Beyoncé announced the tour — which had been previously rumored — on Wednesday. In an Instagram post, the superstar posted simply “RENAISSANCEㅤ ㅤWORLD TOUR 2023.” Her website shows tour dates from May to September. Beyoncé will perform in cities around the world, making several stops in the United States.
Ticketmaster published a blog post on Wednesday with instructions on how to get tickets for the tour.
People who want access to the North American leg of the tour have to be registered as Verified Fans, the post explained.
“Demand for this tour is expected to be high,” the page said. “If there is more demand than there are tickets available, a lottery-style selection process will determine which registered Verified Fans get a unique access code and which are placed on the waitlist,” the company said, adding that the access code doesn’t guarantee a ticket.
Fans have been eagerly awaiting news of the tour, but many are already bracing themselves for a Ticketmaster disaster, following the recent Swift ticket debacle.
“Hey @Ticketmaster you better have you servers ready!!!” one person tweeted. “Don’t screw this up,” said another.
The Swift concert drama started even before tickets officially went on sale. In mid-November, Ticketmaster’s site overloaded when fans tried to purchase pre-sale tickets for just a handful of dates. Demand was so high that Ticketmaster ultimately canceled the public sale of the tickets. Swift was furious, calling the debacle “excruciating for me.”
Ticketmaster had to contend with more than just the ire of Swift and her fans. The fiasco prompted a US Senate Judiciary Committee hearing, designed to examine the lack of competition in the ticketing industry (and give senators an opportunity to quote their favorite T-Swift song lyrics.) The hearing gave members of the committee and others a chance to call out Ticketmaster’s power within the industry.
Over a decade ago, the company merged with Live Nation, despite fears that the conglomerate would create a monopoly in the ticketing sector. In 2010, a court filing that raised objections to the merger said that Ticketmaster had over 80% share among major venues. Ticketmaster disputes that market share estimate, and says it holds at most just over 30% of the concert market, according to CFO Joe Berchtold, who spoke about the business on NPR.
Today, it’s widely criticized for holding too much power in the sector — effectively barring fans and artists from buying or selling tickets through a competitor.
If the domicile in “Lavender Haze” appears slightly familiar, perhaps it’s because of how similar it looks and feels to the one in “Anti-Hero.” And if the overall “mood palette” looks the same too, it’s because, as Swift stated, “This was the first video I wrote out of the three that have been released, and this one really helped me conceptualize the world and mood of Midnights, like a sultry sleepless 70s fever dream. Hope you like it.” And sure, of course everyone is expected to “like” it—if for no other reason than the fact that Swift opted to cast trans model Laith Ashley De La Cruz as her love interest (who also happens to be a weather forecaster—a nod to the “Karma” lyrics, “The guy on the screen/Coming straight home to me”).
Swift, who has become “pointedly” woke in the years since she abandoned country music (and there really are some shitty songs from the canon of her early work), has been steadfastly building toward this. After all, she was sure to be more “inclusive” with the Black Mirror-esque “Lover” video (during which she also sings about a haze via the lines, “There’s a dazzling haze/A mysterious way about you, dear”) that featured Christian Owens as the lover in question. And then there was the “allyship” of “You Need to Calm Down” (also from the Lover album), which Swift timed for a release during Pride Month. So sure, “tapping into” the trans community was only a matter of time. Forgive one for the “jaded tinge” that has to it, but, it’s somewhat obvious that Swift treats the “minorities” she casts somewhat differently than the more “all-American” men she’s had in her videos. That is to say, she’ll actually kiss those men. For example, in her first video, “Tim McGraw,” Swift wasn’t shy about offering up some kiss action to her co-star, Clayton Collins. Released in 2006, it was clear Swift had a long way to go before becoming “woke”—accordingly, the country twang in her voice at that time has disappeared entirely in favor of “pop voice.”
Elsewhere, she might never have kissed “Drew” in the “Teardrops On My Guitar” video, but probably because he was into some other girl, and that other girl seemed to be more of a beard than anything (this based solely on the casting choice for “Drew”). So maybe he was really just sparing his dear friend Swift the pain of kissing him only to later learn he could never love a woman. In the hoedown sound of the “Our Song” video, there was no room for a man at all. But these are extenuating circumstances that don’t apply to videos like “Lover” and “Lavender Haze,” wherein she prefers touchy “canoodling” to more overt displays of affection, which leads one to call bullshit on her “true acceptance” of the marginalized. It’s a classic case of that “Anti-Hero” lyric, “Did you hear my covert narcissism I disguise as altruism?” But anyway, apart from the predictability of her casting choices at this point in her political/musical career, “Lavender Haze” is not among her most exciting concepts for a music video.
Once more directed by Swift herself, the video starts off with a number of her beloved “Easter eggs,” including a close-up on a “Mastermind” record with the signs of Sagittarius (Swift’s) and Pisces (Joe Alwyn’s) etched in the constellation artwork. Then there’s the burning incense on the nightstand, which alludes to the “Maroon” lyrics, “When the morning came/We were cleaning incense off your vinyl shelf.” Swift, now sitting up in bed, is in the throes of insomnia, compounded by a literal cloud over her head as the lyrics, “You don’t really read into my melancholia” are said. Unlike Swifties, who read into every mood Swift is willing to showcase. Next to her in bed is De La Cruz, who appears unbothered by Swift’s nocturnal activity as he sleeps through the night in peace. Even when she touches his back and reveals the universe contained within it—yes, we all want to know what drugs she’s on.
In the next instant, she’s lighting a match and we briefly wonder if her country-era persona has taken over and decided to commit a hate crime against a trans person. But no, for whatever reason, the match doesn’t light a fire, but a “lavender haze” (a.k.a. what looks like Gulal powder in purple). As Taylor dances around in the haze, De La Cruz continues to sleep like a log, even when the powdery substance enters his nostrils… but hey, it’s not coke, so why should it wake him?
In the next scene, Swift is inexplicably alone on the couch in a lavender coat—a scene recognizable from many of her promotional photos for Midnights. Because why not kill two birds with one stone by extrapolating some stills from the music video for the album promo? In any case, Swift proves she must have been smoking the good shit on this night as she blows a clock-shaped smoke ring in our face à la The Caterpillar from Alice in Wonderland. After which she crawls on the floor through a suddenly materialized “field” of flowers (lavender ones, of course). Making her way toward the TV where De La Cruz is giving the “Forecast at Midnight” on the screen. Arriving at the TV, Swift is able to split it open to reveal another universe filled with koi fish inside. Again, she must have been smoking the good shit (as only a celebrity can afford).
Another cut to Swift in a lavender-hued pool that looks like the kind one might be able to access at a very expensive spa allows the chanteuse to play up her chastely sexual side. At which time she sings, “I’m damned if I do give a damn what people say.” But of course she does—that’s what the majority of her songs and video concepts have been driven by. Unfortunately, this particular video concept wasn’t driven by the inspiration for the track’s title: Mad Men. Per Swift, “I happened upon the phrase ‘lavender haze’ when I was watching Mad Men. I looked it up because I thought it sounded cool. And it turns out that it’s a common phrase used in the 50s where they would describe being in love. If you’re in the ‘lavender haze,’ then that meant you were in that all-encompassing love glow. And I thought that was really beautiful.” Beautiful enough to ascribe it to what she was going through with Joe Alwyn at the beginning of their relationship, protecting it at all costs from the media (which she still does). As Swift remarked, “I guess, theoretically, when you’re in the ‘lavender haze,’ you’ll do anything to stay there. And not let people bring you down off of that cloud [hence, the presence of some very pronounced clouds in this video]. I think that a lot of people have to deal with this now, not just like ‘public figures,’ because we live in the era of social media, and if the world finds out if you’re in love with somebody they’re going to weigh in on it.”
But Swift ought to be more concerned with an objective person (as opposed to a die-hard Swiftie) weighing in on this video. During which she ironically insists, “No deal/The 1950s shit they want from me,” yet so adores the term “lavender haze,” which originated in the 50s. With this in mind, a more engaging concept would have been to set the video in the 50s at some point, perhaps with a Pleasantville angle that then finds Swift entering the modern world once the haze has ended. Because, although she doesn’t admit it (or want to), that “honeymoon” period is usually over after about a year.
In another non sequitur moment, the scene that follows Swift splitting the screen and being in a lavender pool is a party at the duo’s house that seems intent to look as 70s-era as possible despite this song’s genesis being a direct result of the 50s. The party naturally devolves into a wannabe Holi celebration with more lavender-hued Gulal powder as Swift and her party attendees dance about in a reverie.
The final moments show Swift opening the window in her living room (the party guests and De La Cruz have mysteriously vanished, perhaps all figments of her “fever dream” imagination to begin with) and then pushing the wall down. This causes the domino effect of all four walls falling, pushed back to reveal Swift’s abode has been floating in that lavender, koi fish-filled universe behind the TV screen that she was mesmerized by earlier. Now nestled in a giant cloud that appeared at the center of the erstwhile living room, Swift disappears into it and leaves the world behind. Notably, the fact that her love interest is not in the haze with her speaks to 1) how Swift would never really be with a trans person and 2) how her relationships have enabled her storytelling indulgence to make most of the narrative about her experience.
