apple alleging that the tech giant has monopoly power in the smartphone market. The Democratic administration has also taken on Google, Amazon and other tech giants.\u003c/p>\n\u003cp>Ticketmaster, which merged with Live Nation in 2010, is the world’s largest ticket seller. During its annual report last month, the company said that Ticketmaster distributed more than 620 million tickets through its systems in 2023.\u003c/p>\n\u003cp>[aside postID='arts_13923059']Ticketmaster sparked outrage in November 2022 when its site crashed during a presale event for a Taylor Swift stadium tour. The company said its site was overwhelmed by both fans and attacks from bots, which were posing as consumers to scoop up tickets and sell them on secondary sites. The debacle prompted congressional hearings and bills in state legislatures aimed at better protecting consumers.\u003c/p>\n\u003cp>The Justice Department allowed Live Nation and Ticketmaster to merge as long as Live Nation agreed not to retaliate against concert venues for using other ticket companies for 10 years. In 2019, the department investigated and found that Live Nation had “repeatedly” violated that agreement and extended the prohibition on retaliating against concert venues to 2025.\u003c/p>\n\u003cp>Ticketmaster has clashed repeatedly with artists and fans over the years. Pearl Jam took aim at the company in 1994, although the Justice Department ultimately declined to bring a case. More recently, Bruce Springsteen fans were enraged over high ticket costs because of the platform’s dynamic pricing system.\u003c/p>\n\u003cp>Ticketmaster has also had disputes with its industry competitors. In 2015 StubHub sued Ticketmaster and the Golden State Warriors, alleging it unfairly required fans looking to resell tickets to use Ticketmaster’s resale exchange. StubHub alleged in the lawsuit that the organizations prevented fans from deciding how they want to resell tickets and artificially drove up ticket prices.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Grantham-Philips reported from New York. AP Reporters Michelle Chapman and Maria Sherman also contributed from New York. KQED editor Gabe Meline provided additional reporting. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Live Nation has for years denied that it is violating antitrust laws and said Thursday that the lawsuit “won’t solve the issues fans care about relating to ticket prices, service fees, and access to in-demand shows.”\u003c/p>\n\u003cfigure id=\"attachment_11718499\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline.jpg\" alt=\"A large concert venue with people sitting on the lawn.\" width=\"1200\" height=\"849\" class=\"size-full wp-image-11718499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-960x679.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Shoreline Amphitheater in Mountain View is one of hundreds of concert venues operated by Live Nation, which merged with Ticketmaster in 2010.\u003c/figcaption>\u003c/figure>\n\u003cp>“Calling Ticketmaster a monopoly may be a PR win for the DOJ in the short term, but it will lose in court because it ignores the basic economics of live entertainment,” Live Nation added, stating that most service fees go to venues and that outside competition has “steadily eroded” Ticketmaster’s market share. The company said it would defend itself “against these baseless allegations” and push for other reforms.\u003c/p>\n\u003cp>Around 70% of tickets for major concert venues in the U.S. are sold through Ticketmaster, according to data in a federal lawsuit filed by consumers in 2022.\u003c/p>\n\u003cp>Live Nation owns or controls more than 265 of North America’s concert venues and dozens of top amphitheaters, according to the Justice Department. In the Bay Area, those include The Fillmore, the Shoreline Amphitheater, the Masonic, August Hall, the Toyota Pavilion at Concord, and the comedy clubs Cobb’s and the Punch Line. \u003c/p>\n\u003cp>Live Nation also contracts regularly with most commercial concert venues in the Bay Area. Those include large venues like Oracle Park, the Chase Center, the SAP Center and the Oakland Arena; theaters like the Paramount Theatre and the Rio Theater; and an increasing number of smaller clubs like the Chapel and Cafe du Nord.