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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>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>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>\u003c/p>\u003c/div>",
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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": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Charli XCX and Troye Sivan have announced their \u003ca href=\"https://www.sweat-tour.com/\">2024 \u003cem>Sweat\u003c/em> tour\u003c/a>, including a co-headlining show at San Francisco’s Chase Center on Oct. 20, 2024.\u003c/p>\n\u003cp>Tickets for their San Francisco appearance can be bought early, at 10 a.m. on Thursday, April 25, by registering for a \u003ca href=\"https://go.seated.com/tour-events/c4cd0dff-613d-4f82-aa6d-823d1be5a2a4\">presale code\u003c/a> at the \u003ca href=\"https://www.sweat-tour.com/\">tour’s site\u003c/a>. Presale registration includes email and phone notifications. (Note that some presale codes are sent just a few minutes before the presale.)\u003c/p>\n\u003cp>Tickets go on sale to the general public the following day, on Friday, April 26, at 10 a.m.\u003c/p>\n\u003cp>Keeping with Charli XCX’s hard turn into club music for her upcoming album \u003cem>Brat\u003c/em>, due June 7, the \u003cem>Sweat\u003c/em> tour promises to “to turn iconic U.S. and Canadian venues into raves.”\u003c/p>\n\u003cp>Charli XCX last performed in the Bay Area at Oakland’s Fox Theater to kick off her \u003cem>Crash\u003c/em> tour in 2022.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Comedian Kevin Hart usually plays arenas. Sometimes he even \u003ca href=\"https://thecomicscomic.com/2015/08/31/kevin-hart-plays-to-53000-at-philadelphia-stadium-for-new-stand-up-concert-film-what-now-tour/\">headlines stadiums for over 50,000 people\u003c/a>.\u003c/p>\n\u003cp>So when tickets go on sale for the star comedian’s Oct. 25 show at the Paramount Theatre in Oakland — with just 3,000 seats — expect them to sell out quickly.\u003c/p>\n\u003cp>Fortunately, you can get \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">presale tickets\u003c/a> on Wednesday, April 17, at 10 a.m. using the presale code COMEDY. Tickets go on sale to the general public two days later, on Friday, April 19, at 10 a.m.\u003c/p>\n\u003cp>[aside postID='arts_13955679']Playing smaller venues on this tour was a deliberate decision by the comedian. “I wanted to change things up by creating a more intimate environment,” Hart said in a statement. “This hour is about connecting with the audience and feeding off the crowd’s energy and laughter.”\u003c/p>\n\u003cp>At the ornate art-deco Paramount Theatre in Oakland, that energy should be especially evident. Be quick with the click for tickets \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>UPDATE: Two additional shows have been added for Saturday, Sept. 26, at 7:30 p.m. and 10:30 p.m.\u003c/em>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Kevin Hart usually plays arenas. Sometimes he even \u003ca href=\"https://thecomicscomic.com/2015/08/31/kevin-hart-plays-to-53000-at-philadelphia-stadium-for-new-stand-up-concert-film-what-now-tour/\">headlines stadiums for over 50,000 people\u003c/a>.\u003c/p>\n\u003cp>So when tickets go on sale for the star comedian’s Oct. 25 show at the Paramount Theatre in Oakland — with just 3,000 seats — expect them to sell out quickly.\u003c/p>\n\u003cp>Fortunately, you can get \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">presale tickets\u003c/a> on Wednesday, April 17, at 10 a.m. using the presale code COMEDY. Tickets go on sale to the general public two days later, on Friday, April 19, at 10 a.m.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This Is Not a Test: Missy Elliott is \u003ca href=\"https://www.missy-elliott.com/tour\">playing the Oakland Arena on July 9\u003c/a>, and tickets go on sale this week.\u003c/p>\n\u003cp>Yes, you read that correctly. Missy Elliott’s first proper tour in 20 years is happening, with openers Busta Rhymes and Ciara and special guest Timbaland. Her July 9 stop in Oakland is sure to sell out faster than you can say “\u003ca href=\"https://www.youtube.com/watch?v=cjIvu7e6Wq8\">flip it and reverse it\u003c/a>.”\u003c/p>\n\u003cp>So: how to get tickets, which go on sale to the general public on Friday, April 12? \u003c/p>\n\u003cp>As is customary for big tours, a handful of presales will open in the next few days. \u003c/p>\n\u003cp>On Tuesday, April 9, at 10 a.m., Verizon customers can buy tickets; \u003ca href=\"https://www.verizon.com/featured/verizon-up/\">details here\u003c/a>. \u003ca href=\"https://www.ticketmaster.com/event/1C006082BD4C61EF\">VIP packages\u003c/a>, typically expensive, also go on sale on Tuesday, April 9. \u003c/p>\n\u003cfigure id=\"attachment_13955575\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-1024x1536.jpg 1024w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Missy Elliott will perform in Oakland on Tuesday, July 9, 2024. \u003ccite>(Derek Blanks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, April 11, at 10 a.m., use the presale code RIFF for the Live Nation presale. April 11 is also the onsale date for the \u003ca href=\"https://twitter.com/OaklandArena\">venue\u003c/a> presale and \u003ca href=\"https://twitter.com/MissyElliott\">Missy Elliott’s own\u003c/a> presale. (Best to \u003ca href=\"https://twitter.com/OaklandArena\">follow\u003c/a> \u003ca href=\"https://twitter.com/MissyElliott\">both\u003c/a> in case either posts a presale code.) \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then, on Friday, April 12 at 10 a.m., the general onsale starts. Be forewarned about “dynamic pricing,” resale tickets and other unsavory developments foisted upon music fans by Ticketmaster. \u003c/p>\n\u003cp>But also, it’s worth stating: demand will far outweigh supply. Elliott’s last proper tour was in 2004 with Beyoncé and Alicia Keys (a show that, in Oakland, remarkably \u003ca href=\"https://en.wikipedia.org/wiki/Verizon_Ladies_First_Tour\">did not sell out\u003c/a>). \u003c/p>\n\u003cp>“Fans have been asking me to tour forever,” Elliott said in a statement. “But I wanted to wait until I felt the time was right, because I knew if I was ever going to do it, I had to do it big, and I had to do it with family.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Missy Elliott’s \u003ca href=\"https://www.instagram.com/p/C5f-HvJu9J-/\">tour announcement here\u003c/a>, and good luck this week with tickets. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Is Not a Test: Missy Elliott is \u003ca href=\"https://www.missy-elliott.com/tour\">playing the Oakland Arena on July 9\u003c/a>, and tickets go on sale this week.\u003c/p>\n\u003cp>Yes, you read that correctly. Missy Elliott’s first proper tour in 20 years is happening, with openers Busta Rhymes and Ciara and special guest Timbaland. Her July 9 stop in Oakland is sure to sell out faster than you can say “\u003ca href=\"https://www.youtube.com/watch?v=cjIvu7e6Wq8\">flip it and reverse it\u003c/a>.”\u003c/p>\n\u003cp>So: how to get tickets, which go on sale to the general public on Friday, April 12? \u003c/p>\n\u003cp>As is customary for big tours, a handful of presales will open in the next few days. \u003c/p>\n\u003cp>On Tuesday, April 9, at 10 a.m., Verizon customers can buy tickets; \u003ca href=\"https://www.verizon.com/featured/verizon-up/\">details here\u003c/a>. \u003ca href=\"https://www.ticketmaster.com/event/1C006082BD4C61EF\">VIP packages\u003c/a>, typically expensive, also go on sale on Tuesday, April 9. \u003c/p>\n\u003cfigure id=\"attachment_13955575\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-1024x1536.jpg 1024w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Missy Elliott will perform in Oakland on Tuesday, July 9, 2024. \u003ccite>(Derek Blanks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, April 11, at 10 a.m., use the presale code RIFF for the Live Nation presale. April 11 is also the onsale date for the \u003ca href=\"https://twitter.com/OaklandArena\">venue\u003c/a> presale and \u003ca href=\"https://twitter.com/MissyElliott\">Missy Elliott’s own\u003c/a> presale. (Best to \u003ca href=\"https://twitter.com/OaklandArena\">follow\u003c/a> \u003ca href=\"https://twitter.com/MissyElliott\">both\u003c/a> in case either posts a presale code.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then, on Friday, April 12 at 10 a.m., the general onsale starts. Be forewarned about “dynamic pricing,” resale tickets and other unsavory developments foisted upon music fans by Ticketmaster. \u003c/p>\n\u003cp>But also, it’s worth stating: demand will far outweigh supply. Elliott’s last proper tour was in 2004 with Beyoncé and Alicia Keys (a show that, in Oakland, remarkably \u003ca href=\"https://en.wikipedia.org/wiki/Verizon_Ladies_First_Tour\">did not sell out\u003c/a>). \u003c/p>\n\u003cp>“Fans have been asking me to tour forever,” Elliott said in a statement. “But I wanted to wait until I felt the time was right, because I knew if I was ever going to do it, I had to do it big, and I had to do it with family.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Missy Elliott’s \u003ca href=\"https://www.instagram.com/p/C5f-HvJu9J-/\">tour announcement here\u003c/a>, and good luck this week with tickets. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The multi-platinum, Grammy Award-winning, mononymic R&B singer Usher stops by the Oakland Arena Sept. 28 and 29 on a North American tour titled “USHER: Past Present Future.” General tickets go on sale Feb. 12 at 10 a.m., with Citi and Verizon presales beginning 10 a.m. on Feb. 7.\u003c/p>\n\u003cp>For those who haven’t had a chance to be serenaded (aka \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/08/15/usher-keke-palmer-boyfriend-music-video/70595069007/\">question their own relationships\u003c/a>) during Usher’s sold-out two-year residency in Las Vegas, perhaps this tour is your chance. The 2024 tour marks 30 years of performing for the artist, who will release his ninth studio album, \u003ci>COMING HOME\u003c/i>, on Feb. 9. Days later, he’ll perform the halftime show at the 58th Super Bowl (go Niners!). \u003c/p>\n\u003cp>So if you’re on the fence about this one, you’ll have 12 to 14 minutes of Usher performing in an arena to help you decide about a longer show — and a heftier price tag. \u003c/p>\n\u003cp>Good luck to all the ticket seekers; find \u003ca href=\"https://www.livenation.com/artist/K8vZ9171bMV/usher-events\">more information on how to get them here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The multi-platinum, Grammy Award-winning, mononymic R&B singer Usher stops by the Oakland Arena Sept. 28 and 29 on a North American tour titled “USHER: Past Present Future.” General tickets go on sale Feb. 12 at 10 a.m., with Citi and Verizon presales beginning 10 a.m. on Feb. 7.\u003c/p>\n\u003cp>For those who haven’t had a chance to be serenaded (aka \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/08/15/usher-keke-palmer-boyfriend-music-video/70595069007/\">question their own relationships\u003c/a>) during Usher’s sold-out two-year residency in Las Vegas, perhaps this tour is your chance. The 2024 tour marks 30 years of performing for the artist, who will release his ninth studio album, \u003ci>COMING HOME\u003c/i>, on Feb. 9. Days later, he’ll perform the halftime show at the 58th Super Bowl (go Niners!). \u003c/p>\n\u003cp>So if you’re on the fence about this one, you’ll have 12 to 14 minutes of Usher performing in an arena to help you decide about a longer show — and a heftier price tag. \u003c/p>\n\u003cp>Good luck to all the ticket seekers; find \u003ca href=\"https://www.livenation.com/artist/K8vZ9171bMV/usher-events\">more information on how to get them here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The chorus against Ticketmaster’s contentious concert pricing practices is growing, numbering among them Zach Bryan and friends.\u003c/p>\n\u003cp>The country music artist dropped a live album, \u003cem>All My Homies Hate Ticketmaster\u003c/em>, on Sunday. With it came a statement \u003ca href=\"https://www.instagram.com/p/CmlBWZsu4Si/\">posted to social media\u003c/a> in which he decried “a massive issue with fair ticket prices to live shows lately.”\u003c/p>\n\u003cp>“I’ve decided to play a limited number of headline shows next year to which I’ve done all I can to make prices as cheap as possible and to prove to people tickets don’t have to cost $450 to see a good and honest show,” Bryan wrote, cautioning that he didn’t have control of ticket prices for festivals he’ll play.\u003c/p>\n\u003cp>[aside postID='arts_13861791']The statement doesn’t mention Ticketmaster by name except in the new album title, though he tagged the company in \u003ca href=\"https://www.instagram.com/p/CmlI4WuuMu9/\">a separate Instagram post\u003c/a> displaying the track listing. A message seeking comment from Ticketmaster was not immediately returned.\u003c/p>\n\u003cp>Ticketmaster has faced a slew of bad press and scrutiny in recent weeks, notably around the botched rollout of tickets for superstar Taylor Swift’s upcoming Eras Tour.