Swift has also said of her tenure with Alwyn re: the “lavender haze,” [In] my relationship [of] six years we’ve had to dodge weird rumors, tabloid stuff, and we just ignore it. So this song is about the act of ignoring that stuff to protect the real stuff.” And yet, the accompanying video is about the fantastical rather than the real, which leads one to believe that Swift does a lot of manufacturing for the sake of songwriting embellishment. If only she could have “embellished” a more engaging and original video for the song… Anyway, now that this is off one’s chest, Taylor can get it off her desk.
Taylor Swift dropped a new music video for her song “Lavender Haze” at midnight on Friday, in which her love interest is played by a trans model, Laith Ashley. He and some of Swift’s fans applauded her for casting a trans man, giving representation to other trans people.
“Thank you [Taylor Swift] for allowing me to play a small part in your story,” Laith Ashley, whose full name is Laith Ashley De La Cruz, wrote on Instagram. “You are brilliant and this is an experience I will never forget. It was truly magical.”
Swift directed the music video, which is for the second single off of her newest album “Midnights.” Ashley said Swift’s storytelling abilities continues to leave him “in awe, inspired, and hopeful.”
He also thanked her for giving others representation with his casting. “Thank you for being an ally. Representation matters,” he wrote. “AND LOVE WILL ALWAYS WIN!”
Ashley has also appeared in “Pose” and a music video for drag queen Manila Luzon’s song “That’s a Man Maury.” He was also on the reality series “Strut.”
He was the first transgender man to be featured in a Diesel campaign, according to his IMDB bio. Before becoming a model and actor, he was a counselor for homeless youth in New York City.
Fans and friends left congratulatory comments on Ashley’s post about the “Lavender Haze” music video. “Thank you for representing all trans and being part of history for us all. Beautiful music video,” one commenter wrote.
“Your impact is absolutely not a small part,” another wrote.
“You are an inspiration to the lgbtq+ community,” commented another.
Swift also posted about the music video on her Instagram, sharing several photos from the shoot. “There is my incredible costar [Laith Ashley] who I absolutely adored working with,” she wrote. “This was the first video I wrote out of the 3 that have been released, and this one really helped me conceptualize the world and mood of Midnights, like a sultry sleepless 70’s fever dream. Hope you like it.”
Swift also directed the music video for “Antihero,” the first single off of her latest album. And she has directed other music videos in the past, including one for “You Need to Calm Down” with Drew Kirsch, and “All Too Well: The Short Film,” which both earned her an MTV Video Music Award for best direction. The latter also received a Grammy nomination for best music video and could also be submitted to the Oscars, according to ET.
The video for “You Need to Calm Down” featured themes of LGBTQ acceptance and is filled with celebrities, most of them an integral part of LGBTQ visibility: Laverne Cox, Dexter Mayfield, Jesse Tyler Ferguson, Justin Mikita, Hayley Kiyoko, Chester Lockhart, and RuPaul, as well as cast members of “RuPaul’s Drag Race.” She also highlighted the Equality Act at the end of the video. The bill would protect LGBTQ rights.
Swift has also advocated for LGBTQ rights and the bill several other times. In 2019, while performing “You Need to Calm Down” at the VMAs, she showed support for the bill and called out the Trump administration for not responding to a petition that urged lawmakers to swiftly pass it.
“In this video, several points were made, so you voting for the video means that you want a world where we’re all treated equally under the law, regardless of who we love, regardless of how we identify,” Swift said during her acceptance speech for the fan-voted Video of the Year award.
The senators had done their homework—or maybe it happens to be that there are a lot of Taylor Swift fans in the Senate, which turned its attention this week toward figuring out what went so wrong when the singer-songwriter attempted to sell tickets to her highly anticipated Eras Tour. This was a Senate Judiciary committee hearing about antitrust—the legacy of the 2010 merger between Live Nation and Ticketmaster—but it was also a hearing for the fans, the Swifties, and the senators were ready to indulge them. Amy Klobuchar said she knows that industry consolidation affects competition, “as an ode to Taylor Swift…all too well.” Connecticut’s Richard Blumenthal said, “May I suggest, respectfully, that Ticketmaster ought to look in the mirror and say, ‘I’m the problem, it’s me,’” referencing Swift’s most recent hit, “Anti-Hero.”
It was Mike Lee who dug the deepest for his callouts; Republicans’ failure to win the Senate majority meant Klobuchar “was cheer captain, while I’m on the bleachers,” he said. Regulating ticket transfers to deter scalpers could be “a nightmare dressed like a daydream,” Lee added. And then there was his most obscure reference—a bit more of a taunt directed at Joe Berchtold, the Live Nation president and chief financial officer who testified on behalf of the entertainment behemoth. “I have to throw out, in deference to my daughter Eliza, one more Taylor Swift quote,” Lee said. “‘Karma’s a relaxing thought. Aren’t you envious that for you it’s not?’”
It’s not entirely surprising for politicians to chase after cultural clout (see: Olivia Rodrigotalking up vaccines on the White House Instagram). Perhaps more striking was the truly bipartisan shellacking senators delivered Live Nation Entertainment, the monolith that controls anywhere from 50% to more than 70% of ticket sales, depending on who you’re asking to do the estimate. Klobuchar underscored how the fear and a lack of transparency in the live-events business had allowed concerns about the company’s practices to go unreported. She said she’d heard from venues who were afraid to come forward with complaints, or that even if Live Nation is “not out there threatening them, they are afraid to go to someone else because then they are not getting the acts that they want.” Then she uttered the sentence Live Nation likely wanted to hear the least: “This is all a definition of monopoly,” Klobuchar said. Republican Josh Hawley used the same word. “This is how monopolies work,” he said. “You leverage market power in one market to get market power in another market—and it looks like you’re doing that in, frankly, multiple markets.”
Joe Berchtold, president and chief financial officer of Live Nation Entertainment Inc., is sworn in to a Senate Judiciary Committee hearing in Washington, DC, US, on Tuesday, Jan. 24, 2023. By Al Drago/Bloomberg/ Getty Images.
Berchtold denied that his company had any monopolistic power. “The bottom line is that US ticketing markets have never been more competitive than they are today,” he said, “and we read about new potential entrants all the time.”
Though antitrust crusading has had a left-leaning image for more than a century, the machinations behind individual mergers have often made for strange bedfellows. When Barack Obama’s Department of Justice approved the merger between industry stalwart Ticketmaster and management and promotion heavyweight Live Nation in 2010, it anticipated issues related to the company’s outsize market share, and placed the company under a consent decree that aimed to restrict the types of deals it could make. By 2019, when the DOJ decided to extend the consent decree after an investigation, the company had become the poster child for how a laissez-faire attitude toward antitrust law in both parties had run amok. Progressives became interested in making antitrust “sexy” again, as Klobuchar has put it, but increasingly, Hawley and a band of self-described national conservatives have begun to call for the right to take on the mantle of breaking up the monopolies, at least when it comes to certain industries, like big tech. Tuesday’s hearing was a sign that bipartisan rhetoric over antitrust is possible, so long as the company is near universally reviled.
As Klobuchar admitted, the Senate panel had no power to enact the one alteration that even the staunchest conservatives seemed open to discussing—an unwinding of the merger. For that to happen, the DOJ would have to get involved. Still the committee forced Live Nation to explain its practices, and give insight that the company had so far appeared intent on keeping murky.
Lawmakers grilled a top executive of Ticketmaster’s parent company, Live Nation Entertainment, on Tuesday after the service’s inability to process orders for Taylor Swift’s upcoming tour left millions of people unable to buy tickets late last year.
During the three-hour hearing, senators pressed Live Nation president and CFO Joe Berchtold and some other witnesses on whether his company was too dominant in the industry, thereby harming rivals, musicians and fans.
“I want to congratulate and thank you for an absolutely stunning achievement,” Sen. Richard Blumenthal said to Berthtold. “You have brought together Republicans and Democrats in an absolutely unified cause.”
Here’s a look at the big takeaways from the hearing:
When tickets for Swift’s new five-month Eras Tour went on sale on Ticketmaster in mid November, heavy demand snarled the ticketing site, infuriating fans who couldn’t snag tickets. Unable to resolve the problems, Ticketmaster subsequently canceled Swift’s concert ticket sales to the general public, citing “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”
In his testimony Tuesday, Berchtold partly blamed the Swift ticketing incident on the bots.
Ticketmaster, he said, was “hit with three times the amount of bot traffic than we had ever experienced” amid the “unprecedented demand for Taylor Swift tickets.” The bot activity “required us to slow down and even pause our sales. This is what led to a terrible consumer experience that we deeply regret.”
Berchtold also went on defense more broadly about his company. Heemphasized that Ticketmaster does not set ticket prices, does not determine the number of tickets put up for sale and that “in most cases, venues set service and ticketing fees,” not Ticketmaster.
He also rejected suggestions that its dominance has allowed for soaring fees, citing data from the market intelligence firm Pollstar showing that Live Nation controls about 200 out of approximately 4,000 venues in the United States, or about 5%.
The venues controlled by Live Nation set fees that are “consistent with the other venues in the marketplace,” he said.
Members of the entertainment industry and one rival spoke out against Ticketmaster’s dominance in the industry.
Jack Groetzinger, CEO of SeatGeek, alleged that many venue owners “fear losing Live Nation concerts if they don’t use Ticketmaster” and its services, and argued the company must be broken up.
“Live Nation controls the most popular entertainers in the world, routes most of the large tours, operates the ticketing systems and even owns many of the venues,” he told lawmakers. “This power over the entire live entertainment industry allows Live Nation to maintain its monopolistic influence over the primary ticketing market.”
