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  1. #1
    carpe damn diem billy007's Avatar
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    On the wild card line...
    Favorite VH Song

    "Dance The Night Away"
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    07.18.18 @ 06:12 PM
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    Default Who gets the money?

    Looking at my ticketmaster email today, I see a presale for ZZ Top playing in Melbourne(!). Tickets will be $57.50 - $85.00. Same email shows tickets going on sale for Bruce, and those tickets will be $65 - $95. Not picking on these two artists (we all know I loves me some ZZ Top, and I appreciate Bruce) as I know these prices are the norm for big-name acts these days, but I want to know - who's making the money? I know we couldn't expect concert tickets to be $15. forever, and if the artist is making their due, I don't mind. (I still can't justify paying that much to see 90-120 minutes of sonic blur, but I still don't mind that the artists make the money from the poeple that can justify paying it). But if it's the venues and ticketmaster making the money off those prices (because they can), then they all need to be shot.

  2. #2
    Sinner's Swing!
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    Phoenix, AZ
    Favorite VH Album

    Van Halen II or Diver Down
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    Cathedral, Humans Being
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    03.02.10 @ 02:28 PM
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    As luck would have it, there's a lengthy article in today's "issue" of e-magaizine, "Character Driven Media" (I believe it is Canadian-based.)

    The short answer - Ticketmaster and, to some extent, the venue.

    Ticketmaster Meets Online Ticketing

    e-Ticketing became popular in the early 2000’s as airlines began to replace their labour intensive ticketing practices with the environmentally friendly, simple and straightforward concept of ‘paperless’ ticketing. Well, we all know that there can’t be a complete absence of paper in any process- note the amount of paper in your recycle bin just from printing the wrong item from the net or having three pages of the website print rather than just the one that you wanted. But as the airline industry realized, it’s not just the paper itself that’s involved in getting passengers to meet up with their seats, it’s all the people, manpower and energy that goes into the sale and distribution of tickets, let alone the hassles associated with finding and replacing lost tickets.

    So as event coordinators who have travelled on e-tickets and who have been involved in the ticketing business for over thirty years and who have been using the online and Point of Sale computer methods that have been available to us since the late ’80’s, it seemed only natural to come up with an innovative e-ticketing system of our own. We want to give the online ticketing industry a run for its money- and it has a no shortage of that. Let’s be clear here, what we’re doing and what they’re doing are two very different things. We provide instant delivery online ticketing services, whether you are purchasing from the comfort of your own home or from a sales outlet. The ‘other guys’ are using the same old printed ticket stock which they need to order, print and distribute in the same old way they always have. The only difference is that they let you order online- something we’ve been doing since 1994. And they’re not about to change their practices any time soon since they’re making money at both ends of the spectrum- from the event organizers and you…the event-going public. Anyone who has purchased tickets online knows about the ’service charges’ and they’re never going to give up mailing your tickets when the big online ticketing agencies are getting $11 more just to label an envelope and put the tickets in the mail.

    If you need to be convinced that Ticketmaster, for instance, has a system that is akin to printing money, take a look at the following article from 2002. Though technology has changed, their ticketing practices have not, because there would be too much money to lose by adopting the system that we use- a unique, efficient ticketing method that provides the most cost effective and administratively sound means of getting tickets into the hands of event goers. We have the most cost efficient, environmentally friendly, administratively facile service that audiences and event organizers can possibly imagine! If your ticket supplier isn’t using the methods available to them they 1) are not interested in selling on line or expanding their audience base 2) are only interested in making as much money as possible off of every ticket sold- meaning at the audience and event organizer’s expense. Ask your ticketing agency about the fees they charge…at both ends.

    Here’s what Tom Babin of Calgary’s ‘City’ magazine had to say about the ticketing monopoly and how it was impacting ticket prices way back in 2002:

    “In the late 1990s, rock band Pearl Jam launched a high-profile battle with ticket-distribution giant Ticketmaster that highlighted the corporate concentration of the industry.Years later, little has changed. Ticketmaster is still accused of holding a monopoly over the industry, ticket prices have continued to rise and most concert-goers seem resigned to shelling out as much as a third of the price of a ticket for the convenience of giving up their money.For Pearl Jam, the problem was – and remains – the fact that Ticketmaster in both Canada and the United States has virtually no competition. When major acts come to Calgary, they either use Ticketmaster or they don’t sell tickets.But in reality, Ticketmaster isn’t a true monopoly. For those with the initiative or drive to pull it off, there is a network of ticket sellers in Calgary that can circumvent Ticketmaster and keep the cost of tickets down for fans.

    Ticketmaster makes its money by charging two different types of fees: a per ticket “convenience charge” and a per order “processing charge.” They don’t set ticket prices, but they add their service fees onto the price. No fees apply if tickets are bought directly from a venue box office, a smaller fee applies if they’re purchased from a Ticketmaster box office, and both fees apply if tickets are bought over the phone or Internet.

    Ticketmaster spokesperson Patti Babin says the service fees are determined by agreements with individual event promoters and venue organizers. That means Ticketmaster fees can range greatly.

    For example, those who used the Ticketmaster Web site to buy a single ticket to the recent Neil Diamond concert at the Saddledome paid $106.50 total, including $11 for convenience and processing fees – the fees equal 11.5 per cent of the original $95.50 ticket price. However, fees for a ticket purchased online or by phone for the farm benefit Say Hay concert equal nearly 30 per cent of the original $15 ticket price – the fees were $5, bringin the total cost to $20.

    Babin says the fees allow Ticketmaster to make money and pay for the huge infrastructure that accommodates phone and online sales.