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A presale event in mid-November crashed the site and left many fans without tickets; the planned general sale for the stadium tour \u003ca href=\"https://apnews.com/article/taylor-swift-ticketmaster-sale-canceled-music-concert-tour-70c8a21059174c37a06b7a8475239b06\">was subsequently scrapped\u003c/a> because the dominant ticketing giant had run out of tickets. The debacle has even led \u003ca href=\"https://apnews.com/article/josh-shapiro-business-taylor-swift-tennessee-e157badef297f7c302615b3a6080ba2a\">several state attorneys general to open investigations\u003c/a>.\u003c/p>\n\u003cp>Ticketmaster Mexico is also in hot water over a \u003ca href=\"https://apnews.com/article/entertainment-music-caribbean-concerts-adbdaa49edda251ef7c3987341c6069e\">Bad Bunny concert\u003c/a> in Mexico City where thousands were left in the cold thanks to fake tickets. Mexico’s consumer protection agency announced an investigation, but Ticketmaster Mexico denied the December concert was oversold and instead blamed false tickets bought through unofficial channels and “temporary interruptions in the ticket reading system, which unfortunately momentarily impeded recognition of legitimate tickets.”\u003c/p>\n\u003cp>Experts say the frustration over Ticketmaster’s practices \u003ca href=\"https://apnews.com/article/entertainment-business-taylor-swift-cca0dec2b454d564fa52383101725bdc\">could drive political engagement\u003c/a>, which Bryan alluded to in his statement when criticizing inaction while “huge monopolies sit there stealing money from working class people.”\u003c/p>\n\u003cp>[aside postID='arts_13921777']A songwriter “trying to make ‘relatable music for the working class man or woman’ should pride themself on fighting for the people who listen to the words they’re singing,” he added.\u003c/p>\n\u003cp>As of Monday morning, Bryan enjoyed a one-two punch atop Apple Music’s country chart: The 24-track “All My Homies Hate Ticketmaster,” a recording of his Nov. 3 show at Colorado’s Red Rocks Amphitheatre, is at No. 1, followed by \u003ca href=\"https://apnews.com/article/2022-top-albums-8e6f93ecad31b142a8d75fc46468615b\">his 2022 major label debut\u003c/a>, “American Heartbreak.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bryan said he would announce a tour soon.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The statement doesn’t mention Ticketmaster by name except in the new album title, though he tagged the company in \u003ca href=\"https://www.instagram.com/p/CmlI4WuuMu9/\">a separate Instagram post\u003c/a> displaying the track listing. A message seeking comment from Ticketmaster was not immediately returned.\u003c/p>\n\u003cp>Ticketmaster has faced a slew of bad press and scrutiny in recent weeks, notably around the botched rollout of tickets for superstar Taylor Swift’s upcoming Eras Tour.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A presale event in mid-November crashed the site and left many fans without tickets; the planned general sale for the stadium tour \u003ca href=\"https://apnews.com/article/taylor-swift-ticketmaster-sale-canceled-music-concert-tour-70c8a21059174c37a06b7a8475239b06\">was subsequently scrapped\u003c/a> because the dominant ticketing giant had run out of tickets. The debacle has even led \u003ca href=\"https://apnews.com/article/josh-shapiro-business-taylor-swift-tennessee-e157badef297f7c302615b3a6080ba2a\">several state attorneys general to open investigations\u003c/a>.\u003c/p>\n\u003cp>Ticketmaster Mexico is also in hot water over a \u003ca href=\"https://apnews.com/article/entertainment-music-caribbean-concerts-adbdaa49edda251ef7c3987341c6069e\">Bad Bunny concert\u003c/a> in Mexico City where thousands were left in the cold thanks to fake tickets. Mexico’s consumer protection agency announced an investigation, but Ticketmaster Mexico denied the December concert was oversold and instead blamed false tickets bought through unofficial channels and “temporary interruptions in the ticket reading system, which unfortunately momentarily impeded recognition of legitimate tickets.”\u003c/p>\n\u003cp>Experts say the frustration over Ticketmaster’s practices \u003ca href=\"https://apnews.com/article/entertainment-business-taylor-swift-cca0dec2b454d564fa52383101725bdc\">could drive political engagement\u003c/a>, which Bryan alluded to in his statement when criticizing inaction while “huge monopolies sit there stealing money from working class people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A songwriter “trying to make ‘relatable music for the working class man or woman’ should pride themself on fighting for the people who listen to the words they’re singing,” he added.\u003c/p>\n\u003cp>As of Monday morning, Bryan enjoyed a one-two punch atop Apple Music’s country chart: The 24-track “All My Homies Hate Ticketmaster,” a recording of his Nov. 3 show at Colorado’s Red Rocks Amphitheatre, is at No. 1, followed by \u003ca href=\"https://apnews.com/article/2022-top-albums-8e6f93ecad31b142a8d75fc46468615b\">his 2022 major label debut\u003c/a>, “American Heartbreak.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bryan said he would announce a tour soon.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Got Your Proof of Vaccine for the Theater? It Could Be Required",
"headTitle": "Got Your Proof of Vaccine for the Theater? It Could Be Required | KQED",
"content": "\u003cp>For the past year, Bay Area theatergoers have subsisted on \u003ca href=\"https://www.kqed.org/arts/13893812/how-the-pandemic-may-impact-bay-area-performing-arts-for-years-to-come\" rel=\"noopener noreferrer\" target=\"_blank\">digital programming\u003c/a> and crossed their fingers for a post-pandemic “new normal” to reinstate live indoor performances. As \u003ca href=\"https://www.kqed.org/news/11855623/where-can-i-get-a-covid-19-vaccine-in-the-bay-area-your-questions-answered\" rel=\"noopener noreferrer\" target=\"_blank\">vaccinations\u003c/a> increase across California, so does optimism about the safety of eventually returning to theater venues—but it’s possible patrons will have to prove they’ve been vaccinated in exchange for entry. \u003c/p>\n\u003cp>“Vaccine passports” are already a reality in New York: \u003ca href=\"https://www.bostonglobe.com/2021/03/10/business/been-vaccinated-you-may-have-prove-it/\" rel=\"noopener noreferrer\" target=\"_blank\">at both Barclays Center and Madison Square Garden\u003c/a>, attendees are currently required to present an app or QR code that shows they’ve either been vaccinated or tested negative for COVID-19 within the previous 72 hours. \u003ca href=\"https://www.nytimes.com/2021/02/18/world/middleeast/israel-covid-vaccine-reopen.html\" rel=\"noopener noreferrer\" target=\"_blank\">Israel\u003c/a> has incorporated a “Green Badge” system that limits leisure activities to vaccinated individuals, and the \u003ca href=\"https://www.seattletimes.com/life/travel/eu-announces-plans-for-digital-covid-19-vaccine-passport/\" rel=\"noopener noreferrer\" target=\"_blank\">European Union\u003c/a>’s version of vaccine passports will allow people who have gotten jabs to travel more freely between member countries.