He continued: “As long as Live Nation remains both the dominant concert promoter and ticketer of major venues in the US, the industry will continue to lack competition and struggle,” he said.
Clyde Lawrence, a singer-songwriter on the witness panel, explained how the company acts as a promoter, a venue and the ticketing company, which eats into performing artists’ revenues. Artists, he said, have no leverage over Live Nation.
“Since both our pay and theirs is a share of the show’s profits, we should be true partners aligned in our incentives — keep costs low while ensuring the best fan experience,” he said. “But with Live Nation not only acting as the promoter but also the owner and operator of the venue, it seriously complicates these incentives.”
Lawrence also said with Ticketmaster, “we’ll see a 40%-ish or closer to 50% fee added on top” of the base ticket price.
The fallout from the ticketing fiasco once again cast a harsh spotlight on Ticketmaster and its power in the industry, more than a decade after it completed its merger with Live Nation despite concerns the deal would create a near monopoly in the ticketing sector.
“To have a strong capitalist system, you have to have competition,” Sen. Amy Klobuchar, a Democrat from Minnesota, said during her opening remarks. “You can’t have too much consolidation — something that, unfortunately for this country, as an ode to Taylor Swift, I will say, we know ‘all too well.’”
Kathleen Bradish, vice president for legal advocacy at the American Antitrust Institute, called Ticketmaster “a very traditional monopoly” and told lawmakers the lack of competition in the live entertainment industry results in consumers having to pay higher prices.
“Its dominance in markets up and down the live entertainment supply chain creates the incentive and the ability to limit competition and protect its market position,” she explained. “Customers pay the price for these monopolistic acts with higher ticket prices and fees, lower quality, less choice and less innovation.”
On the concert side, the company excludes “smaller or independent concert promoters and venues. In digital ticketing, it includes excluding ticket resellers and brokers who provide important competition via the secondary ticketing market,” she said.
Lawmakers repeatedly questioned the US government’s past handling of the Live Nation merger with Ticketmaster. It involved a legally binding consent agreement that allowed the company to merge with Ticketmaster so long as the combined company abided by a number of behavioral conditions.
A 2019 Justice Department review found that Live Nation was not meeting its commitments under the order, but instead of suing, the Department modified the agreement and extended it for another five years, according to Bradish at the American Antitrust Institute.
“DOJ should pursue new enforcement action to obtain effective structural relief,” said Bradish, calling for a breakup of Live Nation under either Section 7 of the Clayton Act or Section 2 of the Sherman Act.
Sen. Mike Lee said the way that history has unfolded since the Live Nation merger raises “very serious doubts” about the usefulness of consent agreements imposed by the federal government.
If the current Justice Department concludes that the consent decree has been violated, “unwinding the merger ought to be on the table,” Blumenthal said.
In response to Berchtold’s explanation about the bot problem, some lawmakers questioned the company’s security practices, noting many small businesses can determine when bad actors are infiltrating their systems.
Republican Senator Marsha Blackburn suggested Berchtold strengthen its cyberprotections, get better advice and hire new IT workers to better protect its systems. (Berchtold said the company has poured billions of dollars into security to protect its systems over the years.)
Another Republican, Sen. John Kennedy, went further in criticizing the company over the Swift ticketing issue. He said whoever at Live Nation was in charge of the incident “ought to be fired.”
In the back half of the hearing, some of the focus shifted to possible solutions – but there were no easy answers.
Some lawmakers focused on the ability to resell tickets. While this option can be useful for customers who need to change plans, it can also help prop up the scalping market.
When senators discussed whether restricting the ability to transfer tickets would help, Live Nation’s exec was in favor of it. But the SeatGeek CEO said this might only entrench Live Nation’s dominance, as it holds the kind of market share that would force consumers to solely transact there in the absence of other resale market options.
– CNN’s Brian Fung and Aditi Sangal contributed to this report
Ticketmaster said it learned a “valuable lesson” from last year’s Taylor Swift concert sale fiasco, though it may not be enough to win over American politicians arguing the company has too much control in the live event market.
On Tuesday, a top executive from Ticketmaster’s parent company Live Nation Entertainment appeared at the U.S. Senate to argue they do not hold a ticket sale monopoly. The company has also denied breaking any antitrust laws.
In written testimony submitted prior to Tuesday’s trial, Live Nation claimed that Ticketmaster’s Taylor Swift sale was targeted by software bots that illegally obtained tickets and snubbed eager fans. These bots were then able to flip and resell tickets bought in bulk for astronomical prices.
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In November 2022, a chaotic presale for Swift’s 2023 Eras stadium tour left thousands of fans without admission. Though Ticketmaster required fans to register for the presale in an attempt to prevent cyberattacks, fans experienced site crashes and hours-long online queue times.
The company claimed that more than 3.5 million people registered for the presale. In a statement, Ticketmaster wrote it sold more than two million tickets and fielded 3.5 billion system requests, which is four times its previous peak.
As a result, Ticketmaster had to cancel the planned general ticket sale due to a lack of remaining inventory.
Taylor Swift posted a statement to her Instagram account about Ticketmaster’s sale cancellation on Nov. 17, 2022.
Instagram / @taylorswift
“We apologize to the fans, we apologize to Ms. Swift, we need to do better and we will do better,” Live Nation’s president and chief financial officer, Joe Berchtold, said during the hearing on Tuesday.
“In hindsight, there are several things we could have done better, including staggering the sales over a longer period of time and doing a better job setting fan expectations for getting tickets.”
Ticketmaster merged with Live Nation in 2010, reportedly resulting in control of more than 70 per cent of the primary ticketing and live event venues market.
Berchtold asked lawmakers to focus on creating legislation to do with ticket scalping and other fraudulent practices, like third-party listings for tickets that have yet to go on sale.
Taylor Swift ticket chaos leads to US Justice department probe of Ticketmaster, Live Nation
Live Nation said in November that the reason it holds a dominant role in the marketplace is “the large gap that exists between the quality of the Ticketmaster system and the next best primary ticketing system.”
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Jack Groetzinger, co-founder of ticket sales platform SeatGeek, said during the Senate hearing Tuesday that existing ticket sale methods are “antiquated and ripe for innovation.”
“As long as Live Nation remains both the dominant concert promoter and ticketer of major venues in the U.S., the industry will continue to lack competition and struggle,” he told lawmakers.
Ticketmaster is defending itself publicly for the first time since the concert promoter’s highly publicized meltdown late last year during ticket sales for Taylor Swift’s “Eras” tour.
Joe Berchtold, the president and chief financial officer of Live Nation, which owns Ticketmaster, made the case to the Senate Judiciary Committee on Tuesday that the live concert industry is more competitive than it was a decade ago, when Live Nation merged with Ticketmaster, and that the ticket seller doesn’t control capacity or pricing.
“Primary ticketing companies, including Ticketmaster, do not set ticket prices, do not decide how many tickets go on sale and when they go on sale, do not set service fees,” he said in opening remarks.
Berchtold’s assessment was in stark contract to Sen. Amy Klobuchar, who said in her opening statement that Ticketmaster fits “a definition of monopoly.”
“Live Nation is so powerful that it doesn’t even need to exert pressure, it doesn’t need to threaten, because people just fall in line,” the Minnesota Democrat said.
Three roles in one
Anti-monopoly scholars and consumer advocates point to Ticketmaster’s role as a ticket seller, an owner or operator of event venues as well as a promoter for events. The company both fronts the costs for an event and advertises it. Live Nation’s reach allows it to exert pressure on performers and lock them into subpar deals, scholars testified.
“Major venues in the United States know that if they move their primary ticketing business from Ticketmaster to a competitor, they risk losing the substantial revenue they earn from Live Nation concerts. They know this because Live Nation has told them so, directly and indirectly — through its public pronouncements, private communications and subsequent retaliation against venues that have defied Ticketmaster,” SeatGeek CEO Jack Groetzinger testified.
Berchtold contended that Live Nation owns only a small portion of the 4,000-some event venues in the U.S. — about 5%, he said. However, critics note that the events giant’s portfolio includes the largest and most profitable venues, while its Ticketmaster division has exclusive ticketing contracts with an overwhelming majority of sports venues.
Last year, 87% of Billboard Top 40 performances were ticketed by Ticketmaster, and the company holds exlusive ticketing contracts with 87% of NBA and NHL arenas and 97% of NFL stadiums, testified Jerry Mickelson, head of independent event producer Jam Productions.
“This merger is vertical integration on steroids. Using dominance in one market to decrease competition in another,” he said. Jam, which has produced nearly 1,500 live events in the 40 years since its founding, produced only one since 2015, Mickelson said.
“Arena concerts used to be Jam’s most profitable business,” he said. But since the merger, “Live Nation succeeded in driving independent promoters out of that sector.”
Musicians grossed $6 from $42 concert tickets
Independent music group Lawrence, whose recent song “False Alarms” contains the phrase, “Live Nation is a monopoly,” illustrated Live Nation’s power with an example.
“Live Nation acts as three things at the same time: The promoter, the venue, the ticketing company,” Clyde Lawrence, a member of the band, told the committee. Because Live Nation owns the venue, fronts the the money for the show and sells the tickets, they have outsized power when negotiating with artists, Lawrence said.
“If they want to take 10% of the revenues and call it a facility fee, they can, and have. If they want to charge $30,000 for [facility rent], they can and have. If they want to charge us $250 for a stack of clean towels, they can, and have,” Lawrence said.