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Justice Department said Live Nation’s anti-competitive practices include using long-term contracts to keep venues from choosing rival ticketers, blocking venues from using multiple ticket sellers and threatening venues that they could lose money and fans if they don’t choose Ticketmaster. The Justice Department says Live Nation also threatened to retaliate against one firm if it didn’t stop a subsidiary from competing for artist promotion contracts.\u003c/p>\n\u003cp>The lawsuit is the latest example of the Biden administration’s aggressive antitrust enforcement approach targeting companies accused of engaging in illegal monopolies that box out competitors and drive up prices. In March, the Justice Department filed a lawsuit against Apple alleging that the tech giant has monopoly power in the smartphone market. The Democratic administration has also taken on Google, Amazon and other tech giants.\u003c/p>\n\u003cp>Ticketmaster, which merged with Live Nation in 2010, is the world’s largest ticket seller. During its annual report last month, the company said that Ticketmaster distributed more than 620 million tickets through its systems in 2023.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster sparked outrage in November 2022 when its site crashed during a presale event for a Taylor Swift stadium tour. The company said its site was overwhelmed by both fans and attacks from bots, which were posing as consumers to scoop up tickets and sell them on secondary sites. The debacle prompted congressional hearings and bills in state legislatures aimed at better protecting consumers.\u003c/p>\n\u003cp>The Justice Department allowed Live Nation and Ticketmaster to merge as long as Live Nation agreed not to retaliate against concert venues for using other ticket companies for 10 years. In 2019, the department investigated and found that Live Nation had “repeatedly” violated that agreement and extended the prohibition on retaliating against concert venues to 2025.\u003c/p>\n\u003cp>Ticketmaster has clashed repeatedly with artists and fans over the years. Pearl Jam took aim at the company in 1994, although the Justice Department ultimately declined to bring a case. More recently, Bruce Springsteen fans were enraged over high ticket costs because of the platform’s dynamic pricing system.\u003c/p>\n\u003cp>Ticketmaster has also had disputes with its industry competitors. In 2015 StubHub sued Ticketmaster and the Golden State Warriors, alleging it unfairly required fans looking to resell tickets to use Ticketmaster’s resale exchange. StubHub alleged in the lawsuit that the organizations prevented fans from deciding how they want to resell tickets and artificially drove up ticket prices.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Grantham-Philips reported from New York. AP Reporters Michelle Chapman and Maria Sherman also contributed from New York. KQED editor Gabe Meline provided additional reporting. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Maggie Rogers has \u003ca href=\"https://shop.maggierogers.com/pages/tour\">announced a tour\u003c/a> for her new album \u003cem>Don’t Forget Me\u003c/em>, and she’s letting fans have their first crack at tickets the old-fashioned way: by waiting in line, in person. \u003c/p>\n\u003cp>Here in San Francisco, that means \u003ca href=\"https://shop.maggierogers.com/pages/tour-box-office\">tickets ($39.50–$139.50) to Rogers’ Nov. 1, 2024 show at Chase Center will go on sale at the Chase Center box office\u003c/a> on Saturday, April 20, at 10 a.m., before becoming available online the following week.\u003c/p>\n\u003cp>This is a beautiful thing, and not just for old-school nostalgists who romanticize the fun of waiting in line with other fans for tickets.\u003c/p>\n\u003cp>[aside postID='forum_2010101892062'] As you’ve probably noticed, online ticketing for major concerts is completely broken and exploited by opportunists. So much so that any artist who cares about their fans should follow Rogers’ lead and offer early in-person ticket sales.\u003c/p>\n\u003cp>How many times have you gone online and selected tickets, only to have them removed from your cart and then re-offered at a much higher price due to “dynamic pricing”? How many times have you gotten your “verified fan” code and tried to buy tickets right at 10 a.m., and bots and scalpers have already bought 90% of the available seats to re-sell them at three or four times face value? \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I could go on and on. Captchas, pull-down menus, “convenience” fees and “facility” fees that add up to 50% or more onto the face value ticket price, the phasing out of printed tickets, the \u003ca href=\"https://www.kqed.org/arts/13925510/senators-are-calling-on-the-justice-department-to-look-into-ticketmasters-practices\">Department of Justice’s refusal to break up the Ticketmaster-Live Nation monopoly\u003c/a>, the persistent stories of ticket agencies, venues and artists themselves all \u003ca href=\"https://www.kqed.org/arts/13841293/ticketmaster-has-its-own-secret-scalping-program-canadian-journalists-report\">scalping their own tickets\u003c/a>.