\u003c/p>\n\u003cp>Currently, this question remains a hypothetical one for Bay Area theaters. According to the \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/CDPH%20Document%20Library/COVID-19/Dimmer-Framework-September_2020.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">California Department of Health’s March 11 update\u003c/a> on its reopening framework, indoor performances won’t be permitted until each county passes out of the colored tier system entirely, and the required modifications for those events are still forthcoming. In the meantime, theaters are left to consider if they’d be receptive to implementing vaccine requirements, especially in light of the ethical and logistical questions they raise.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Theatre.Mask_.jpg\" alt=\"\" width=\"724\" height=\"482\" class=\"aligncenter size-full wp-image-13894376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theatre.Mask_.jpg 724w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theatre.Mask_-160x107.jpg 160w\" sizes=\"(max-width: 724px) 100vw, 724px\">\u003c/p>\n\u003cp>“Frankly, I consider it an intrusion of privacy,” says Stephanie Weisman, executive and artistic director of \u003ca href=\"https://themarsh.org/\" rel=\"noopener noreferrer\" target=\"_blank\">The Marsh\u003c/a>. “To have people show a card to come into a little theater like The Marsh, which is all about social justice and authentic, intimate voices? It feels very, very intrusive.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Weisman’s concerns are not unfounded, but legally challenging vaccine passport policies on privacy grounds will be tricky. Medical information in the United States is currently protected by the Health Insurance Portability and Accountability Act, or HIPAA, which prevents healthcare providers from disclosing sensitive patient information without the patient’s consent. But \u003ca href=\"https://finance.yahoo.com/news/vaccine-passports-complicated-united-states-145810837.html\" rel=\"noopener noreferrer\" target=\"_blank\">HIPAA does not apply to private businesses\u003c/a> like performance venues—so there’s \u003ca href=\"http://www.fordhamiplj.org/2020/11/12/the-legality-of-coronavirus-immunity-passports-and-related-concerns/\" rel=\"noopener noreferrer\" target=\"_blank\">currently no law\u003c/a> preventing such entities from verifying someone’s vaccination status.\u003c/p>\n\u003cp>Meanwhile, charges of discrimination might likely hold more water. \u003ca href=\"https://www.statnews.com/2021/02/11/covid19-vaccination-rates-follow-the-money-in-states-with-biggest-wealth-gaps/\" rel=\"noopener noreferrer\" target=\"_blank\">Disparities in vaccination rates\u003c/a> suggest that wealthy, white Americans are getting inoculated before lower-income citizens and people of color. Immunity requirements could exacerbate these societal gaps. \u003c/p>\n\u003cp>Weisman admits that she might end up weighing these issues against her desire to see her theater reopen. She’s proud of the community that has sprung up around the theater’s online arm, MarshStream, but it’s no substitute for the genuine article: “How does a performer relate to an audience through a digital stream, when it’s so much about any performer’s relationship to seeing people and seeing their reactions?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/boxoffice-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-13894369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice.jpg 1255w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Daniel Thomas, a co-executive director of San Francisco’s \u003ca href=\"https://42ndstmoon.org/\" rel=\"noopener noreferrer\" target=\"_blank\">42nd Street Moon\u003c/a>, envisions a balanced approach to restoring this intimacy. “We can’t demand or require that they show us proof of vaccination, but we can ask that they provide that if they’re comfortable with it,” says Thomas, citing additional supplementary safety measures such as masks, temperature checks, contact tracing information and fewer performances to allow time for cleaning. \u003c/p>\n\u003cp>Any such proposal, of course, will have to be scrapped if the state mandates that theaters verify vaccinations at the door, an uncertainty that’s kindling frustration as companies attempt to plan their very tentative fall seasons. “The regulations for live theater have always been kind of an afterthought,” says Thomas. \u003c/p>\n\u003cp>“Our state is being very specific about where we fall,” echoes \u003ca href=\"https://www.marintheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Marin Theatre Company\u003c/a> artistic director Jasson Minadakis. “If that changes, then we’re going to have to start thinking about those moral questions.”\u003c/p>\n\u003cp>Minadakis acknowledges the “waiting game” of trying to forecast state guidelines when live theater—which typically packs people together indoors for the length of a few acts and an intermission—will be last in the reopening line. Vaccine passports like those required in New York could possibly be on the table, but he won’t commit to pursuing any policy before the government confirms it’s necessary. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/VaccineProof-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13894374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof.jpg 1116w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Khori Dastoor, \u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a>’s general director, fires off a list of measures she’d incorporate before certifying audiences’ vaccine credentials. The company plans to trade out longer opera programming, some of which clocks in at over three hours, for truncated, socially distanced outdoor performances. \u003c/p>\n\u003cp>Dastoor says those steps will be easier than checking every audience member’s vaccination status. “It’s a lot to ask of our ushers,” Dastoor says. “It’s a big promise to make to our patrons that we can, with confidence, assure them that every single person in the auditorium has provided some sort of proof.”