He illustrated the disparity with an example of a show for which Lawrence set ticket prices at $30. After Ticketmaster added on a 40% fee, fans paid $42 per ticket. After paying for facility costs, the band made $12 per ticket — about half of which went to cover the costs of touring.
“That leaves us with $6 for an eight-piece band, pretax, and we also have to pay our own health insurance,” Lawrence said.
He added, “We truly don’t see Live Nation as the enemy. They are just the largest player in a game that feels stacked against us as artists, and often our fans as well.”
Taylor Swift meltdown
The widely anticipated hearing was called shortly after Ticketmaster in November canceled a sale for Taylor Swift’s concert tour when the service experienced technical glitches and what it called “historic” customer demand for seats. Swift had planned her “Eras” Tour for 52 concerts across 18 venues, with Ticketmaster the primary ticketer for all but five of those shows. During a pre-sale event on November 15, the Ticketmaster site crashed after 14 million fans and bots tried to buy tickets. Thousands of fans who thought they were cleared to buy tickets were unable to purchase them, leading some to sue Ticketmaster.
Interested parties started lining up for the hearing well before 9 a.m., more than an hour before its start. By the time the doors opened, the line snaked down the hallway.
Sal Nuzzo, a witness from free-market think tank The James Madison Institute, commented that his daughters informed him this hearing would be “the most important” thing he does in his career, adding that he drove through a crowd of protesters on the way to the hearing.
The episode has led to calls to split up Ticketmaster, with critics charging that the ticketing platform, promoter and venue owner monopolizes the market for events. Attendees from the American Economic Liberties Institute, an anti-monopoly group, passed out flyers in the hearing room calling for a breakup of the company.
Ticketmaster is estimated to have a market share of more than 70% of the U.S. ticketing industry, and is the primary ticketer for over 80% of professional sports teams and venues for the NBA, NHL and NFL. Live Nation disputes those claims, saying that its market share has shrunk since the 2010 merger.
“Ticketmaster has lost, not gained, market share, and every year competitive bidding results in ticketing companies getting less of the economic value in a ticketing contract while venues and teams get more,” Berchtold said. “U.S. ticketing markets have never been more competitive than they are today, and we read about new potential entrants all the time.”
The Senate also heard from ticketing platform SeatGeek and live-event producer Jam Productions, as well as scholars who study antitrust.
Scalpers at fault?
Live Nation put much of the blame on bots and scalpers who scoop up tickets in order to resell them at higher prices. At least some artists agree with this assessment. In a letter supporting Live Nation, country music star Garth Brooks asked the committee to make scalping illegal.
“The crush of bots during an on-sale is a huge reason for program failure NO MATTER WHO THE TICKET SELLING COMPANY is. And the one who ALWAYS pays for this atrocity is the customer, the LAST one on whom that burden should fall,” Brooks wrote in a letter submitted to the committee.
Live Nation claims it has invested millions developing anti-bot technology on the platform.
When Angela Bassett set the car on fire in Waiting to Exhale. When Aubrey Plaza spirals for a full episode after finding the condom wrapper in White Lotus. When Rosamund Pike fakes her death, frames her husband — Ben Affleck — for murder, and disappears completely after discovering his affair with EmRata in Gone Girl. Chefs kiss to all of it. Because one thing about me? I love the wrath of women.
While I don’t support the scorning of women, I support the actions of scorned women. Just like Lady Gaga said on the House of Gucci’s red carpet, “I don’t believe in the glorification of murder. I do believe in the empowerment of women.”
And recently, both Shakira and Miley Cyrus metaphorically murdered their cheating partners — Gerard Piqué and Liam Hemsworth respectively — by skewering them with the spikes of hit break-up anthems.
It’s the Taylor Swift treatment. Immortalizing a man in song — in the worst way possible … for him. Jake Gyllenhall and John Mayer are probably texting Piqué and Hemsworth words of support. They’ll need it.
In case you missed it, here’s a quick rundown on current breakup anthems on the charts that are bringing back girl power.
The backstory behind Miley Cyrus’s “Flowers”
Miley Cyrus is no stranger to penning songs about Liam Hemsworth. After being married for only one year, Cyrus and Hemsworth divorced in February 2020. However, their tortured romance has been making headlines since 2010. That means Liam Hemsworth wasted this woman’s time for an entire decade. No wonder she’s pissed.
Ever since they fell in love on the set of The Last Song, Miley’s been dedicating absolute bangers to her on-again-off-again partner. The movie’s breakout track, “When I Look At You,” should have netted her a slew of awards. A snub I shall never-ever get over. But since then, there have been many others: “Wrecking Ball,” “Malibu,” and even one named “I Would Die For You.”
But the instantly viral hit “Flowers” has special significance. The single is the first release from the former-Disney star’s upcoming album, Endless Summer Vacation. But this single was released on January 13th — little Liam’s 33rd birthday. It seems Miley is in her petty era. And we love it for her.
Even the lyrics of the song allegedly dig at her former relationship. “I can buy myself flowers,” Miley sings, “I can hold my own hand.” This assertion of self-love is a direct response to Bruno Mas’ “When I Was Your Man.” Why? Well, apparently Liam dedicated this song to Cyrus at their wedding. Odd, because it is a breakup song. Foreshadowing, maybe? At least we now get a breakup banger out of it.
The video is also sure to go down in music video history. Its vintage fashion looks were instantly striking, but when fans looked closer, they sussed out the deeper meaning of the video’s captivating narrative. First off, the video contains multiple references to Patrick Bateman in American Psycho. Classic and unhinged.
But that’s not all! Turns out, it was filmed in the very house where Hemsworth allegedly cheated on Cyrus… with multiple women… multiple times! And there she is, reclaiming her space and her time. As she should!
The backstory behind Shakira’s “Out of Your League”
One other woman-scorned dominating the news? None other than the ever-iconic Shakira. The Columbian singer shattered YouTube records for the most streamed Latin music song in 24-hours. The track, “Out Of Your League,” is an unapologetic rant to her former partner Gerard Piqué. Astoundingly, it’s logged 63m+ YouTube views in 24-hours, making it the most-watched new Latin song in the platform’s history.
And the story behind this song? More infidelity, unfortunately.
Rumor has it, Shakira realized her former partner was cheating on her after returning home to find that her jar of jam had been eaten. And, supposedly, Piqué has never tasted jam in his life. Shakira playing detective and ending up with a hit song? I’m obsessed.
The song is pretty much a diss track. And like all fine diss tracks, it’s filled with savage jabs and no pulled punches. Shakira — 45 — sings: “I’m worth two 22-year-olds,” referencing her ex’s quick rebound with a 22-year-old. She sings: “You swapped a Ferrari for a Twingo/You swapped a Rolex for a Casio.”
The title is also a play on Piqué’s profession. As a soccer player, he’s familiar with leagues. But Shakira is definitely far beyond his.“I was out of your league,” she says, “which is why you’re with someone just like you.”
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LOS ANGELES (AP) — Taylor Swift’s acoustic guitar, Eminem’s signed tennis shoes and an ensemble worn by a BTS member are among the items to be auctioned for charity next month.
Julien’s Auctions said Tuesday the memorabilia from some of the most popular music performers will be auctioned at the MusiCares Charity Relief Auction on Feb. 5.
All proceeds from the event following the Grammy Awards ceremony will go toward MusiCares, an organization dedicated to helping musicians in times of financial and medical crisis.
A signed Epiphone acoustic guitar that appeared on Swift’s 2020 “evermore” album artwork could draw between $5,000 and $10,000. Eminem wrote the words “Shady” on a white pair of Nike Air Max that could go for up to $3,000. A black utility-style jumpsuit and buckle belt worn by BTS’s J-Hope during a photo shoot for his debut solo album “Jack In the Box” could garner up to $4,000.
Snoop Dogg and his son, Cordell, will donate sound systems signed by both, along with a special NFT that could go for up to $8,000.
Joni Mitchell will have several items auctioned including a signed print of her original oil painting of Jimi Hendrix. Another painting on the auction block will come from former Van Halen lead singer David Lee Roth, a signed acrylic on canvas called “Dark Ocean.”
Olivia Rodrigo’s custom-made “Chopova Lowena” 2022 Glastonbury Festival ensemble and Katy Perry’s 2019 FIFA Live Performance are expected to be auctioned.
The rest of the items to be auctioned come from a wide range of entertainers including Barbra Streisand, Daft Punk, Jimmy Buffet, Ozzy Osbourne, Paul McCartney, The Rolling Stones and Jon Batiste.
The rumors have been brewing for a while now, reaching a crescendo throughout all of January as Madonna finally confirmed on the 17th that a greatest hits tour has, in fact, been in the works. And it’s called, almost as generically as 2004’s Reinvention Tour, The Celebration Tour—named as a nod to her 2009 greatest hits compilation, Celebration. Being that Madonna’s last album, Madame X, was released in 2019, perhaps she’s “surrendering” in some way to the idea that the most money to be made from her music, in terms of “drumming up” tour business, is through the assurance of greatest hits. For she already knows her die-hard fans will show up for anything she does—now she wants “the leftovers” who can’t respect some of her more “experimental” phases to join in too.
