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"content": "\u003cp>The coronavirus pandemic has completely shut down the business of concerts and other live events. Some people, including Los Angeles mayor Eric Garcetti, are even predicting that live events won’t \u003ca href=\"https://www.politico.com/states/california/story/2020/04/15/garcetti-sporting-events-concerts-unlikely-in-los-angeles-until-2021-1276698\">resume until next year\u003c/a>.\u003c/p>\n\u003cp>That leaves ticket holders looking for refunds, but new rules Ticketmaster \u003ca href=\"https://blog.ticketmaster.com/guidelines-canceled-postponed-events/\">announced last week\u003c/a> stipulate that a show has to be either officially canceled or have new dates announced in order for the purchaser to be eligible for refunds. \u003c/p>\n\u003cp>Cachelle Cronin, a mental health therapist in Vancouver, Wash., says that before the coronavirus pandemic, she bought tickets for six events through Ticketmaster. \u003c/p>\n\u003cp>“I’ve got tickets to Russ, Halsey, [Green Day, Weezer and Fallout Boy’s] Hella Mega Tour, Journey with the Pretenders,” she lists off the top of her head. \u003c/p>\n\u003cp>Since none of those shows have been canceled or rescheduled, she’s ineligible for a refund. And Cronin bought pairs of tickets to each concert, which means she’s out nearly $1000. She says she’s thankful she’s still employed.\u003c/p>\n\u003cp>“I cannot even imagine what somebody would be going through right now if they had $1000 in tickets sitting there that they know they’re not gonna be able to use, and they’re stressing about being able to pay rent, or buy their kids food, or anything like that,” she says. \u003c/p>\n\u003cp>The live event economy is a complicated one, and it’s been a struggle for ticket buyers to get their money back because they aren’t Ticketmaster’s primary concern, says Dean Budnick who, along with Josh Baron, is the author of the book \u003cem>Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped\u003c/em>.\u003c/p>\n\u003cp>“Ticketmaster really, ultimately, is responsible to its venue clients and those are the individuals it wants to protect,” he says.\u003c/p>\n\u003cp>In other words, its primary business relationships are with concert promoters, stadiums and arenas — not ticket buyers. Before last week, Ticketmaster’s website \u003ca href=\"https://www.nytimes.com/2020/04/08/arts/music/ticketmaster-refunds-coronavirus.html\">seemed to back off of refunds\u003c/a> for postponed events entirely.\u003c/p>\n\u003cp>The ensuing media coverage caught the attention of two members of Congress. Democratic Representatives Katie Porter from California and Bill Pascrell from New Jersey \u003ca href=\"https://pascrell.house.gov/news/documentsingle.aspx?DocumentID=4260\">wrote a scathing letter\u003c/a> encouraging the ticket seller to reconsider.\u003c/p>\n\u003cp>“We fully expect the availability of refunds to continue to climb over the next 4-6 weeks and ultimately expect all our clients will make refunds available,” Ticketmaster said in a statement to NPR, adding that it has already returned $400 million to fans so far. But Ticketmaster, along with \u003ca href=\"https://www.billboard.com/articles/business/touring/9359919/aeg-ticket-refunds-concerts-coronavirus\">rival company AEG\u003c/a> — \u003ca href=\"https://www.nytimes.com/2020/04/17/arts/music/live-nation-refunds-virus.html\">announced new refund policies\u003c/a> last week, which still require a concert to be canceled or officially rescheduled with new dates to trigger a refund. Those policies don’t go into effect until May 1.\u003c/p>\n\u003cp>Dean Budnick says Live Nation and AEG simply don’t have the money to give back. “Because contractually, they’ve released that money to concert promoters, to event producers who put on those events,” he explains.\u003c/p>\n\u003cp>Budnick says with smaller, club level shows, those funds are usually held in escrow, so they’re easier to access. But for big shows at stadiums, ticket purchasers’ money is already in the hands of venues and artists.\u003c/p>\n\u003cp>“Now you may say, ‘Well gee, that is Ticketmaster’s fault because that’s their contract that they entered into,’ ” he points out.\u003c/p>\n\u003cp>Budnick says over the past few decades, artists have gotten a larger share of ticket sales to make up for declining record sales. That’s led to higher ticket prices and more service fees to be shared among the venues and promoters.\u003c/p>\n\u003cp>Keith Jopling, a consulting director for the media analysis firm MIDiA Research, says that in a post-shutdown world, the deals between all parties in the ecosystem are likely to change.\u003c/p>\n\u003cp>“Everyone on that value chain will be expected to take a hit on that, including artists,” he says. \u003c/p>\n\u003cp>But right now, it’s out-of-work stage hands, food vendors, security guards and ticket holders who are feeling the pain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Crystal Reilly, a teacher from Michigan, bought Red Wings hockey tickets as a gift for her dad. The game was set to take place last month and she still can’t get a refund. With schools closed for the foreseeable future, Reilly says getting that money back is important.