\u003c/p>\n\u003cp>But \u003ca href=\"https://www.berkeleyrep.org/index.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Berkeley Repertory Theatre\u003c/a>’s audiences have shown that they might respond favorably to that kind of assurance, based on the results of a survey sent out to subscribers and single ticket buyers. According to managing director Susie Medak, respondents indicated that the most important factors for returning to the theater were getting vaccinated themselves and knowing that others were vaccinated, too. Over 60% of survey takers said they hoped Berkeley Rep would require vaccinations for participation.\u003c/p>\n\u003cp>Medak is willing to enact these rules if it makes guests safer, but she anticipates inevitable controversies that could incite a rocky reaction from the wider public. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I know that this is exactly what many of our people really want to hear,” Medak says. “And I’m sure there are also people who are just going to be outraged.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the past year, Bay Area theatergoers have subsisted on \u003ca href=\"https://www.kqed.org/arts/13893812/how-the-pandemic-may-impact-bay-area-performing-arts-for-years-to-come\" rel=\"noopener noreferrer\" target=\"_blank\">digital programming\u003c/a> and crossed their fingers for a post-pandemic “new normal” to reinstate live indoor performances. As \u003ca href=\"https://www.kqed.org/news/11855623/where-can-i-get-a-covid-19-vaccine-in-the-bay-area-your-questions-answered\" rel=\"noopener noreferrer\" target=\"_blank\">vaccinations\u003c/a> increase across California, so does optimism about the safety of eventually returning to theater venues—but it’s possible patrons will have to prove they’ve been vaccinated in exchange for entry. \u003c/p>\n\u003cp>“Vaccine passports” are already a reality in New York: \u003ca href=\"https://www.bostonglobe.com/2021/03/10/business/been-vaccinated-you-may-have-prove-it/\" rel=\"noopener noreferrer\" target=\"_blank\">at both Barclays Center and Madison Square Garden\u003c/a>, attendees are currently required to present an app or QR code that shows they’ve either been vaccinated or tested negative for COVID-19 within the previous 72 hours. \u003ca href=\"https://www.nytimes.com/2021/02/18/world/middleeast/israel-covid-vaccine-reopen.html\" rel=\"noopener noreferrer\" target=\"_blank\">Israel\u003c/a> has incorporated a “Green Badge” system that limits leisure activities to vaccinated individuals, and the \u003ca href=\"https://www.seattletimes.com/life/travel/eu-announces-plans-for-digital-covid-19-vaccine-passport/\" rel=\"noopener noreferrer\" target=\"_blank\">European Union\u003c/a>’s version of vaccine passports will allow people who have gotten jabs to travel more freely between member countries.\u003c/p>\n\u003cp>Currently, this question remains a hypothetical one for Bay Area theaters. According to the \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/CDPH%20Document%20Library/COVID-19/Dimmer-Framework-September_2020.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">California Department of Health’s March 11 update\u003c/a> on its reopening framework, indoor performances won’t be permitted until each county passes out of the colored tier system entirely, and the required modifications for those events are still forthcoming. In the meantime, theaters are left to consider if they’d be receptive to implementing vaccine requirements, especially in light of the ethical and logistical questions they raise.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Theatre.Mask_.jpg\" alt=\"\" width=\"724\" height=\"482\" class=\"aligncenter size-full wp-image-13894376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theatre.Mask_.jpg 724w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theatre.Mask_-160x107.jpg 160w\" sizes=\"(max-width: 724px) 100vw, 724px\">\u003c/p>\n\u003cp>“Frankly, I consider it an intrusion of privacy,” says Stephanie Weisman, executive and artistic director of \u003ca href=\"https://themarsh.org/\" rel=\"noopener noreferrer\" target=\"_blank\">The Marsh\u003c/a>. “To have people show a card to come into a little theater like The Marsh, which is all about social justice and authentic, intimate voices? It feels very, very intrusive.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Weisman’s concerns are not unfounded, but legally challenging vaccine passport policies on privacy grounds will be tricky. Medical information in the United States is currently protected by the Health Insurance Portability and Accountability Act, or HIPAA, which prevents healthcare providers from disclosing sensitive patient information without the patient’s consent. But \u003ca href=\"https://finance.yahoo.com/news/vaccine-passports-complicated-united-states-145810837.html\" rel=\"noopener noreferrer\" target=\"_blank\">HIPAA does not apply to private businesses\u003c/a> like performance venues—so there’s \u003ca href=\"http://www.fordhamiplj.org/2020/11/12/the-legality-of-coronavirus-immunity-passports-and-related-concerns/\" rel=\"noopener noreferrer\" target=\"_blank\">currently no law\u003c/a> preventing such entities from verifying someone’s vaccination status.\u003c/p>\n\u003cp>Meanwhile, charges of discrimination might likely hold more water. \u003ca href=\"https://www.statnews.com/2021/02/11/covid19-vaccination-rates-follow-the-money-in-states-with-biggest-wealth-gaps/\" rel=\"noopener noreferrer\" target=\"_blank\">Disparities in vaccination rates\u003c/a> suggest that wealthy, white Americans are getting inoculated before lower-income citizens and people of color. Immunity requirements could exacerbate these societal gaps. \u003c/p>\n\u003cp>Weisman admits that she might end up weighing these issues against her desire to see her theater reopen. She’s proud of the community that has sprung up around the theater’s online arm, MarshStream, but it’s no substitute for the genuine article: “How does a performer relate to an audience through a digital stream, when it’s so much about any performer’s relationship to seeing people and seeing their reactions?