\u003c/p>\n\u003cp>Maggie Rogers, heroine of the people, said \u003cem>the hell with that — there’s gotta be a better way\u003c/em>. She began selling tickets in person “to combat bots and reduce fees,” as she said in \u003ca href=\"https://www.instagram.com/p/C5oQRo8LY7F/\">an Instagram announcement\u003c/a> today, and “it was so successful and so fun that I decided to do it again.”\u003c/p>\n\u003cp>[aside postID='arts_13831858']Other artists have gone the in-person ticketing route in San Francisco before. \u003ca href=\"https://www.kqed.org/arts/13831858/nine-inch-nails-in-person-ticket-policy-is-beautiful\">Nine Inch Nails did it for their show at the Bill Graham Civic Auditorium\u003c/a> in 2018, and \u003ca href=\"https://www.marketplace.org/2010/08/25/bob-dylan-concert-tickets-cash-only/\">Bob Dylan charged $60 at the door\u003c/a>, cash only, for his show at the Warfield in 2010. \u003c/p>\n\u003cp>Both Pearl Jam and the Cure have famously tried to change the system from within, with \u003ca href=\"https://www.kqed.org/arts/13926475/robert-smith-the-cure-ticketmaster-partial-refunds-lower-fees\">varying success\u003c/a>. Rogers, meanwhile, is showing up to sell tickets in person in New York, Philadelphia, Boston and Chicago — and playing special shows in those cities for what she’s calling “Box Office Week.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who knows what kind of deal Rogers had to make with Ticketmaster to pull this off — and for an arena tour, no less — but her commitment here constitutes hall-of-fame public service. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maggie Rogers has \u003ca href=\"https://shop.maggierogers.com/pages/tour\">announced a tour\u003c/a> for her new album \u003cem>Don’t Forget Me\u003c/em>, and she’s letting fans have their first crack at tickets the old-fashioned way: by waiting in line, in person. \u003c/p>\n\u003cp>Here in San Francisco, that means \u003ca href=\"https://shop.maggierogers.com/pages/tour-box-office\">tickets ($39.50–$139.50) to Rogers’ Nov. 1, 2024 show at Chase Center will go on sale at the Chase Center box office\u003c/a> on Saturday, April 20, at 10 a.m., before becoming available online the following week.\u003c/p>\n\u003cp>This is a beautiful thing, and not just for old-school nostalgists who romanticize the fun of waiting in line with other fans for tickets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> As you’ve probably noticed, online ticketing for major concerts is completely broken and exploited by opportunists. So much so that any artist who cares about their fans should follow Rogers’ lead and offer early in-person ticket sales.\u003c/p>\n\u003cp>How many times have you gone online and selected tickets, only to have them removed from your cart and then re-offered at a much higher price due to “dynamic pricing”? How many times have you gotten your “verified fan” code and tried to buy tickets right at 10 a.m., and bots and scalpers have already bought 90% of the available seats to re-sell them at three or four times face value? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I could go on and on. Captchas, pull-down menus, “convenience” fees and “facility” fees that add up to 50% or more onto the face value ticket price, the phasing out of printed tickets, the \u003ca href=\"https://www.kqed.org/arts/13925510/senators-are-calling-on-the-justice-department-to-look-into-ticketmasters-practices\">Department of Justice’s refusal to break up the Ticketmaster-Live Nation monopoly\u003c/a>, the persistent stories of ticket agencies, venues and artists themselves all \u003ca href=\"https://www.kqed.org/arts/13841293/ticketmaster-has-its-own-secret-scalping-program-canadian-journalists-report\">scalping their own tickets\u003c/a>.