\u003c/p>\n\u003cp>“I’m not working right now. I won’t work until September, so having that extra 230 bucks would be really awesome,” she says.\u003c/p>\n\u003cp>Some customers, including Reilly and Cachelle Cronin, are part of a group exploring a class action suit. It’s just \u003ca href=\"https://www.classaction.org/blog/class-action-against-ticketmaster-live-nation-seeks-refunds-for-rescheduled-events\">one such complaint\u003c/a> going through the courts now. Elsewhere, others have reached out to their credit card companies to try to get their money back. But either way, they’ll be waiting for a while. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Ticket+Holders+Are+Struggling+To+Get+Refunds+For+Concerts+And+Live+Events&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The coronavirus pandemic has completely shut down the business of concerts and other live events. Some people, including Los Angeles mayor Eric Garcetti, are even predicting that live events won’t \u003ca href=\"https://www.politico.com/states/california/story/2020/04/15/garcetti-sporting-events-concerts-unlikely-in-los-angeles-until-2021-1276698\">resume until next year\u003c/a>.\u003c/p>\n\u003cp>That leaves ticket holders looking for refunds, but new rules Ticketmaster \u003ca href=\"https://blog.ticketmaster.com/guidelines-canceled-postponed-events/\">announced last week\u003c/a> stipulate that a show has to be either officially canceled or have new dates announced in order for the purchaser to be eligible for refunds. \u003c/p>\n\u003cp>Cachelle Cronin, a mental health therapist in Vancouver, Wash., says that before the coronavirus pandemic, she bought tickets for six events through Ticketmaster. \u003c/p>\n\u003cp>“I’ve got tickets to Russ, Halsey, [Green Day, Weezer and Fallout Boy’s] Hella Mega Tour, Journey with the Pretenders,” she lists off the top of her head. \u003c/p>\n\u003cp>Since none of those shows have been canceled or rescheduled, she’s ineligible for a refund. And Cronin bought pairs of tickets to each concert, which means she’s out nearly $1000. She says she’s thankful she’s still employed.\u003c/p>\n\u003cp>“I cannot even imagine what somebody would be going through right now if they had $1000 in tickets sitting there that they know they’re not gonna be able to use, and they’re stressing about being able to pay rent, or buy their kids food, or anything like that,” she says. \u003c/p>\n\u003cp>The live event economy is a complicated one, and it’s been a struggle for ticket buyers to get their money back because they aren’t Ticketmaster’s primary concern, says Dean Budnick who, along with Josh Baron, is the author of the book \u003cem>Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped\u003c/em>.\u003c/p>\n\u003cp>“Ticketmaster really, ultimately, is responsible to its venue clients and those are the individuals it wants to protect,” he says.\u003c/p>\n\u003cp>In other words, its primary business relationships are with concert promoters, stadiums and arenas — not ticket buyers. Before last week, Ticketmaster’s website \u003ca href=\"https://www.nytimes.com/2020/04/08/arts/music/ticketmaster-refunds-coronavirus.html\">seemed to back off of refunds\u003c/a> for postponed events entirely.\u003c/p>\n\u003cp>The ensuing media coverage caught the attention of two members of Congress. Democratic Representatives Katie Porter from California and Bill Pascrell from New Jersey \u003ca href=\"https://pascrell.house.gov/news/documentsingle.aspx?DocumentID=4260\">wrote a scathing letter\u003c/a> encouraging the ticket seller to reconsider.\u003c/p>\n\u003cp>“We fully expect the availability of refunds to continue to climb over the next 4-6 weeks and ultimately expect all our clients will make refunds available,” Ticketmaster said in a statement to NPR, adding that it has already returned $400 million to fans so far. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Crystal Reilly, a teacher from Michigan, bought Red Wings hockey tickets as a gift for her dad. The game was set to take place last month and she still can’t get a refund. With schools closed for the foreseeable future, Reilly says getting that money back is important.\u003c/p>\n\u003cp>“I’m not working right now. I won’t work until September, so having that extra 230 bucks would be really awesome,” she says.\u003c/p>\n\u003cp>Some customers, including Reilly and Cachelle Cronin, are part of a group exploring a class action suit. It’s just \u003ca href=\"https://www.classaction.org/blog/class-action-against-ticketmaster-live-nation-seeks-refunds-for-rescheduled-events\">one such complaint\u003c/a> going through the courts now. Elsewhere, others have reached out to their credit card companies to try to get their money back. But either way, they’ll be waiting for a while. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Ticket+Holders+Are+Struggling+To+Get+Refunds+For+Concerts+And+Live+Events&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Metallica's Secret Deal with Live Nation Reveals How Artists Scalp Their Own Tickets",