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/boxoffice-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-13894369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice.jpg 1255w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Daniel Thomas, a co-executive director of San Francisco’s \u003ca href=\"https://42ndstmoon.org/\" rel=\"noopener noreferrer\" target=\"_blank\">42nd Street Moon\u003c/a>, envisions a balanced approach to restoring this intimacy. “We can’t demand or require that they show us proof of vaccination, but we can ask that they provide that if they’re comfortable with it,” says Thomas, citing additional supplementary safety measures such as masks, temperature checks, contact tracing information and fewer performances to allow time for cleaning. \u003c/p>\n\u003cp>Any such proposal, of course, will have to be scrapped if the state mandates that theaters verify vaccinations at the door, an uncertainty that’s kindling frustration as companies attempt to plan their very tentative fall seasons. “The regulations for live theater have always been kind of an afterthought,” says Thomas. \u003c/p>\n\u003cp>“Our state is being very specific about where we fall,” echoes \u003ca href=\"https://www.marintheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Marin Theatre Company\u003c/a> artistic director Jasson Minadakis. “If that changes, then we’re going to have to start thinking about those moral questions.”\u003c/p>\n\u003cp>Minadakis acknowledges the “waiting game” of trying to forecast state guidelines when live theater—which typically packs people together indoors for the length of a few acts and an intermission—will be last in the reopening line. Vaccine passports like those required in New York could possibly be on the table, but he won’t commit to pursuing any policy before the government confirms it’s necessary. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/VaccineProof-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13894374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof.jpg 1116w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Khori Dastoor, \u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a>’s general director, fires off a list of measures she’d incorporate before certifying audiences’ vaccine credentials. The company plans to trade out longer opera programming, some of which clocks in at over three hours, for truncated, socially distanced outdoor performances. \u003c/p>\n\u003cp>Dastoor says those steps will be easier than checking every audience member’s vaccination status. “It’s a lot to ask of our ushers,” Dastoor says. “It’s a big promise to make to our patrons that we can, with confidence, assure them that every single person in the auditorium has provided some sort of proof.”\u003c/p>\n\u003cp>But \u003ca href=\"https://www.berkeleyrep.org/index.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Berkeley Repertory Theatre\u003c/a>’s audiences have shown that they might respond favorably to that kind of assurance, based on the results of a survey sent out to subscribers and single ticket buyers. According to managing director Susie Medak, respondents indicated that the most important factors for returning to the theater were getting vaccinated themselves and knowing that others were vaccinated, too. Over 60% of survey takers said they hoped Berkeley Rep would require vaccinations for participation.\u003c/p>\n\u003cp>Medak is willing to enact these rules if it makes guests safer, but she anticipates inevitable controversies that could incite a rocky reaction from the wider public. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I know that this is exactly what many of our people really want to hear,” Medak says. “And I’m sure there are also people who are just going to be outraged.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The coronavirus pandemic has completely shut down the business of concerts and other live events. Some people, including Los Angeles mayor Eric Garcetti, are even predicting that live events won’t \u003ca href=\"https://www.politico.com/states/california/story/2020/04/15/garcetti-sporting-events-concerts-unlikely-in-los-angeles-until-2021-1276698\">resume until next year\u003c/a>.\u003c/p>\n\u003cp>That leaves ticket holders looking for refunds, but new rules Ticketmaster \u003ca href=\"https://blog.ticketmaster.com/guidelines-canceled-postponed-events/\">announced last week\u003c/a> stipulate that a show has to be either officially canceled or have new dates announced in order for the purchaser to be eligible for refunds. \u003c/p>\n\u003cp>Cachelle Cronin, a mental health therapist in Vancouver, Wash., says that before the coronavirus pandemic, she bought tickets for six events through Ticketmaster. \u003c/p>\n\u003cp>“I’ve got tickets to Russ, Halsey, [Green Day, Weezer and Fallout Boy’s] Hella Mega Tour, Journey with the Pretenders,” she lists off the top of her head. \u003c/p>\n\u003cp>Since none of those shows have been canceled or rescheduled, she’s ineligible for a refund. And Cronin bought pairs of tickets to each concert, which means she’s out nearly $1000. She says she’s thankful she’s still employed.\u003c/p>\n\u003cp>“I cannot even imagine what somebody would be going through right now if they had $1000 in tickets sitting there that they know they’re not gonna be able to use, and they’re stressing about being able to pay rent, or buy their kids food, or anything like that,” she says. \u003c/p>\n\u003cp>The live event economy is a complicated one, and it’s been a struggle for ticket buyers to get their money back because they aren’t Ticketmaster’s primary concern, says Dean Budnick who, along with Josh Baron, is the author of the book \u003cem>Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped\u003c/em>.\u003c/p>\n\u003cp>“Ticketmaster really, ultimately, is responsible to its venue clients and those are the individuals it wants to protect,” he says.\u003c/p>\n\u003cp>In other words, its primary business relationships are with concert promoters, stadiums and arenas — not ticket buyers. Before last week, Ticketmaster’s website \u003ca href=\"https://www.nytimes.com/2020/04/08/arts/music/ticketmaster-refunds-coronavirus.html\">seemed to back off of refunds\u003c/a> for postponed events entirely.\u003c/p>\n\u003cp>The ensuing media coverage caught the attention of two members of Congress. Democratic Representatives Katie Porter from California and Bill Pascrell from New Jersey \u003ca href=\"https://pascrell.house.gov/news/documentsingle.aspx?DocumentID=4260\">wrote a scathing letter\u003c/a> encouraging the ticket seller to reconsider.\u003c/p>\n\u003cp>“We fully expect the availability of refunds to continue to climb over the next 4-6 weeks and ultimately expect all our clients will make refunds available,” Ticketmaster said in a statement to NPR, adding that it has already returned $400 million to fans so far. But Ticketmaster, along with \u003ca href=\"https://www.billboard.com/articles/business/touring/9359919/aeg-ticket-refunds-concerts-coronavirus\">rival company AEG\u003c/a> — \u003ca href=\"https://www.nytimes.com/2020/04/17/arts/music/live-nation-refunds-virus.html\">announced new refund policies\u003c/a> last week, which still require a concert to be canceled or officially rescheduled with new dates to trigger a refund. Those policies don’t go into effect until May 1.