\u003c/p>\n\u003cp>Maggie Rogers, heroine of the people, said \u003cem>the hell with that — there’s gotta be a better way\u003c/em>. She began selling tickets in person “to combat bots and reduce fees,” as she said in \u003ca href=\"https://www.instagram.com/p/C5oQRo8LY7F/\">an Instagram announcement\u003c/a> today, and “it was so successful and so fun that I decided to do it again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other artists have gone the in-person ticketing route in San Francisco before. \u003ca href=\"https://www.kqed.org/arts/13831858/nine-inch-nails-in-person-ticket-policy-is-beautiful\">Nine Inch Nails did it for their show at the Bill Graham Civic Auditorium\u003c/a> in 2018, and \u003ca href=\"https://www.marketplace.org/2010/08/25/bob-dylan-concert-tickets-cash-only/\">Bob Dylan charged $60 at the door\u003c/a>, cash only, for his show at the Warfield in 2010. \u003c/p>\n\u003cp>Both Pearl Jam and the Cure have famously tried to change the system from within, with \u003ca href=\"https://www.kqed.org/arts/13926475/robert-smith-the-cure-ticketmaster-partial-refunds-lower-fees\">varying success\u003c/a>. Rogers, meanwhile, is showing up to sell tickets in person in New York, Philadelphia, Boston and Chicago — and playing special shows in those cities for what she’s calling “Box Office Week.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who knows what kind of deal Rogers had to make with Ticketmaster to pull this off — and for an arena tour, no less — but her commitment here constitutes hall-of-fame public service. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "City Leaders, Please Stop With the Taylor Swift Pandering Already",
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"content": "\u003cp>Have you heard? Have you somehow \u003cem>not\u003c/em> heard? Are you waking from a six-month-long coma and desperately need someone to explain the phrase “\u003ca href=\"https://www.nme.com/news/music/stepson-missing-billionaire-titanic-submarine-blink-182-concert-3458659\" target=\"_blank\" rel=\"noopener\">Blink-182 submarine stepson\u003c/a>”?\u003c/p>\n\u003cp>Never mind all that, for Taylor Swift is coming to town. Specifically, the singer’s Eras extravaganza will bring her to Levi’s Stadium in Santa Clara on July 28 and 29, events for which the cheapest ticket on Stubhub is currently $1,200 \u003cem>for a nosebleed seat behind the stage\u003c/em>.\u003c/p>\n\u003cp>In theory, Swift is simply on tour, the way other artists go on tour, in that she is traveling to different cities for musical performances. In practice, her fans crashed Ticketmaster in such a spectacular fashion that it \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\" target=\"_blank\" rel=\"noopener\">led to a Senate hearing\u003c/a>, and what she’s bringing to town is more like a circus put on by a small yet powerful nation-state. This thing has its own infrastructure and jurisdiction; it is its own GDP. As of June, the tour was bringing in an average of $13 million per show, putting it on track for the \u003ca href=\"https://www.cnbc.com/2023/07/04/taylor-swift-eras-tour-set-to-earn-record-breaking-1-billion-dollars-in-sales.html#:~:text=Taylor%20Swift%20is%20already%20one,setting%20%241%20billion%20in%20sales.\">highest-grossing tour in music history\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13925513\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The pre-sale debacle that confounded fans trying to buy Taylor Swift tickets last November brought renewed scrutiny to the giant Ticketmaster. \u003ccite>(Terry Wyatt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the tour’s impact on local economies — her Chicago and Las Vegas shows were credited with briefly bringing tourism in those cities back to pre-pandemic levels — it makes sense that wherever Swift goes, politicians are stoked. Which is fine. Be stoked! Splurge on good seats, take the whole family, buy a \u003ca href=\"https://store.taylorswift.com/collections/taylor-swift-the-eras-tour-collection/products/taylor-swift-the-eras-tour-cropped-lavender-pullover\">$65 crop top\u003c/a>.\u003c/p>\n\u003cp>But please, I beg of you: \u003cem>Stop with the \u003ca href=\"https://www.billboard.com/lists/taylor-swift-eras-tour-cities-celebrating/glendale-arizona/\">corny-ass proclamations and city renamings and “honorary mayor” nonsense\u003c/a>.\u003c/em> I’m not sure which polls you’ve been reading, but none of the ones I’ve seen suggest that residents want their civic leaders to devote time and taxpayer dollars to working up a list of song references with their aides or daughters in a patronizing attempt to get said politician’s name in the news and ultimately appeal to white middle-class voters aged 18–42.