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"content": "\u003cp>You know that frustration when concert tickets you want finally go on sale, but they immediately sell out and are already on StubHub a split second later due to scalpers?\u003c/p>\n\u003cp>New evidence shows you might want to blame the band for scalping their own tickets.\u003c/p>\n\u003cp>A leaked recording of a phone call between a consultant who works with Metallica and a Live Nation executive reveals what’s long been talked about behind closed doors: that the promotions giant Live Nation—which also owns Ticketmaster—teams up with artists to resell their own tickets for a higher price on the secondary market through backdoor deals.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard’s Dave Brooks and Hannah Karp\u003c/a> first reported today, Tony DiCioccio coordinated with Live Nation to place 88,000 tickets from Metallica’s WorldWired North American tour on StubHub and other resale sites instead of giving fans a chance to buy them directly.\u003c/p>\n\u003cp>The hush-hush deal was conducted through surreptitious accounts, set up similarly to those of fan clubs and sponsors that receive large ticket quantities in exchange for helping promote tours. When Billboard reporters confronted Live Nation with the leaked phone tape, which was recorded by Vaughn Millette of Live Nation competitor Outback Presents, the company copped to the practice, stating that in 2016 and 2017, “about a dozen artists out of the thousands we work with asked us to do this.” (Live Nation representatives contend that the practice has dwindled as artists have found new ways to recover lost revenue, such as tiered pricing for premium seats and expensive VIP packages.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Live Nation’s admission runs contrary to Ticketmaster’s previous statement: as Brooks and Karp pointed out, Ticketmaster executives denied funneling tickets to resale sites as recently as 2018.\u003c/p>\n\u003cp>Industry experts quoted in Billboard’s report say the situation illustrates a catch-22 that major artists face amid the rise of ticket resale sites. When artists keep prices low for fans, it’s easier for scalpers to scoop tickets up and resell them for profit. Raise prices, and the artists risk looking greedy and turning off their base.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But are secret deals that inflate prices and make shows less accessible to the average fan really the answer? Read the \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard story here\u003c/a> to learn more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know that frustration when concert tickets you want finally go on sale, but they immediately sell out and are already on StubHub a split second later due to scalpers?\u003c/p>\n\u003cp>New evidence shows you might want to blame the band for scalping their own tickets.\u003c/p>\n\u003cp>A leaked recording of a phone call between a consultant who works with Metallica and a Live Nation executive reveals what’s long been talked about behind closed doors: that the promotions giant Live Nation—which also owns Ticketmaster—teams up with artists to resell their own tickets for a higher price on the secondary market through backdoor deals.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard’s Dave Brooks and Hannah Karp\u003c/a> first reported today, Tony DiCioccio coordinated with Live Nation to place 88,000 tickets from Metallica’s WorldWired North American tour on StubHub and other resale sites instead of giving fans a chance to buy them directly.\u003c/p>\n\u003cp>The hush-hush deal was conducted through surreptitious accounts, set up similarly to those of fan clubs and sponsors that receive large ticket quantities in exchange for helping promote tours. When Billboard reporters confronted Live Nation with the leaked phone tape, which was recorded by Vaughn Millette of Live Nation competitor Outback Presents, the company copped to the practice, stating that in 2016 and 2017, “about a dozen artists out of the thousands we work with asked us to do this.” (Live Nation representatives contend that the practice has dwindled as artists have found new ways to recover lost revenue, such as tiered pricing for premium seats and expensive VIP packages.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Live Nation’s admission runs contrary to Ticketmaster’s previous statement: as Brooks and Karp pointed out, Ticketmaster executives denied funneling tickets to resale sites as recently as 2018.