\u003c/p>\n\u003cp>Dean Budnick says Live Nation and AEG simply don’t have the money to give back. “Because contractually, they’ve released that money to concert promoters, to event producers who put on those events,” he explains.\u003c/p>\n\u003cp>Budnick says with smaller, club level shows, those funds are usually held in escrow, so they’re easier to access. But for big shows at stadiums, ticket purchasers’ money is already in the hands of venues and artists.\u003c/p>\n\u003cp>“Now you may say, ‘Well gee, that is Ticketmaster’s fault because that’s their contract that they entered into,’ ” he points out.\u003c/p>\n\u003cp>Budnick says over the past few decades, artists have gotten a larger share of ticket sales to make up for declining record sales. That’s led to higher ticket prices and more service fees to be shared among the venues and promoters.\u003c/p>\n\u003cp>Keith Jopling, a consulting director for the media analysis firm MIDiA Research, says that in a post-shutdown world, the deals between all parties in the ecosystem are likely to change.\u003c/p>\n\u003cp>“Everyone on that value chain will be expected to take a hit on that, including artists,” he says. \u003c/p>\n\u003cp>But right now, it’s out-of-work stage hands, food vendors, security guards and ticket holders who are feeling the pain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Crystal Reilly, a teacher from Michigan, bought Red Wings hockey tickets as a gift for her dad. The game was set to take place last month and she still can’t get a refund. With schools closed for the foreseeable future, Reilly says getting that money back is important.\u003c/p>\n\u003cp>“I’m not working right now. I won’t work until September, so having that extra 230 bucks would be really awesome,” she says.\u003c/p>\n\u003cp>Some customers, including Reilly and Cachelle Cronin, are part of a group exploring a class action suit. It’s just \u003ca href=\"https://www.classaction.org/blog/class-action-against-ticketmaster-live-nation-seeks-refunds-for-rescheduled-events\">one such complaint\u003c/a> going through the courts now. Elsewhere, others have reached out to their credit card companies to try to get their money back. But either way, they’ll be waiting for a while. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Ticket+Holders+Are+Struggling+To+Get+Refunds+For+Concerts+And+Live+Events&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The coronavirus pandemic has completely shut down the business of concerts and other live events. Some people, including Los Angeles mayor Eric Garcetti, are even predicting that live events won’t \u003ca href=\"https://www.politico.com/states/california/story/2020/04/15/garcetti-sporting-events-concerts-unlikely-in-los-angeles-until-2021-1276698\">resume until next year\u003c/a>.\u003c/p>\n\u003cp>That leaves ticket holders looking for refunds, but new rules Ticketmaster \u003ca href=\"https://blog.ticketmaster.com/guidelines-canceled-postponed-events/\">announced last week\u003c/a> stipulate that a show has to be either officially canceled or have new dates announced in order for the purchaser to be eligible for refunds. \u003c/p>\n\u003cp>Cachelle Cronin, a mental health therapist in Vancouver, Wash., says that before the coronavirus pandemic, she bought tickets for six events through Ticketmaster. \u003c/p>\n\u003cp>“I’ve got tickets to Russ, Halsey, [Green Day, Weezer and Fallout Boy’s] Hella Mega Tour, Journey with the Pretenders,” she lists off the top of her head. \u003c/p>\n\u003cp>Since none of those shows have been canceled or rescheduled, she’s ineligible for a refund. And Cronin bought pairs of tickets to each concert, which means she’s out nearly $1000. She says she’s thankful she’s still employed.\u003c/p>\n\u003cp>“I cannot even imagine what somebody would be going through right now if they had $1000 in tickets sitting there that they know they’re not gonna be able to use, and they’re stressing about being able to pay rent, or buy their kids food, or anything like that,” she says. \u003c/p>\n\u003cp>The live event economy is a complicated one, and it’s been a struggle for ticket buyers to get their money back because they aren’t Ticketmaster’s primary concern, says Dean Budnick who, along with Josh Baron, is the author of the book \u003cem>Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped\u003c/em>.\u003c/p>\n\u003cp>“Ticketmaster really, ultimately, is responsible to its venue clients and those are the individuals it wants to protect,” he says.\u003c/p>\n\u003cp>In other words, its primary business relationships are with concert promoters, stadiums and arenas — not ticket buyers. Before last week, Ticketmaster’s website \u003ca href=\"https://www.nytimes.com/2020/04/08/arts/music/ticketmaster-refunds-coronavirus.html\">seemed to back off of refunds\u003c/a> for postponed events entirely.\u003c/p>\n\u003cp>The ensuing media coverage caught the attention of two members of Congress. Democratic Representatives Katie Porter from California and Bill Pascrell from New Jersey \u003ca href=\"https://pascrell.house.gov/news/documentsingle.aspx?DocumentID=4260\">wrote a scathing letter\u003c/a> encouraging the ticket seller to reconsider.\u003c/p>\n\u003cp>“We fully expect the availability of refunds to continue to climb over the next 4-6 weeks and ultimately expect all our clients will make refunds available,” Ticketmaster said in a statement to NPR, adding that it has already returned $400 million to fans so far. But Ticketmaster, along with \u003ca href=\"https://www.billboard.com/articles/business/touring/9359919/aeg-ticket-refunds-concerts-coronavirus\">rival company AEG\u003c/a> — \u003ca href=\"https://www.nytimes.com/2020/04/17/arts/music/live-nation-refunds-virus.html\">announced new refund policies\u003c/a> last week, which still require a concert to be canceled or officially rescheduled with new dates to trigger a refund. Those policies don’t go into effect until May 1.\u003c/p>\n\u003cp>Dean Budnick says Live Nation and AEG simply don’t have the money to give back. “Because contractually, they’ve released that money to concert promoters, to event producers who put on those events,” he explains.