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Tampa, Swift was presented with a key to the city and named mayor for a day. Minneapolis officially became “Swiftie-apolis” for two days, while Nashville unveiled a bench with a plaque in honor of “Taylor Swift Homecoming Weekend.” Several other cities have named new streets for the singer; only New Jersey’s governor has declared that the \u003ca href=\"https://www.billboard.com/lists/taylor-swift-eras-tour-cities-celebrating/minneapolis-eras-tour/\">official state sandwich is now called a Taylor Swift Ham, Egg and Cheese\u003c/a>.\u003c/p>\n\u003cp>Santa Clara and San Francisco have both joined the fray in the past few days, getting in line to kneel in this embarrassing form of genuflection at the Altar of Swift. Santa Clara leaders, as a dozen headlines have told you by now, have \u003ca href=\"https://www.santaclaraca.gov/Home/Components/News/News/44597/3171\">temporarily renamed the city “Swiftie Clara”\u003c/a> and bestowed upon Swift an honorary mayorship. In San Francisco, Supervisor Matt Dorsey introduced, \u003ca href=\"https://www.tiktok.com/@sfstandard/video/7257635574117453099\">in a song title-laden speech\u003c/a>, a resolution that would make July 28–30 “Taylor Swift Weekend” in the city. I understand that this is supposed to be cringey-cute, but I cannot be alone here: my visceral reaction to said headlines is that they make me want to crawl under my desk and stay there forever.\u003c/p>\n\u003cp>[aside postID='pop_18933']Look, I get it. The tourism sector is struggling; the mall is closing; my friends back East keep gently asking if the streets are actually filled with zombies ransacking Walgreens. A positive, family-friendly event is coming to town, one that represents a weekend-long cash infusion for our hotels and restaurants, and maybe we \u003cem>should\u003c/em> all just feel grateful that Swift would deign to grace our poor, sad-sack city with her Midas touch.\u003c/p>\n\u003cp>But jeez, can we be grown-ups about it? Is it too much to ask our elected representatives — especially here in this supposed bastion of counterculture — to keep their attention trained on artists closer to home, on discussions about the value of live music and what the city can do to encourage a healthy arts scene that makes people want to come here and spend their money at our venues year-round?\u003c/p>\n\u003cfigure id=\"attachment_10900528\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/TayMJ.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. \" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. \u003ccite>(Emma Silvers/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the one hand, I’m well aware that I’m veering into Old Man Yells at Cloud territory here; “Taylor Swift Weekend” won’t hurt anyone. On the other, it improves absolutely nothing, except for — maybe? possibly? — the public image of the politicians, each of whom is hoping their proclamation speech goes viral, banking on media outlets \u003ca href=\"https://www.tiktok.com/@sfstandard/video/7257635574117453099\">reposting it without critique\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13931533']And here is where I acknowledge that I think Taylor Swift makes good pop songs, and I like a lot of them. While no one person should possess her current slice of market share — and while this tour illustrates so much of what’s currently broken and toxic about the music industry and perhaps, by extension, with free-market capitalism itself — none of that is exactly her fault. I respect her songwriting and her business acumen and this show is supposed to be impressive.\u003c/p>\n\u003cp>So if you have a spare $1,200 to $8,000 lying around, by all means, hit that resale ticket market, grab your clear backpack and go. \u003ca href=\"https://www.kqed.org/arts/10900446/live-review-taylor-swift-regular-super-normal-girl-like-you-and-me-at-levis-stadium\" target=\"_blank\" rel=\"noopener\">The last time I saw her was in 2015\u003c/a>, and instead of addressing the crowd as “Bay Area,” she kept saying stuff like “Thank you, Santa Clara, California!” Will she say “Swiftie Clara” this time? Or “Thank you for the Taylor Swift weekend, San Francisco”? Can someone record it and then we’ll play it on loop on a giant screen for people arriving at SFO? How can we milk this until the next tour?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’ll be in the fetal position under my desk if anyone has ideas.