\u003c/p>\n\u003cp>Industry experts quoted in Billboard’s report say the situation illustrates a catch-22 that major artists face amid the rise of ticket resale sites. When artists keep prices low for fans, it’s easier for scalpers to scoop tickets up and resell them for profit. Raise prices, and the artists risk looking greedy and turning off their base.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But are secret deals that inflate prices and make shows less accessible to the average fan really the answer? Read the \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard story here\u003c/a> to learn more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Updated 11:35 a.m. Sep. 20 \u003c/strong>with portions of a statement from Ticketmaster in response to the CBC and \u003c/em>Toronto Star\u003cem>‘s reporting.\u003c/em>\u003c/p>\n\u003cp>A team of Canadian journalists — from the Canadian Broadcasting Corporation (CBC), a public radio and television broadcaster, and the \u003cem>Toronto Star\u003c/em> newspaper — \u003ca href=\"https://www.cbc.ca/news/business/a-public-relations-nightmare-ticketmaster-recruits-pros-for-secret-scalper-program-1.4828535\">reported\u003c/a> on Wednesday that Ticketmaster, the live-event box office behemoth, has developed a secret tool called \u003ca href=\"https://tradedesk.ticketmaster.com/\">TradeDesk\u003c/a> that assists professional “scalpers” to resell tickets in ways that would seem to violate Ticketmaster’s own rules — and from which Ticketmaster would ostensibly benefit.\u003c/p>\n\u003cp>Two of the journalists went undercover with hidden cameras and posed as professional resellers to attend Ticket Summit 2018, a trade convention held in July at Caesars Palace in Las Vegas. A CBC journalist also obtained access to an online video conference demonstration of the TradeDesk platform back in March.\u003c/p>\n\u003cp>[contextly_sidebar id=”BuVGuCtbRdpVD00tgnEq1skdqKYTlv3L”]\u003c/p>\n\u003cp>In footage obtained by the journalists, a man purported to be a TradeDesk sales representative told them that the resellers he works with have “literally a couple of hundred” Ticketmaster.com accounts apiece — a violation of Ticketmaster’s own terms of use — through which they can buy huge swaths of tickets for resale, and that Ticketmaster’s “buyer abuse” division does not investigate at least some TradeDesk users.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the March video presentation, the CBC reports, a Ticketmaster employee said that 100 resellers across North America were using TradeDesk to each sell somewhere between a few thousand and several million tickets per year — “I think our biggest broker right now has probably grabbed around five million,” the representative is reported to have said.\u003c/p>\n\u003cp>The CBC has also made public a \u003ca href=\"https://www.documentcloud.org/documents/4901430-TMR-Professional-Reseller-Handbook-1-1.html\">document\u003c/a> which it says is Ticketmaster’s handbook for resellers. The handbook outlines a reward system for resellers. For example, the CBC writes, “As scalpers hit milestones such as $500,000 or $1 million in annual sales, Ticketmaster will knock a percentage point off its fees.”\u003c/p>\n\u003cfigure id=\"attachment_13841295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841295 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gettyimages-84749102-34fda82f91350120e44bd339ade6362ec392b837-e1537469703508.jpg\" alt=\"A 2009 Blockbuster sign advertising Live Nation's ticket sales, publicized shortly before the latter company's merger with Ticketmaste\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A 2009 Blockbuster sign advertising Live Nation’s ticket sales, publicized shortly before the latter company’s merger with Ticketmaste \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticketmaster is owned by Live Nation — the California-based company did not respond to NPR’s email for comment on the report.\u003c/p>\n\u003cp>The company declined to respond on the record to specific questions from the two Canadian media outlets, but offered a \u003ca href=\"https://www.documentcloud.org/documents/4891602-TICKETMASTER-S-STATEMENTS-to-CBC-NEWS-2FTORONTO.html\">statement\u003c/a> that reads, in part: “Ticketmaster is a technology platform that helps artists and teams connect with their fans. We do not own the tickets sold on our platform nor do we have any control over ticket pricing — either in the initial sale or the resale … As the world’s leading ticketing platform, representing thousands of teams, artists and venues, we believe it is our job to offer a marketplace that provides a safe and fair place for fans to shop, buy and sell tickets in both the primary and secondary markets.”