\u003c/p>\n\u003cp>Budnick says with smaller, club level shows, those funds are usually held in escrow, so they’re easier to access. But for big shows at stadiums, ticket purchasers’ money is already in the hands of venues and artists.\u003c/p>\n\u003cp>“Now you may say, ‘Well gee, that is Ticketmaster’s fault because that’s their contract that they entered into,’ ” he points out.\u003c/p>\n\u003cp>Budnick says over the past few decades, artists have gotten a larger share of ticket sales to make up for declining record sales. That’s led to higher ticket prices and more service fees to be shared among the venues and promoters.\u003c/p>\n\u003cp>Keith Jopling, a consulting director for the media analysis firm MIDiA Research, says that in a post-shutdown world, the deals between all parties in the ecosystem are likely to change.\u003c/p>\n\u003cp>“Everyone on that value chain will be expected to take a hit on that, including artists,” he says. \u003c/p>\n\u003cp>But right now, it’s out-of-work stage hands, food vendors, security guards and ticket holders who are feeling the pain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Crystal Reilly, a teacher from Michigan, bought Red Wings hockey tickets as a gift for her dad. The game was set to take place last month and she still can’t get a refund. With schools closed for the foreseeable future, Reilly says getting that money back is important.\u003c/p>\n\u003cp>“I’m not working right now. I won’t work until September, so having that extra 230 bucks would be really awesome,” she says.\u003c/p>\n\u003cp>Some customers, including Reilly and Cachelle Cronin, are part of a group exploring a class action suit. It’s just \u003ca href=\"https://www.classaction.org/blog/class-action-against-ticketmaster-live-nation-seeks-refunds-for-rescheduled-events\">one such complaint\u003c/a> going through the courts now. Elsewhere, others have reached out to their credit card companies to try to get their money back. But either way, they’ll be waiting for a while. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Ticket+Holders+Are+Struggling+To+Get+Refunds+For+Concerts+And+Live+Events&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Metallica's Secret Deal with Live Nation Reveals How Artists Scalp Their Own Tickets",
"headTitle": "Metallica’s Secret Deal with Live Nation Reveals How Artists Scalp Their Own Tickets | KQED",
"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>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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"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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"content": "\u003cp>Donald Glover, a.k.a. Childish Gambino, is having a great year. The second season of his critically acclaimed FX series \u003cem>Atlanta\u003c/em> premiered last week, and in February he won a Grammy for his funk revival hit, “Redbone.”\u003c/p>\n\u003cp>And now, Childish Gambino’s announced a tour that makes a stop in Oakland. It’s Gambino’s first Bay Area show since 2014, when he \u003ca href=\"https://www.kqed.org/arts/10143865/erykah-badu-and-childish-gambino-the-queen-and-the-court-jester\" rel=\"noopener\" target=\"_blank\">opened for Erykah Badu\u003c/a> at the Greek Theatre in Berkeley.\u003c/p>\n\u003cp>Tickets go on sale for Childish Gambino’s \u003ca href=\"https://www1.ticketmaster.com/childish-gambino-oakland-california-09-27-2018/event/1C00545C182ED583?artistid=1503424&majorcatid=10001&minorcatid=3\" target=\"_blank\" rel=\"noopener\">Sept. 27 Oracle Arena show\u003c/a> with openers Rae Sremmurd this Friday, March 9, at noon, but there are a few opportunities to snag them early. Childish Gambino has his own presale that starts tomorrow, Mar. 6, at 10am. (The code has yet to be publicly announced, but the rumor on Twitter is that it might be “FIFTHTRIBE.” We suggest checking Childish Gambino’s \u003ca href=\"http://childishgambino.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a> and Twitter for updates.)\u003c/p>\n\u003cp>There’s also a March 6 presale for American Express cardholders at noon, and a Live Nation mobile app presale on March 8 at 10am. (The passwords “ENCORE” and “ACCESS” are being floated around for that one.) Also on March 8, the Oracle Arena is offering its own \u003ca href=\"http://www.oraclearena.com/events/detail/childish-gambino\" target=\"_blank\" rel=\"noopener\">presale\u003c/a> with the code “SWEATPANTS.” (If all else fails, that one is confirmed.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Donald Glover, a.k.a. Childish Gambino, is having a great year. The second season of his critically acclaimed FX series \u003cem>Atlanta\u003c/em> premiered last week, and in February he won a Grammy for his funk revival hit, “Redbone.”\u003c/p>\n\u003cp>And now, Childish Gambino’s announced a tour that makes a stop in Oakland. It’s Gambino’s first Bay Area show since 2014, when he \u003ca href=\"https://www.kqed.org/arts/10143865/erykah-badu-and-childish-gambino-the-queen-and-the-court-jester\" rel=\"noopener\" target=\"_blank\">opened for Erykah Badu\u003c/a> at the Greek Theatre in Berkeley.\u003c/p>\n\u003cp>Tickets go on sale for Childish Gambino’s \u003ca href=\"https://www1.ticketmaster.com/childish-gambino-oakland-california-09-27-2018/event/1C00545C182ED583?artistid=1503424&majorcatid=10001&minorcatid=3\" target=\"_blank\" rel=\"noopener\">Sept. 27 Oracle Arena show\u003c/a> with openers Rae Sremmurd this Friday, March 9, at noon, but there are a few opportunities to snag them early. Childish Gambino has his own presale that starts tomorrow, Mar. 6, at 10am. (The code has yet to be publicly announced, but the rumor on Twitter is that it might be “FIFTHTRIBE.” We suggest checking Childish Gambino’s \u003ca href=\"http://childishgambino.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a> and Twitter for updates.)\u003c/p>\n\u003cp>There’s also a March 6 presale for American Express cardholders at noon, and a Live Nation mobile app presale on March 8 at 10am. (The passwords “ENCORE” and “ACCESS” are being floated around for that one.) Also on March 8, the Oracle Arena is offering its own \u003ca href=\"http://www.oraclearena.com/events/detail/childish-gambino\" target=\"_blank\" rel=\"noopener\">presale\u003c/a> with the code “SWEATPANTS.” (If all else fails, that one is confirmed.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"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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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"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.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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