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Have you heard? Have you somehow \u003cem>not\u003c/em> heard? Are you waking from a six-month-long coma and desperately need someone to explain the phrase “\u003ca href=\"https://www.nme.com/news/music/stepson-missing-billionaire-titanic-submarine-blink-182-concert-3458659\" target=\"_blank\" rel=\"noopener\">Blink-182 submarine stepson\u003c/a>”?\u003c/p>\n\u003cp>Never mind all that, for Taylor Swift is coming to town. Specifically, the singer’s Eras extravaganza will bring her to Levi’s Stadium in Santa Clara on July 28 and 29, events for which the cheapest ticket on Stubhub is currently $1,200 \u003cem>for a nosebleed seat behind the stage\u003c/em>.\u003c/p>\n\u003cp>In theory, Swift is simply on tour, the way other artists go on tour, in that she is traveling to different cities for musical performances. In practice, her fans crashed Ticketmaster in such a spectacular fashion that it \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\" target=\"_blank\" rel=\"noopener\">led to a Senate hearing\u003c/a>, and what she’s bringing to town is more like a circus put on by a small yet powerful nation-state. This thing has its own infrastructure and jurisdiction; it is its own GDP. As of June, the tour was bringing in an average of $13 million per show, putting it on track for the \u003ca href=\"https://www.cnbc.com/2023/07/04/taylor-swift-eras-tour-set-to-earn-record-breaking-1-billion-dollars-in-sales.html#:~:text=Taylor%20Swift%20is%20already%20one,setting%20%241%20billion%20in%20sales.\">highest-grossing tour in music history\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13925513\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The pre-sale debacle that confounded fans trying to buy Taylor Swift tickets last November brought renewed scrutiny to the giant Ticketmaster. \u003ccite>(Terry Wyatt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the tour’s impact on local economies — her Chicago and Las Vegas shows were credited with briefly bringing tourism in those cities back to pre-pandemic levels — it makes sense that wherever Swift goes, politicians are stoked. Which is fine. Be stoked! Splurge on good seats, take the whole family, buy a \u003ca href=\"https://store.taylorswift.com/collections/taylor-swift-the-eras-tour-collection/products/taylor-swift-the-eras-tour-cropped-lavender-pullover\">$65 crop top\u003c/a>.\u003c/p>\n\u003cp>But please, I beg of you: \u003cem>Stop with the \u003ca href=\"https://www.billboard.com/lists/taylor-swift-eras-tour-cities-celebrating/glendale-arizona/\">corny-ass proclamations and city renamings and “honorary mayor” nonsense\u003c/a>.\u003c/em> I’m not sure which polls you’ve been reading, but none of the ones I’ve seen suggest that residents want their civic leaders to devote time and taxpayer dollars to working up a list of song references with their aides or daughters in a patronizing attempt to get said politician’s name in the news and ultimately appeal to white middle-class voters aged 18–42.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Tampa, Swift was presented with a key to the city and named mayor for a day. Minneapolis officially became “Swiftie-apolis” for two days, while Nashville unveiled a bench with a plaque in honor of “Taylor Swift Homecoming Weekend.” Several other cities have named new streets for the singer; only New Jersey’s governor has declared that the \u003ca href=\"https://www.billboard.com/lists/taylor-swift-eras-tour-cities-celebrating/minneapolis-eras-tour/\">official state sandwich is now called a Taylor Swift Ham, Egg and Cheese\u003c/a>.\u003c/p>\n\u003cp>Santa Clara and San Francisco have both joined the fray in the past few days, getting in line to kneel in this embarrassing form of genuflection at the Altar of Swift. Santa Clara leaders, as a dozen headlines have told you by now, have \u003ca href=\"https://www.santaclaraca.gov/Home/Components/News/News/44597/3171\">temporarily renamed the city “Swiftie Clara”\u003c/a> and bestowed upon Swift an honorary mayorship. In San Francisco, Supervisor Matt Dorsey introduced, \u003ca href=\"https://www.tiktok.com/@sfstandard/video/7257635574117453099\">in a song title-laden speech\u003c/a>, a resolution that would make July 28–30 “Taylor Swift Weekend” in the city. I understand that this is supposed to be cringey-cute, but I cannot be alone here: my visceral reaction to said headlines is that they make me want to crawl under my desk and stay there forever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Look, I get it. The tourism sector is struggling; the mall is closing; my friends back East keep gently asking if the streets are actually filled with zombies ransacking Walgreens. A positive, family-friendly event is coming to town, one that represents a weekend-long cash infusion for our hotels and restaurants, and maybe we \u003cem>should\u003c/em> all just feel grateful that Swift would deign to grace our poor, sad-sack city with her Midas touch.