\u003c/p>\n\u003cp>In a follow-up statement provided to NPR the morning of Sep. 20, Ticketmaster denies having a program that allows customers to buy large tranches of tickets, which was not at issue in the CBC/\u003cem>Star\u003c/em> report. The company continues by saying it does “not condone the statements made by the employee as the conduct described clearly violates our terms of service,” and that it will put “additional measures in place to proactively monitor for this type of inappropriate activity.”\u003c/p>\n\u003cp>Over the past decade, Live Nation has markedly changed course in its position on ticket resales. In 2009 — the year \u003ca href=\"https://www.nytimes.com/2010/04/25/business/25ticket.html\">before\u003c/a> Live Nation merged with Ticketmaster — Live Nation’s then-CEO, Irving Azoff, \u003ca href=\"https://www.theguardian.com/music/2009/feb/26/ticketmaster-secondary-market\">told\u003c/a> the Senate judiciary antitrust subcommittee that he believed “scalping and resale should be illegal.”\u003c/p>\n\u003cp>But in the\u003ca href=\"https://www.cbc.ca/news/business/ticketmaster-prices-scalpers-bruno-mars-1.4826914\"> first part\u003c/a> of the CBC/\u003cem>Toronto Star\u003c/em> investigation, published Tuesday, the journalists asserted that resold tickets are “particularly lucrative” for Ticketmaster, because the company reportedly profits from two separate sets of charges collected from the same ticket. “For example,” they write, “if Ticketmaster collects $25.75 on a $209.50 ticket on the initial sale, when the owner posts it for resale for $400 on the site, the company stands to collect an additional $76 on the same ticket.”\u003c/p>\n\u003cp>The Canadian report compounds some pressure on both Live Nation and Ticketmaster. According to reporting earlier this year \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">from \u003cem>The New York Times\u003c/em>\u003c/a>, the Justice Department is in the process of reviewing complaints that the concert giant “has used its control over concert tours to pressure venues into contracting with its subsidiary, Ticketmaster.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://insider.ticketmaster.com/ticketing-vertical-integration-and-the-nyts-recent-article/\">a blog post\u003c/a> responding to the \u003cem>Times\u003c/em>‘ allegations, Ticketmaster president Jared Smith wrote that the company’s success “is not the result of any unfair advantages resulting from being a part of Live Nation Entertainment,” but a result of its parent company’s investments into its products, alluding to the complaints as having been filed by AEG, its chief competition. “I would much rather talk about the things we are doing to ensure that consumers get fair access to tickets,” Smith continued, “but I guess none of that sells newspapers.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ticketmaster+Has+Its+Own+Secret+%27Scalping+Program%2C%27+Canadian+Journalists+Report&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Updated 11:35 a.m. Sep. 20 \u003c/strong>with portions of a statement from Ticketmaster in response to the CBC and \u003c/em>Toronto Star\u003cem>‘s reporting.\u003c/em>\u003c/p>\n\u003cp>A team of Canadian journalists — from the Canadian Broadcasting Corporation (CBC), a public radio and television broadcaster, and the \u003cem>Toronto Star\u003c/em> newspaper — \u003ca href=\"https://www.cbc.ca/news/business/a-public-relations-nightmare-ticketmaster-recruits-pros-for-secret-scalper-program-1.4828535\">reported\u003c/a> on Wednesday that Ticketmaster, the live-event box office behemoth, has developed a secret tool called \u003ca href=\"https://tradedesk.ticketmaster.com/\">TradeDesk\u003c/a> that assists professional “scalpers” to resell tickets in ways that would seem to violate Ticketmaster’s own rules — and from which Ticketmaster would ostensibly benefit.\u003c/p>\n\u003cp>Two of the journalists went undercover with hidden cameras and posed as professional resellers to attend Ticket Summit 2018, a trade convention held in July at Caesars Palace in Las Vegas. A CBC journalist also obtained access to an online video conference demonstration of the TradeDesk platform back in March.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In footage obtained by the journalists, a man purported to be a TradeDesk sales representative told them that the resellers he works with have “literally a couple of hundred” Ticketmaster.com accounts apiece — a violation of Ticketmaster’s own terms of use — through which they can buy huge swaths of tickets for resale, and that Ticketmaster’s “buyer abuse” division does not investigate at least some TradeDesk users.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the March video presentation, the CBC reports, a Ticketmaster employee said that 100 resellers across North America were using TradeDesk to each sell somewhere between a few thousand and several million tickets per year — “I think our biggest broker right now has probably grabbed around five million,” the representative is reported to have said.