    “(Charges) depend on things like the face value of tickets… the promoter and the venue,” Babin says. “There’s a ton of background work. You wouldn’t believe the manpower and technology it takes to keep the system running. We have to make our money somewhere.”

    And the Ticketmaster system is extensive indeed –virtually every promoter using larger venues like the Saddledome and the Jubilee Auditorium uses Ticketmaster because they need to reach a mass audience in order to sell out. Greg Curtis, the University of Calgary Students’ Union program director, says he uses Ticketmaster for about 95 per cent of the performances he books at the university because without the company, he can’t reach all the ticket buyers he needs.

    “You can’t hit that kid at Southcentre Mall without Ticketmaster,” Curtis says. “If you’re going for a sort of mass audience, you have to.”

    Babin acknowledges that there really isn’t an alternative equivalent to Ticketmaster in the city, although she says anyone who sells tickets is considered a competitor. But Curtis says there are ways event promoters can avoid Ticketmaster charges – it just takes some work.

    A network of smaller alternative ticket sellers includes record stores like Megatunes and Sloth, other retail outlets, and college and university campus ticket centres where tickets can be sold with little or no markup. Some smaller local venues like the Night Gallery and the Warehouse use the network because they aren’t trying to reach such a mass audience.

    Vic Bell, the artistic director of the Nickelodeon Folk Club, says his group has never used Ticketmaster.

    “We’ve always used places like Megatunes, the university, record stores and retail outlets,” Bell says. “Partly because those are the stores tending to stock music in the folk genre, but it’s also a way to support local establishments.”

    What makes that possible for the Nickelodeon is the limited number of shows they stage each season, and the work of volunteers who organize the logistics, drop off the tickets at stores, then pick up the money and keep tabs on how many are being sold at those stores.

    “We’ve got a strong volunteer contingent, and that’s how we make it work,” Bell says.

    But many promoters shy away from the legwork involved, especially when they need to reach a large audience, because Ticketmaster has such an extensive network already set up.

    Curtis and Bell say the biggest advantage of avoiding Ticketmaster is keeping the price of tickets down – which is a rare goal in these days of skyrocketing ticket prices.

    However, Ticketmaster shouldn’t take all the blame for high prices – Curtis says rising prices have as much to do with the consumer as any force in the industry.

    “When the Eagles broke that magic $100 mark, everyone said ‘that’s ridiculous,’ and went ahead and paid it,” Curtis points out. “People have been paying that for years in other areas like theatre and Vegas shows. The rock and roll world was kind of behind the eight-ball and they caught up.”
    Last edited by Yesterdays; 11.29.07 at 10:46 AM.
    Mr. Horseradish courtesy of the International Horseradish Council and Brett.

  3. #3
    Romeo Delight
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    10.08.08 @ 08:54 AM
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    This is something not alot of people know about it. Ticketmaster and Livenation are all owned by the same company. This company is a borderline monopoly, due to the fact that they own so much of what goes on in the entertainment world. There are many small concert promotions companies but none compare to the size of Livenation. Just about every concert tour will have a promoter, except for those rinky dink little shit club bands like LA Guns, etc. A concert is a business and everyone gets paid.
    The promoter rents out the arena for a fee, then charges absurd prices for tickets, and then pays the band. Everybody makes a profit. Some bands will have a guaranteed fee that they will make per show, while others just get a cut of the gross. Van Halen is rumored to be making 1.5 million per show guaranteed, while they made $750, 000 per show on the 2004 tour. If a concert doesn't sell well, the promoter will cancel it so not to take a loss. They aren't going to pay a band a guaranteed fee if only a few thousand tickets are sold for an arena show. Livenation and other smaller Canadian promoters took a big loss on some shows on the 2004 tour. Even though only a few shows sold out, VH cleaned up on that tour due to the guaranteed fee. I recall Livenation putting additional shows on sale in some cities even before the 1st one even sold out. This was a big mistake. My guess is there must be a clause in the band's contract that says they must get a certain advance notice before a concert can get cancelled.
    If a concert sells out immediately, there is no need to advertise the show through print and radio ads. If you constantly hear promos on the radio for a concert, that means it's not selling well. There will always ads a few days before tickets go on sale. From reading posts on this site, it seems people think there is no national buzz regarding this Van Halen tor. The truth of the matter is, there aren't many radio and print ads for this tour due to the fact that the tickets are selling out in one day. No need to advertise something that is sold out. If you ever hear of a concert getting cancelled due to a scheduling conflict, that usually is code for cancelled due to poor ticket sales.

  4. #4
    Atomic Punk bsbll4's Avatar
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    St. Louis, MO
    Favorite VH Album

    Van Halen/ADKOT
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    Hot For Teacher
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    07.18.18 @ 01:44 PM
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    Sometimes a "scheduling conflict" is for real. St. Louis was nearly sold out when they moved the date to March.

    As for Ticketmaster, they suck hairy balls, not much to discuss there.
    CNN may think my opinion matters, but you shouldn't.

  5. #5
    Sinner's Swing!
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    07.01.10 @ 05:21 AM
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    I remember paying $25 to see the Stones in 89 and thinking I was taking it up the butt on that one. How times have changed.

    I don't go to too many big shows anymore because of the price. Too many mouths to feed. I prefer seeing lesser names in smaller venues for lower prices. I find it hard to justify that kind of money for these bigger names. VH was one I justified with the assumption that it could be the last time and I'll probably see them again this March for the same justification but I likely will pass on a lot of shows that I would consider going if the prices weren't so damned high.



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