\u003c/p>\n\u003cp>But jeez, can we be grown-ups about it? Is it too much to ask our elected representatives — especially here in this supposed bastion of counterculture — to keep their attention trained on artists closer to home, on discussions about the value of live music and what the city can do to encourage a healthy arts scene that makes people want to come here and spend their money at our venues year-round?\u003c/p>\n\u003cfigure id=\"attachment_10900528\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/TayMJ.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. \" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. \u003ccite>(Emma Silvers/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the one hand, I’m well aware that I’m veering into Old Man Yells at Cloud territory here; “Taylor Swift Weekend” won’t hurt anyone. On the other, it improves absolutely nothing, except for — maybe? possibly? — the public image of the politicians, each of whom is hoping their proclamation speech goes viral, banking on media outlets \u003ca href=\"https://www.tiktok.com/@sfstandard/video/7257635574117453099\">reposting it without critique\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And here is where I acknowledge that I think Taylor Swift makes good pop songs, and I like a lot of them. While no one person should possess her current slice of market share — and while this tour illustrates so much of what’s currently broken and toxic about the music industry and perhaps, by extension, with free-market capitalism itself — none of that is exactly her fault. I respect her songwriting and her business acumen and this show is supposed to be impressive.\u003c/p>\n\u003cp>So if you have a spare $1,200 to $8,000 lying around, by all means, hit that resale ticket market, grab your clear backpack and go. \u003ca href=\"https://www.kqed.org/arts/10900446/live-review-taylor-swift-regular-super-normal-girl-like-you-and-me-at-levis-stadium\" target=\"_blank\" rel=\"noopener\">The last time I saw her was in 2015\u003c/a>, and instead of addressing the crowd as “Bay Area,” she kept saying stuff like “Thank you, Santa Clara, California!” Will she say “Swiftie Clara” this time? Or “Thank you for the Taylor Swift weekend, San Francisco”? Can someone record it and then we’ll play it on loop on a giant screen for people arriving at SFO? How can we milk this until the next tour?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’ll be in the fetal position under my desk if anyone has ideas.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Robert Smith of The Cure Convinces Ticketmaster to Give Partial Refunds, Lower Fees",
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"content": "\u003cp>One cure — or a treatment, at least — for high Ticketmaster fees turns out to be The Cure frontman Robert Smith, who said he was “\u003ca href=\"https://twitter.com/RobertSmith/status/1636188988238077953\">sickened\u003c/a>” by the charges and \u003ca href=\"https://twitter.com/RobertSmith/status/1636496816521748481?s=20\">announced Thursday\u003c/a> that Ticketmaster will offer partial refunds and lower fees for The Cure tickets moving forward.\u003c/p>\n\u003cp>[aside postid='arts_13923059']“After further conversation, Ticketmaster have agreed with us that many of the fees being charged are unduly high,” Smith tweeted. Smith said the company agreed to offer a $5-10 refund per ticket for verified fan accounts “as a gesture of goodwill.”\u003c/p>\n\u003cp>Cure fans who already bought tickets for shows on the band’s May-July tour will get their refunds automatically, Smith said, and all future ticket purchases will incur lower fees.\u003c/p>\n\u003cp>https://twitter.com/RobertSmith/status/1636496816521748481\u003c/p>\n\u003cp>The announcement came a day after Smith shared his frustration on Twitter, saying he was “as sickened as you all are by today’s Ticketmaster ‘fees’ debacle. To be very clear: the artist has no way to limit them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In some cases, fans say the fees more than doubled their ticket price, with \u003ca href=\"https://twitter.com/Tim_Burgess/status/1636357859192569856?s=20\">one social media user\u003c/a> sharing that they paid over $90 in fees for a $80 ticket.