\u003c/p>\n\u003cp>The CBC has also made public a \u003ca href=\"https://www.documentcloud.org/documents/4901430-TMR-Professional-Reseller-Handbook-1-1.html\">document\u003c/a> which it says is Ticketmaster’s handbook for resellers. The handbook outlines a reward system for resellers. For example, the CBC writes, “As scalpers hit milestones such as $500,000 or $1 million in annual sales, Ticketmaster will knock a percentage point off its fees.”\u003c/p>\n\u003cfigure id=\"attachment_13841295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841295 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gettyimages-84749102-34fda82f91350120e44bd339ade6362ec392b837-e1537469703508.jpg\" alt=\"A 2009 Blockbuster sign advertising Live Nation's ticket sales, publicized shortly before the latter company's merger with Ticketmaste\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A 2009 Blockbuster sign advertising Live Nation’s ticket sales, publicized shortly before the latter company’s merger with Ticketmaste \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticketmaster is owned by Live Nation — the California-based company did not respond to NPR’s email for comment on the report.\u003c/p>\n\u003cp>The company declined to respond on the record to specific questions from the two Canadian media outlets, but offered a \u003ca href=\"https://www.documentcloud.org/documents/4891602-TICKETMASTER-S-STATEMENTS-to-CBC-NEWS-2FTORONTO.html\">statement\u003c/a> that reads, in part: “Ticketmaster is a technology platform that helps artists and teams connect with their fans. We do not own the tickets sold on our platform nor do we have any control over ticket pricing — either in the initial sale or the resale … As the world’s leading ticketing platform, representing thousands of teams, artists and venues, we believe it is our job to offer a marketplace that provides a safe and fair place for fans to shop, buy and sell tickets in both the primary and secondary markets.”\u003c/p>\n\u003cp>In a follow-up statement provided to NPR the morning of Sep. 20, Ticketmaster denies having a program that allows customers to buy large tranches of tickets, which was not at issue in the CBC/\u003cem>Star\u003c/em> report. The company continues by saying it does “not condone the statements made by the employee as the conduct described clearly violates our terms of service,” and that it will put “additional measures in place to proactively monitor for this type of inappropriate activity.”\u003c/p>\n\u003cp>Over the past decade, Live Nation has markedly changed course in its position on ticket resales. In 2009 — the year \u003ca href=\"https://www.nytimes.com/2010/04/25/business/25ticket.html\">before\u003c/a> Live Nation merged with Ticketmaster — Live Nation’s then-CEO, Irving Azoff, \u003ca href=\"https://www.theguardian.com/music/2009/feb/26/ticketmaster-secondary-market\">told\u003c/a> the Senate judiciary antitrust subcommittee that he believed “scalping and resale should be illegal.”\u003c/p>\n\u003cp>But in the\u003ca href=\"https://www.cbc.ca/news/business/ticketmaster-prices-scalpers-bruno-mars-1.4826914\"> first part\u003c/a> of the CBC/\u003cem>Toronto Star\u003c/em> investigation, published Tuesday, the journalists asserted that resold tickets are “particularly lucrative” for Ticketmaster, because the company reportedly profits from two separate sets of charges collected from the same ticket. “For example,” they write, “if Ticketmaster collects $25.75 on a $209.50 ticket on the initial sale, when the owner posts it for resale for $400 on the site, the company stands to collect an additional $76 on the same ticket.”\u003c/p>\n\u003cp>The Canadian report compounds some pressure on both Live Nation and Ticketmaster. According to reporting earlier this year \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">from \u003cem>The New York Times\u003c/em>\u003c/a>, the Justice Department is in the process of reviewing complaints that the concert giant “has used its control over concert tours to pressure venues into contracting with its subsidiary, Ticketmaster.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://insider.ticketmaster.com/ticketing-vertical-integration-and-the-nyts-recent-article/\">a blog post\u003c/a> responding to the \u003cem>Times\u003c/em>‘ allegations, Ticketmaster president Jared Smith wrote that the company’s success “is not the result of any unfair advantages resulting from being a part of Live Nation Entertainment,” but a result of its parent company’s investments into its products, alluding to the complaints as having been filed by AEG, its chief competition. “I would much rather talk about the things we are doing to ensure that consumers get fair access to tickets,” Smith continued, “but I guess none of that sells newspapers.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ticketmaster+Has+Its+Own+Secret+%27Scalping+Program%2C%27+Canadian+Journalists+Report&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Nine Inch Nails' In-Person Ticket Policy is Beautiful",
