Price of the Ticket

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Record: 1 Title: Authors: Source: Document Type: Subject Terms: THE PRICE OF THE TICKET. Seabrook, John New Yorker; 8/10/2009, Vol. 85 Issue 24, p34-43, 8p, 1 Color Photograph Article *TICKETS *PERFORMING arts -- Ticket prices *CONCERTS Company/Entity: People: Abstract: LIVE Nation Worldwide Inc. TICKETMASTER Entertainment Inc. SPRINGSTEEN, Bruce The article discusses concert ticket sales in the U.S. The efforts of Live Nation and Ticketmaster Entertainment to sell concert tickets is discusses as is the decrease in album sales. Musician Bruce Springsteen's "Working on a Dream Tour" is discussed, particularly the decision to keep ticket prices low. Ticket scalping is discussed as is the use of the Internet to
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Concertgoers complain about the "convenience charges" as well as parking and facility fees that Ticketmaster tacks on, which can account for more than thirty per cent of the cost of a ticket. Promoters worry that, as the top-grossing touring acts - the Rolling Stones, the Eagles, Paul McCartney, Bruce Springsteen, U2, Madonna - get older, very few younger acts are popular enough to fill stadiums and arenas on the two-year-long tours that superstar rock bands undertake. (Forty per cent of the seats at all Live Nation concerts go unsold.) Most galling to the four stakeholders involved in putting on a concert - the artist, the promoter, the venue operator, and the ticket seller - is the loss of billions of dollars in revenue to the "secondary market": the Internet-driven business of ticket reselling, in which ticket brokers and scalpers profit, while the people who take the artistic and financial risks hardly participate at all. Bill Graham did not live to see "the future" become the live experience; he died in a helicopter crash after a Huey Lewis and the News concert in Concord, California, in 1991. But if you go back to that night on Howard Street and try to understand what Graham saw, it seems obvious that the success of rock shows will always be measured not in box-office revenues and beer sales but in the quality of the party. Records are commodities; concerts are social
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