As for the timing of the tour, it seems to indicate Madonna losing a certain “ahead-of-the-curveness” in that Taylor Swift already stole headlines recently for the announcement of her own 2023 greatest hits show, called The Eras Tour. Which already made history for shutting down Ticketmaster during the presales due to “overwhelming demand” and subsequently inciting an antitrust investigation. It’s unlikely that The Celebration Tour will have the same issues or history-making propensities, but there’s no denying that it will sell out in most cities, maybe even the two dates (thus far) Madonna has bestowed upon New York, the place she’s almost grotesquely fond of because it “made her into the person she is” (though Madonna students know it was her mother’s death and the tutelage of Christopher Flynn that did that). Ergo, the tour announcement was sure to mention, “The Celebration Tour will take us on Madonna’s artistic journey through four decades and pays respect to the city of New York where her career in music began.” It’s unclear how much more respect Madonna can pay to it, but anyway… She herself also added, “I am excited to explore as many songs as possible in hopes to give my fans the show they have been waiting for.” How Taylor-esque.
And yet, the only person who can really give people a bona fide “Eras Tour” is Madonna. After all, she isn’t called the Queen of Reinvention for nothing, having “revamped” herself repeatedly over the years. Some people would cynically call that a “bid to stay relevant,” while Madonna has described it as the search for her true self as she slowly peels back the layers (yes, it’s very Kabbalah-spurred). Either way, it’s been iconic and culturally impactful for the rest of the world to watch. From the Boy Toy incarnation of Like A Virgin to the bleach-blonde, slicked-back hair and gamine physique of True Blue to the dominatrix of Erotica to the “Ethereal Girl” of Ray of Light to the glamorous cowgirl of Music to the Che Guevara imitator of American Life to the “disco dolly” of Confessions on a Dance Floor, Madonna has provided look after look (therefore Halloween costume after Halloween costume) for the masses to soak up and embed in their collective cultural lexicon.
With Taylor, those marked reinventions—aesthetic or otherwise—have never really been there. Sure, her “sound” has evolved from the country-ier days of Taylor Swift, Fearless and Speak Now to the more pop-centric focus heralded by Red. But, in the end, her “deal” is being a singer-songwriter that sort of fell into being a pop star (something Lana Del Rey hasn’t been able to do on a similar mainstream level—possibly because she’s viewed as “too dreary” for the main mainstream). Madonna, always underestimated for her singing-songwriting abilities, is, in contrast, a pop star of the prototypical order. The blueprint for every girl who came after her. She was the post-modern ideal (that arrived just as MTV did): media savvy and never missing an opportunity for self-promotion and “synergy” (read: advertising ventures with such companies as Mitsubishi, Pepsi [short-lived, but still], Motorola and H&M).
What’s more, she had no aversion to being in the public eye on an almost constant basis—prompting the rockumentary meets early reality TV stylings of 1991’s Truth or Dare. It is this Alek Keshishian-directed film that Madonna parodies in her ad for The Celebration Tour, with appearances by Amy Schumer, Diplo, Judd Apatow, Jack Black, Lil Wayne, Bob the Drag Queen (who will open on Madonna’s tour), Kate Berlant, Larry Owens, Meg Stalter and Eric Andre subbing out for the original Blond Ambition Tour dancers. A.k.a. the ones that sued Madonna afterward and then made a follow-up documentary called Strike A Pose in 2016.
The allusions to her early 90s projects also expand when Judd Apatow (one of many inexplicable presences in the room) dares Madonna to recreate one of her Sex book poses with Larry Owens, Jack Black and Lil Wayne. Afterward, Schumer then dares her to go on a world tour to perform all of her “greatest mothafuckin’ hits.” Madonna replies, “Four decades?” “Yeah bitch.” “As in: forty years?” “Yes.” “As in: all those songs?” “Fuck yeah.” “We’re talking ‘Like A Virgin’—” (a song, by the way, that Madonna has frequently paraded her contempt for). Amy interjects, “We’re talkin’ [singing], ‘Open your heart,’ we’re talkin’ [singing], ‘Tropical the island breeze.” Madonna and the others join in to sing, “All of nature wild and free/This is where I long to be/La isla bonita,” with Madonna stopping to say, “Wait, hold up. That’s a lot of songs.”
Ironically, however, in far fewer years, Swift has almost as many studio albums out as Madonna, making it possible for her to have fifty-five singles under her belt in the span from 2006 to now. That’s getting awful close to Madonna’s robust ninety singles—especially at the rate that Swift produces. So sure, Swift has the “rep” and the “cred” to do a greatest hits tour, but it’s hardly something that should be called “Eras” (perhaps largely inspired by the fact that she didn’t get to tour folkloreand evermore thanks to Miss Rona). For the eras of Swift are ultimately always the same, expounding on this, that or the other heartbreak (all while sporting the same blonde hair and red lipstick). Madonna’s lyrical topics are, conversely, far more varied. Needless to say, so are her looks.
And, though it makes more sense for Madonna to do a greatest hits tour (despite balking at the notion for so long), it’s odd, in a way, for her to bother with such a “theme,” for she always includes a few crumbs of that ilk on every tour—usually favoring the inclusion of “Holiday,” “Vogue” and the aforementioned “La Isla Bonita,” at the bare minimum. This is why one has to ask, is it really a “Celebration” Tour or a Capitulation Tour, with Madonna finally surrendering to the fickle tastes of the philistine hordes? You know, like Taylor Swift. But maybe, in the name of pop star symbiosis and catering to the hoi polloi, the two can join each other onstage again like they did at the 2015 iHeartRadio Music Awards. Since they’ll both be in greatest hits tour mode at the same time and all.
Taylor Swift fans and despondent singles alike will be able to visit a Swift-themed “breakup bar” this Valentine’s Day in Chicago.
The time-limited pop-up venue is named “Bad Blood” in homage to Swift’s song from her 2014 album 1989. Events organization BucketListers announced the pop-up on its Instagram Friday.
Swifties hoping to drown their sorrows will have to pay $20 for the experience, which includes a “welcome beverage,” says BucketListers. The pop-up is located at Chicago’s Electric Garden, a beer garden located in the city’s West Loop neighborhood.
“Whether you want to sing about your lover, those who were never yours, those you’re never getting back together with, or those who still have your scarf, this is the perfect place for you,” wrote BucketListers on the event page.
The event will also feature tarot card readers and a spinning wheel of cocktails.
Unfortunately, “Taylor will not be there,” BucketListers pointedly specified.
While Rihanna has been laying low since the birth of her son, she delighted fans Tuesday by making a fashionably late entrance at the 2023 Golden Globes.
She and A$AP Rocky were the power couple to watch at the prestigious film and television awards show. While they skipped the red carpet, they couldn’t escape eagle-eyed fans, who were quick to spot the two sitting among the star-studded crowd throughout the broadcast.
Rihanna was nominated (for the first time) in the category of Best Original Song for her track “Lift Me Up” featured in “Black Panther: Wakanda Forever.” This marked her long-overdue return to music after six years, and while she didn’t win an award, she may have won best-dressed.
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For the occasion, Rihanna went for luxurious drama in a custom Schiaparelli Haute Couture piece designed by Daniel Roseberry. The jaw-dropping gown features a black velvet bustier with silk jersey drapé and a sizable stole in black bonded silk velvet. While certainly elegant, the gown’s puffed, cloud-like sleeves gave the look a playful touch.
The ensemble was completed with a pair of matching opera gloves, a black velvet Roger Vivier bag (this one to be exact), black heeled sandals and glittering jewelry. She quite literally shone bright like a diamond in Cartier earrings studded with platinum diamonds and a hefty choker from Cartier’s Sixième Sense collection, covered in platinum 18k white gold diamonds. Upping the playfulness of her look, Rihanna’s hair was swept up in a gelled-back pigtail buns, with a Josephine Baker-style curl framing her face.
Meanwhile, A$AP Rocky looked dapper in a modest black tuxedo that allowed Riri’s look to shine even brighter.
Kim Kardashian is leaving fans intrigued with her mixed messaging on TikTok. Kim posted two videos on Thursday afternoon, the first set to Taylor Swift’s “Shake It Off” and the second to SZA’s “Kill Bill.” Both songs are notable picks for the 42-year-old reality star, who recently finalized her divorce from 45-year-old Kanye West.
Kim and Kanye’s eldest daughter, 9-year-old North, joins her mom in both TikToks, dancing alongside her with a pink filter over their eyes.
The Swift pick left fans wondering if Kim was, perchance, referring to Kanye and Taylor’s long-standing feud, which began over a decade ago when Kanye stormed the VMAs stage while Taylor was accepting her award for Best Female Video. Kanye grabbed the mic to tell the audience that Beyoncé should have won, and though he apologized after the event, he later went on to say he didn’t regret the evening. Over the following ten years, Kim often voiced support for her then-husband’s side of the dispute.
The SZA song also pushed fans to speculate whether Kim had chosen the song to send a message, using the section of the song with lyrics “I might kill my ex/not the best idea.” Kim finalized her divorce from Kanye in November and recently got emotional about the difficulties of co-parenting with her ex. Kim and Kanye share three children in addition to North — 7-year-old son Saint, 4-year-old daughter Chicago, and 3-year-old son Psalm.
Kim choked up while speaking about her children on the “Angie Martinez IRL” podcast in December. The reality star shared how she has done her best to shelter her kids from the controversy, criticism, and negative press directed at their father.
“I’m holding on by a thread, and I am so close to that not happening. But while it’s still that way, I will protect that to the end of the Earth, for as long as I can,” she said.