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"content": "\u003cp>Nine Inch Nails has announced a U.S. tour, with tickets available Saturday, May 19 — and buyers can only buy tickets \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/NINTicketsWeb.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">in person, at the box office\u003c/a>. \u003c/p>\n\u003cp>I repeat: In person. At the box office. In 2018.\u003c/p>\n\u003cp>This is a beautiful thing.\u003c/p>\n\u003cp>Everyone knows that buying tickets for shows these days is a demonizing experience. You stare at your laptop’s clock that says “9:59 AM,” you hit refresh on your browser right at 10am, you scramble to fill out a byzantine obstacle course of captchas and pull-down menus and verifiers, and then, you get booted off the server, or your tickets — with a 40% markup of “convenience” fees and “facility” fees — become suddenly “no longer available,” or, since 750,000 scalpers and bots are trying to buy tickets the same time as you, they never even come up as available in the first place. \u003c/p>\n\u003cp>You go to Stubhub, where there’s 300 tickets for the show that just went on sale three minutes ago, and they’re all priced four or five times higher than face value. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is unquestionably a broken system, and no one seems to be willing to do anything about it. Enter Trent Reznor, who clearly looked at a simpler, more equitable, more social way of selling tickets from the \u003cem>Pretty Hate Machine\u003c/em> era of the early 1990s, and said, “Huh. That was better. Let’s try it.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Nine Inch Nails play the Bill Graham Civic Center in San Francisco on Dec. 3\u003c/a>. That’s also where, on May 19, you’ll find a line of people wrapped around the block, talking with each other and enjoying the morning and not paying through the nose to a giant corporate-mergered behemoth.\u003c/p>\n\u003cp>Read Nine Inch Nails’ statement about their \u003ca href=\"http://www.nin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">ticket policy\u003c/a> below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/NINTicketsWeb.jpg\" alt=\"\" width=\"750\" height=\"1129\" class=\"aligncenter size-full wp-image-13831860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-520x783.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/p>\n\n",
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"excerpt": "The band will sell tickets in person only at the box office for their 2018 tour, which comes to San Francisco in December.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nine Inch Nails has announced a U.S. tour, with tickets available Saturday, May 19 — and buyers can only buy tickets \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/NINTicketsWeb.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">in person, at the box office\u003c/a>. \u003c/p>\n\u003cp>I repeat: In person. At the box office. In 2018.\u003c/p>\n\u003cp>This is a beautiful thing.\u003c/p>\n\u003cp>Everyone knows that buying tickets for shows these days is a demonizing experience. You stare at your laptop’s clock that says “9:59 AM,” you hit refresh on your browser right at 10am, you scramble to fill out a byzantine obstacle course of captchas and pull-down menus and verifiers, and then, you get booted off the server, or your tickets — with a 40% markup of “convenience” fees and “facility” fees — become suddenly “no longer available,” or, since 750,000 scalpers and bots are trying to buy tickets the same time as you, they never even come up as available in the first place. \u003c/p>\n\u003cp>You go to Stubhub, where there’s 300 tickets for the show that just went on sale three minutes ago, and they’re all priced four or five times higher than face value. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is unquestionably a broken system, and no one seems to be willing to do anything about it. Enter Trent Reznor, who clearly looked at a simpler, more equitable, more social way of selling tickets from the \u003cem>Pretty Hate Machine\u003c/em> era of the early 1990s, and said, “Huh. That was better. Let’s try it.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Nine Inch Nails play the Bill Graham Civic Center in San Francisco on Dec. 3\u003c/a>. That’s also where, on May 19, you’ll find a line of people wrapped around the block, talking with each other and enjoying the morning and not paying through the nose to a giant corporate-mergered behemoth.\u003c/p>\n\u003cp>Read Nine Inch Nails’ statement about their \u003ca href=\"http://www.nin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">ticket policy\u003c/a> below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/NINTicketsWeb.jpg\" alt=\"\" width=\"750\" height=\"1129\" class=\"aligncenter size-full wp-image-13831860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-520x783.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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