\u003c/p>\n\u003cp>[aside postid='arts_13921777']Ticketmaster has been in a harsh spotlight in recent months. Last November, \u003ca href=\"https://www.npr.org/2022/11/17/1137465465/taylor-swift-ticketmaster-klobuchar-tennessee\">Taylor Swift fans waited hours\u003c/a>, paid high fees and weathered outages on the Ticketmaster website to try to score tickets to her Eras Tour. A day before the tickets were set to open to the general public, the company canceled the sale due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>In a statement on Instagram, Swift said it was “excruciating for me to watch mistakes happen with no recourse.”\u003c/p>\n\u003cp>In January, following that debacle, \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">the Senate Judiciary Committee held a hearing looking at Live Nation\u003c/a> — the company that owns Ticketmaster — and the lack of competition in the ticketing industry. Meanwhile, attorneys general across many states initiated consumer protection investigations, Swift’s fans sued the company for fraud and antitrust violations and some lawmakers called for Ticketmaster to be broken up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ticketmaster did not immediately respond to NPR’s request for comment.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Robert+Smith+of+The+Cure+convinces+Ticketmaster+to+give+partial+refunds%2C+lower+fees+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“After further conversation, Ticketmaster have agreed with us that many of the fees being charged are unduly high,” Smith tweeted. Smith said the company agreed to offer a $5-10 refund per ticket for verified fan accounts “as a gesture of goodwill.”\u003c/p>\n\u003cp>Cure fans who already bought tickets for shows on the band’s May-July tour will get their refunds automatically, Smith said, and all future ticket purchases will incur lower fees.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The announcement came a day after Smith shared his frustration on Twitter, saying he was “as sickened as you all are by today’s Ticketmaster ‘fees’ debacle. To be very clear: the artist has no way to limit them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In some cases, fans say the fees more than doubled their ticket price, with \u003ca href=\"https://twitter.com/Tim_Burgess/status/1636357859192569856?s=20\">one social media user\u003c/a> sharing that they paid over $90 in fees for a $80 ticket.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster has been in a harsh spotlight in recent months. Last November, \u003ca href=\"https://www.npr.org/2022/11/17/1137465465/taylor-swift-ticketmaster-klobuchar-tennessee\">Taylor Swift fans waited hours\u003c/a>, paid high fees and weathered outages on the Ticketmaster website to try to score tickets to her Eras Tour. A day before the tickets were set to open to the general public, the company canceled the sale due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>In a statement on Instagram, Swift said it was “excruciating for me to watch mistakes happen with no recourse.”\u003c/p>\n\u003cp>In January, following that debacle, \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">the Senate Judiciary Committee held a hearing looking at Live Nation\u003c/a> — the company that owns Ticketmaster — and the lack of competition in the ticketing industry. Meanwhile, attorneys general across many states initiated consumer protection investigations, Swift’s fans sued the company for fraud and antitrust violations and some lawmakers called for Ticketmaster to be broken up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ticketmaster did not immediately respond to NPR’s request for comment.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Robert+Smith+of+The+Cure+convinces+Ticketmaster+to+give+partial+refunds%2C+lower+fees+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\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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"radiolab": {
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"title": "Selected Shorts",
"info": "Spellbinding short stories by established and emerging writers take on a new life when they are performed by stars of the stage and screen.",
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"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": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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