Perhaps, though, Kim is now closer to being able to “Shake It Off” when it comes to her relationship struggles. Also in December, she told “The goop Podcast” host Gwyneth Paltrow that she still dreams of finding her happily ever after.
“I have this fantasy in my head,” Kim said, “fourth time’s a charm. It’s going to work out.” Prior to Kanye, Kim was married to Damon Thomas and Kris Humphries.
“I feel like, honestly, my last marriage was my first real [marriage],” Kardashian told Paltrow. “The first one, I just don’t know what was happening, the second one I felt like I wanted to be married so badly because all my friends were at that place… and I didn’t accept that that just wasn’t where I was.”
Earlier this year, Kardashian split from Pete Davidson after nine months of dating. Now, a source tells ET that Kardashian “will date again when she’s ready.”
“I would want a marriage, but I’m so happy to take my time,” she told Paltrow. “I really do want to be single for a few years.”
Too many innocent people to count have died at the hands of devout Swifties, hell-bent on revenge. For your own safety, never say these things to a Taylor Swift fan.
2 / 23
“Her negligence led to a massive ground beef recall.”
“Her negligence led to a massive ground beef recall.”
Unless you have a death wish, we would avoid blaming Taylor for any nationwide E. coli outbreaks.
3 / 23
“We have no idea where Taylor Swift was the morning of April 19th, 1995.”
“We have no idea where Taylor Swift was the morning of April 19th, 1995.”
Sure, we’ve been told that Timothy McVeigh and Terry Nichols had no help blowing up the FBI headquarters in Oklahoma City, but Taylor’s lack of an alibi can’t be ignored.
4 / 23
“I don’t care if you got tickets, young lady. You’re not going out on a school night.”
“I don’t care if you got tickets, young lady. You’re not going out on a school night.”
Mom, come on!
5 / 23
“She doesn’t even design her own album art.”
“She doesn’t even design her own album art.”
Taylor’s fans hate being confronted with the fact that her Photoshop and Illustrator skills are mediocre at best.
6 / 23
“Her Capital One ads are uninspired.”
“Her Capital One ads are uninspired.”
This is very insulting because all Taylor Swift fans watch these commercials on a loop for several hours each day.
7 / 23
“Every musician has their strengths and weaknesses.”
“Every musician has their strengths and weaknesses.”
Eat shit and die, how about that?
8 / 23
“I loved her ‘Piano Man’ era.”
“I loved her ‘Piano Man’ era.”
This is a common mistake, but that’s actually Billy Joel.
9 / 23
“The Ticketmaster/LiveNation merger was extremely problematic long before you saw fit to take notice.”
“The Ticketmaster/LiveNation merger was extremely problematic long before you saw fit to take notice.”
Look, an antitrust ally is an antitrust ally, regardless of how they got there, okay?
10 / 23
“My favorite folklore is ‘Botan Dōrō.’”
“My favorite folklore is ‘Botan Dōrō.’”
No offense to the Japanese people, but this haunting parable about loving a ghost has nothing on the song “cardigan.”
11 / 23
“I know that her nice girl image is fake because she regularly eggs my house.”
“I know that her nice girl image is fake because she regularly eggs my house.”
No need to ruin the façade for them too.
12 / 23
“She can only summon lightning when it’s stormy out.”
“She can only summon lightning when it’s stormy out.”
Taylor can and will strike you dead by lightning on a sunny day just for saying that.
13 / 23
“More people are deserving of the Nobel Prize in physics.”
“More people are deserving of the Nobel Prize in physics.”
I guess you haven’t read her research as the lead scientist of the Large Hadron Collider at CERN.
14 / 23
“I’ve written more songs about John Mayer.”
“I’ve written more songs about John Mayer.”
That’s just a weird thing to brag about.
“She can’t dance!”
Well, neither could Martin Luther King Jr., but we still listen to all his bops.
16 / 23
“Taylor Swift is just a stage name. Her real name is Ogbert McCarthy.”
“Taylor Swift is just a stage name. Her real name is Ogbert McCarthy.”
Don’t be mean, there’s no need to spoil her mystique.
17 / 23
“Midnights is good but it’s no Der Ring des Nibelungen.”
“Midnights is good but it’s no Der Ring des Nibelungen.”
While it’s fair to say that Midnights doesn’t hold a candle to Wagner’s 15-hour epic opera, it’s not nice to remind people about that.
18 / 23
“She’s just for teen girls.”
“She’s just for teen girls.”
No, she was just for teen girls, but now those teen girls are 30 and have developed an appetite for revenge.
“The dubstep icon?”
Swifties have worked hard to forget Taylor’s brief electronic dance music phase back in the aughts.
20 / 23
“I work for Ticketmaster.”
“I work for Ticketmaster.”
You really shouldn’t tell anybody that.
21 / 23
“I’m really only into K-Pop”
“I’m really only into K-Pop”
It’s just a matter of time before she dominates that genre as well.
22 / 23
“She’s going to die someday, just like everyone else.”
“She’s going to die someday, just like everyone else.”
No, you’ll die someday. And according to the posts on Taylor Swift message boards, that day is today.
Taylor Swift was up. Elon Musk was in, out, in and maybe out again. Tom Cruise was back. BTS stepped aside, and so did Serena Williams, and Tom Brady too — oops, scratch that.
Ok, so maybe it wasn’t on the level of a moon landing, or selection of a pope. But henceforth all you need say is “the slap” and people will know what you mean — that moment Will Smith smacked Chris Rock at the Oscars and a global audience said, “Wait, did that happen?” Even in the room itself — maybe especially in the room itself — there was a sense everyone had imagined it, which helps explain why things went on as normal, for a bit.
The pandemic was over, phew! Well, of course it wasn’t. But live entertainment pushed forward in 2022, with mask mandates dropping and people rushing to buy things like, oh, Taylor Swift tickets!
We’ll take any segue to mention Swift, who already had a big year in 2021, but just got bigger — heck, she broke Billboard records and then she broke Ticketmaster. (No word if she got her scarf back).
On the big screen, there were big comebacks. Mourning its dearly missed star, Chadwick Boseman, “Black Panther: Wakanda Forever” was a box office triumph. James Cameron’s “Avatar” made a splashy December return.
Then there was Cruise, turning 60 in ’22 just like the Rolling Stones, swooping into Cannes with his most successful movie and showing, like those still-touring rockers, that when they tell you “The end is inevitable,” as they do in “Top Gun: Maverick,” you can always reply: “Maybe so, sir, but not today.”
Will audiences one day find Cruise – or the Stones, for that matter – too wrinkled and past the sell-by date? Maybe so, but not this year.
Our annual, totally selective journey through a year in pop culture:
JANUARY
It’s GOLDEN GLOBES time. But is a Globes with no telecast, boozy celebs or red carpet a Globes at all? The embattled Hollywood Foreign Press Association, reeling from stunning failures over diversity, holds a private event and plans a comeback next year. Hey, remember the original wardrobe malfunction? Well, JANET JACKSON says she and JUSTIN TIMBERLAKE have moved on, and so should we. The New York Times buys Wordle, and we’re all thinking in five-letter words (though W-O-R-D-L-E is six, just saying.) Meanwhile, it’s a month of loss, heading off a year of loss: pioneering Black actor, director and activist SIDNEY POITIER dies at 94.
Quick, who wins Oscars this month? Well, “CODA” does, a feel-good drama with a largely deaf cast, and TROY KOTSUR becomes the first deaf actor to win an acting Oscar. Alas, all anyone can talk about is — you know. SMITH, who wins the best actor award not long after slapping Rock over a joke about his wife, Jada Pinkett Smith, won’t truly address the issue until the end of the year, so keep reading. KARDASHIAN watch: Kim K is declared legally single again in her ongoing divorce with YE, the rapper formerly known as KANYE WEST. And BRADY, retired for 40 days, says, “Never mind!”
APRIL
It’s GRAMMY time, and JON BATISTE wins big, taking five statuettes. The musician’s huge year will later include performing at the first state dinner of the Biden administration, for French President Emmanuel Macron. The next day Macron will meet with MUSK (thanks for the segue, Monsieur le President) who begins his acquisition of TWITTER this month, leading to untold — and still unfolding — changes at the social media giant.
Only one wedding, Britney? BENNIFER has two! Maybe what happens in Vegas usually stays in Vegas, but not when you have 227 million followers on Instagram. With a winking reference to being a “Sadie” (married lady) JENNIFER LOPEZ directs fans to her newsletter where she shares pics of her quickie wedding to BEN AFFLECK. “Love is beautiful,” she writes. “And it turns out love is patient.” Speaking of patience, fans of BEYONCÉ are rewarded for theirs with the release of her long-awaited “Renaissance,” her first solo album in six years.
AUGUST
So, we were saying … Bennifer’s second wedding, on Affleck’s compound in Georgia, is bigger and fancier. One wedding, one split: KARDASHIAN and DAVIDSON are no longer. In other summer news, the world remembers PRINCESS DIANA, whose shocking death happened 25 years ago, and whose life is being rehashed for a new generation in the current season of “The Crown.” Only days after the anniversary, that same Netflix series will pause production as a mark of respect for QUEEN ELIZABETH II as Britain — and the world — mourn the beloved monarch, who dies at age 96 after more than 70 years on the throne.
SEPTEMBER
Mounting political intrigue in Europe, and by that we mean, did spit fly at the Venice premiere of “Don’t Worry Darling”? Either way the movie, directed by OLIVIA WILDE and starring her boyfriend (alleged spitter STYLES), is saddled – or blessed? – with more than its share of extracurricular drama. At the EMMYS, behold SHERYL LEE RALPH, who wins for “Abbott Elementary” and schools the crowd on the power of dreams and self-belief. “This is what believing looks like,” she says. You know what else believing looks like? Rachel Berry from “Glee” – aka LEA MICHELE – at last getting to play Fanny Brice in “Funny Girl” on Broadway. In sports, with four rueful words that resonate with working moms everywhere, SERENA WILLIAMS says she’s stepping aside from tennis, because “something’s got to give.”
Did we say LAST month was Taylor Swift month? Well now, millions of eager fans crowd a presale for her much-awaited Eras Tour, resulting in crashes and endless waits. Ticketmaster cancels the general sale, citing insufficient stock. Multiple state attorneys general announce investigations. Takeaway: People want Taylor Swift tickets. At the multiplex, they also want their Wakanda. “Black Panther: Wakanda Forever” meets the double challenge of following up one of the biggest blockbusters in history and losing its biggest star.
DECEMBER
Love ’em or hate ’em, here come HARRY and MEGHAN again, with a Netflix documentary watched very closely by royalty across the pond. Over at Twitter, MUSK says he’ll step down as CEO — after polling users — once he finds someone “foolish” enough to replace him. Cameron’s “AVATAR” sequel finally appears, 13 years after the original broke records, and yes, moviegoers flock to Pandora once again. And bringing the year full circle, SMITH emerges to promote his new film, “EMANCIPATION,” hoping people will forget about … what was it? … at least enough to check out the movie.
In this year of comebacks, will Smith’s be the biggest?
Taylor Swift was up. Elon Musk was in, out, and in. Tom Cruise was back. BTS stepped aside, and so did Serena Williams, and Tom Brady too — oops, scratch that.
But the slap? The slap was everywhere.
Ok, so maybe it wasn’t on the level of a moon landing, or selection of a pope. But henceforth all you need say is “the slap” and people will know what you mean — that moment Will Smith smacked Chris Rock at the Oscars and a global audience said, “Wait, did that happen?” Even in the room itself — maybe especially in the room itself — there was a sense that everyone had imagined it, which helps explain why things went on as normal, for a bit.
The pandemic was over in 2022, phew! Well, of course it wasn’t. But live entertainment pushed forward, with mask mandates dropping, and people rushing to buy things like, oh, Taylor Swift tickets!
We’ll take any segue to mention Swift, who already had a big year in 2021, but just got bigger — heck, she broke Billboard records and then she broke Ticketmaster. (No word if she got her scarf back).
It was a year of celebrity #MeToo cases like Harvey Weinstein (again), R. Kelly (again), Kevin Spacey, Paul Haggis, Danny Masterson. And the Johnny Depp-Amber Heard defamation trial, its every excruciating turn captured on TV.
On the big screen, there were big comebacks. Mourning its dearly missed star, Chadwick Boseman, “Black Panther: Wakanda Forever” was a box office triumph. James Cameron’s “Avatar” planned a December return.
Then there was Tom Cruise, turning 60 in ’22, just like the Rolling Stones, swooping into Cannes with his most successful movie, and showing, like those still-touring rockers, that when they tell you “The end is inevitable,” as they do in “Top Gun: Maverick,” you can always reply “Maybe so, sir, but not today.”
Will audiences one day find Cruise – or the Stones, for that matter – too wrinkled and past the sell-by date? Maybe so, but not this year.
Our annual, totally selective journey through a year in pop culture:
JANUARY
It’s GOLDEN GLOBES time. But is a Globes with no telecast, boozy celebs or red carpet a Globes at all? The embattled Hollywood Foreign Press Association, reeling from stunning failures over diversity, holds a private event and plans a comeback next year. Hey, remember the original wardrobe malfunction? Well, JANET JACKSON says she and JUSTIN TIMBERLAKE have moved on, and so should we. The New York Times buys Wordle, and we’re all thinking in five-letter words (though W-O-R-D-L-E is six, just saying.) Meanwhile, it’s a month of loss, heading off a year of loss: pioneering Black actor, director and activist SIDNEY POITIER dies at 94.
FEBRUARY
What would a year in pop culture be without BRITNEY? Just months after her liberation from her restrictive conservatorship, Spears is reported to have signed a mammoth book deal, but at year’s end we’re still waiting for news. RIHANNA is pregnant! TOM BRADY retires! (Stay tuned, on that one.) TAYLOR watch: JAKE GYLLENHAAL speaks out, saying he really has nothing to do with that song, that it’s about an artist’s relationship with her fans — but fans shouldn’t be cyberbullying, either.
MARCH
Quick, who wins Oscars this month? Well, “CODA” does, a feel-good drama with a largely deaf cast, and TROY KOTSUR becomes the first deaf actor to win an acting Oscar. Alas, all anyone can talk about is — you know. SMITH, who wins the best actor award not long after slapping Rock over a joke about his wife, Jada Pinkett Smith, won’t truly address the issue until the end of the year, so keep reading. KARDASHIAN watch: Kim K is declared legally single again in her ongoing divorce with YE, the rapper formerly known as KANYE WEST. And BRADY, retired for 40 days, says, “Never mind!”
APRIL
It’s GRAMMY time, and JON BATISTE wins big, taking five statuettes. The musician’s huge year will later include performing at the first state dinner of the Biden administration, for French President Emmanuel Macron. The next day Macron will meet with MUSK (thanks for the segue, Monsieur le President) who begins his acquisition of TWITTER this month, leading to untold – and still unfolding – changes at the social media giant.
MAY
So imagine you’re sipping cocktails at the MET GALA and a musician comes sauntering through, playing the melodica — of course it’s BATISTE, because the Met Gala’s that kind of crazy party. The biggest splash of the night, though, is KARDASHIAN, on the arm of boyfriend PETE DAVIDSON, wearing the same sequined, skin tight gown MARILYN MONROE wore to sing “Happy Birthday” to JFK in 1962. In movies, “Top Gun: Maverick” opens, the highest-grossing domestic debut in CRUISE’S career, and his first to surpass $100 million on opening weekend. HARRY STYLES fans rejoice! His album, “Harry’s House,” is here.
JUNE
Stunning news for the global fanbase of BTS as the K-pop supergroup announces it’s taking a break to focus on members’ solo projects. On the legal front, a Virginia jury hands DEPP a victory in his very messy libel case over allegations of domestic abuse, finding that former wife HEARD defamed him in a 2018 op-ed. On a happier note, Britney gets married….
JULY
Only one wedding, Britney? BENNIFER has two! Maybe what happens usually stays in Vegas, but not when you have 227 million followers on Instagram. With a winking reference to being a “Sadie” (married lady) JENNIFER LOPEZ directs fans to her newsletter where she shares pics of her quickie wedding to BEN AFFLECK. “Love is beautiful,” she writes. “And it turns out love is patient.” Speaking of patience, fans of BEYONCÉ are rewarded for theirs, with the release of her long-awaited seventh studio album, “Renaissance,” her first solo album in six years.
AUGUST
So, we were saying …. Bennifer’s second wedding , on Affleck’s compound in Georgia, is bigger and fancier. One wedding, one split: KARDASHIAN and DAVIDSON are no longer. In other summer news, the world remembers Princess Diana, whose shocking death in a car crash happened 25 years ago, and whose life is being rehashed for a new generation in the current season of “The Crown.” And only days later, that same Netflix series will pause production briefly as a mark of respect for Queen Elizabeth II as Britain — and the world — mourn the beloved monarch, who dies at age 96 after more than 70 years on the throne.
SEPTEMBER
Mounting political intrigue in Europe, and by that we mean … did spit fly at the Venice premiere of “Don’t Worry Darling”? Either way the movie, directed by OLIVIA WILDE and starring her boyfriend (alleged spitter STYLES), is saddled – or blessed? – with more than its share of extracurricular drama. At the EMMYS, behold SHERYL LEE RALPH, who wins for “Abbott Elementary” and schools the crowd on the power of dreams and self-belief. “This is what believing looks like,” she says. You know what else believing looks like? Rachel Berry from “Glee” – aka LEA MICHELE – at last getting to play Fanny Brice in “Funny Girl” on Broadway. In sports, with four rueful words that resonate with working moms everywhere, SERENA WILLIAMS says she’s stepping aside from tennis, because: “Something’s got to give.”
OCTOBER
The second HARVEY WEINSTEIN trial opens in Los Angeles. ADIDAS drops YE, part of a cascade of companies that will sever ties with the rapper over his antisemitic and other troubling comments. The MUSK era begins at TWITTER as the world’s richest man carries a sink into the office, to “let that sink in.” HEIDI KLUM’s Halloween costume is a slimy, glistening rain worm. But before the month worms away from us, let’s cede it to SWIFT for dropping her new album, “Midnights” (Spotify’s most-streamed album in a single day), then adding seven bonus tracks, then becoming the first artist to occupy all top 10 slots on the Billboard Hot 100 chart. Let THAT sink in! P.S. Celebrity divorce watch: BRADY and wife GISELE BUNDCHEN split.
NOVEMBER
Did we say LAST month was Taylor Swift month? Well now, millions of eager fans crowd a presale for her much-awaited Eras Tour, resulting in crashes and endless waits. Ticketmaster cancels the general sale, citing insufficient stock. Multiple state attorneys general announce investigations. Takeaway: People want Taylor Swift tickets. At the multiplex, they also want their Wakanda. “Black Panther: Wakanda Forever” meets the double challenge of following up one of the biggest blockbusters in history and losing its biggest star.
DECEMBER
Love ‘em or hate ’em, here come HARRY and MEGHAN again, with a Netflix “documentary” being watched very, very closely by royalty across the pond. Cameron’s “AVATAR” sequel finally appears, 13 years after the original broke records. Will viewers flock to Pandora once again? And bringing the year full circle, SMITH emerges to promote his new film, “EMANCIPATION,” and hoping people will forget about … what was it? … at least enough to check out the movie.
In this year of comebacks, will Smith’s be the biggest?
Taylor Swift was up. Elon Musk was in, out, and in. Tom Cruise was back. BTS stepped aside, and so did Serena Williams, and Tom Brady too — oops, scratch that.
But the slap? The slap was everywhere.
Ok, so maybe it wasn’t on the level of a moon landing, or selection of a pope. But henceforth all you need say is “the slap” and people will know what you mean — that moment Will Smith smacked Chris Rock at the Oscars and a global audience said, “Wait, did that happen?” Even in the room itself — maybe especially in the room itself — there was a sense that everyone had imagined it, which helps explain why things went on as normal, for a bit.
The pandemic was over in 2022, phew! Well, of course it wasn’t. But live entertainment pushed forward, with mask mandates dropping, and people rushing to buy things like, oh, Taylor Swift tickets!
We’ll take any segue to mention Swift, who already had a big year in 2021, but just got bigger — heck, she broke Billboard records and then she broke Ticketmaster. (No word if she got her scarf back).
It was a year of celebrity #MeToo cases like Harvey Weinstein (again), R. Kelly (again), Kevin Spacey, Paul Haggis, Danny Masterson. And the Johnny Depp-Amber Heard defamation trial, its every excruciating turn captured on TV.
On the big screen, there were big comebacks. Mourning its dearly missed star, Chadwick Boseman, “Black Panther: Wakanda Forever” was a box office triumph. James Cameron’s “Avatar” planned a December return.
Then there was Tom Cruise, turning 60 in ’22, just like the Rolling Stones, swooping into Cannes with his most successful movie, and showing, like those still-touring rockers, that when they tell you “The end is inevitable,” as they do in “Top Gun: Maverick,” you can always reply “Maybe so, sir, but not today.”
Will audiences one day find Cruise – or the Stones, for that matter – too wrinkled and past the sell-by date? Maybe so, but not this year.
Our annual, totally selective journey through a year in pop culture:
JANUARY
It’s GOLDEN GLOBES time. But is a Globes with no telecast, boozy celebs or red carpet a Globes at all? The embattled Hollywood Foreign Press Association, reeling from stunning failures over diversity, holds a private event and plans a comeback next year. Hey, remember the original wardrobe malfunction? Well, JANET JACKSON says she and JUSTIN TIMBERLAKE have moved on, and so should we. The New York Times buys Wordle, and we’re all thinking in five-letter words (though W-O-R-D-L-E is six, just saying.) Meanwhile, it’s a month of loss, heading off a year of loss: pioneering Black actor, director and activist SIDNEY POITIER dies at 94.
FEBRUARY
What would a year in pop culture be without BRITNEY? Just months after her liberation from her restrictive conservatorship, Spears is reported to have signed a mammoth book deal, but at year’s end we’re still waiting for news. RIHANNA is pregnant! TOM BRADY retires! (Stay tuned, on that one.) TAYLOR watch: JAKE GYLLENHAAL speaks out, saying he really has nothing to do with that song, that it’s about an artist’s relationship with her fans — but fans shouldn’t be cyberbullying, either.
MARCH
Quick, who wins Oscars this month? Well, “CODA” does, a feel-good drama with a largely deaf cast, and TROY KOTSUR becomes the first deaf actor to win an acting Oscar. Alas, all anyone can talk about is — you know. SMITH, who wins the best actor award not long after slapping Rock over a joke about his wife, Jada Pinkett Smith, won’t truly address the issue until the end of the year, so keep reading. KARDASHIAN watch: Kim K is declared legally single again in her ongoing divorce with YE, the rapper formerly known as KANYE WEST. And BRADY, retired for 40 days, says, “Never mind!”
APRIL
It’s GRAMMY time, and JON BATISTE wins big, taking five statuettes. The musician’s huge year will later include performing at the first state dinner of the Biden administration, for French President Emmanuel Macron. The next day Macron will meet with MUSK (thanks for the segue, Monsieur le President) who begins his acquisition of TWITTER this month, leading to untold – and still unfolding – changes at the social media giant.
MAY
So imagine you’re sipping cocktails at the MET GALA and a musician comes sauntering through, playing the melodica — of course it’s BATISTE, because the Met Gala’s that kind of crazy party. The biggest splash of the night, though, is KARDASHIAN, on the arm of boyfriend PETE DAVIDSON, wearing the same sequined, skin tight gown MARILYN MONROE wore to sing “Happy Birthday” to JFK in 1962. In movies, “Top Gun: Maverick” opens, the highest-grossing domestic debut in CRUISE’S career, and his first to surpass $100 million on opening weekend. HARRY STYLES fans rejoice! His album, “Harry’s House,” is here.
JUNE
Stunning news for the global fanbase of BTS as the K-pop supergroup announces it’s taking a break to focus on members’ solo projects. On the legal front, a Virginia jury hands DEPP a victory in his very messy libel case over allegations of domestic abuse, finding that former wife HEARD defamed him in a 2018 op-ed. On a happier note, Britney gets married….
JULY
Only one wedding, Britney? BENNIFER has two! Maybe what happens usually stays in Vegas, but not when you have 227 million followers on Instagram. With a winking reference to being a “Sadie” (married lady) JENNIFER LOPEZ directs fans to her newsletter where she shares pics of her quickie wedding to BEN AFFLECK. “Love is beautiful,” she writes. “And it turns out love is patient.” Speaking of patience, fans of BEYONCÉ are rewarded for theirs, with the release of her long-awaited seventh studio album, “Renaissance,” her first solo album in six years.
AUGUST
So, we were saying …. Bennifer’s second wedding , on Affleck’s compound in Georgia, is bigger and fancier. One wedding, one split: KARDASHIAN and DAVIDSON are no longer. In other summer news, the world remembers Princess Diana, whose shocking death in a car crash happened 25 years ago, and whose life is being rehashed for a new generation in the current season of “The Crown.” And only days later, that same Netflix series will pause production briefly as a mark of respect for Queen Elizabeth II as Britain — and the world — mourn the beloved monarch, who dies at age 96 after more than 70 years on the throne.
SEPTEMBER
Mounting political intrigue in Europe, and by that we mean … did spit fly at the Venice premiere of “Don’t Worry Darling”? Either way the movie, directed by OLIVIA WILDE and starring her boyfriend (alleged spitter STYLES), is saddled – or blessed? – with more than its share of extracurricular drama. At the EMMYS, behold SHERYL LEE RALPH, who wins for “Abbott Elementary” and schools the crowd on the power of dreams and self-belief. “This is what believing looks like,” she says. You know what else believing looks like? Rachel Berry from “Glee” – aka LEA MICHELE – at last getting to play Fanny Brice in “Funny Girl” on Broadway. In sports, with four rueful words that resonate with working moms everywhere, SERENA WILLIAMS says she’s stepping aside from tennis, because: “Something’s got to give.”
OCTOBER
The second HARVEY WEINSTEIN trial opens in Los Angeles. ADIDAS drops YE, part of a cascade of companies that will sever ties with the rapper over his antisemitic and other troubling comments. The MUSK era begins at TWITTER as the world’s richest man carries a sink into the office, to “let that sink in.” HEIDI KLUM’s Halloween costume is a slimy, glistening rain worm. But before the month worms away from us, let’s cede it to SWIFT for dropping her new album, “Midnights” (Spotify’s most-streamed album in a single day), then adding seven bonus tracks, then becoming the first artist to occupy all top 10 slots on the Billboard Hot 100 chart. Let THAT sink in! P.S. Celebrity divorce watch: BRADY and wife GISELE BUNDCHEN split.
NOVEMBER
Did we say LAST month was Taylor Swift month? Well now, millions of eager fans crowd a presale for her much-awaited Eras Tour, resulting in crashes and endless waits. Ticketmaster cancels the general sale, citing insufficient stock. Multiple state attorneys general announce investigations. Takeaway: People want Taylor Swift tickets. At the multiplex, they also want their Wakanda. “Black Panther: Wakanda Forever” meets the double challenge of following up one of the biggest blockbusters in history and losing its biggest star.
DECEMBER
Love ‘em or hate ’em, here come HARRY and MEGHAN again, with a Netflix “documentary” being watched very, very closely by royalty across the pond. Cameron’s “AVATAR” sequel finally appears, 13 years after the original broke records. Will viewers flock to Pandora once again? And bringing the year full circle, SMITH emerges to promote his new film, “EMANCIPATION,” and hoping people will forget about … what was it? … at least enough to check out the movie.
In this year of comebacks, will Smith’s be the biggest?
Though Taylor Swift fans are still seeing Red after Ticketmaster‘s botched ticket sale, the company is giving some Swifties a second chance to score tickets to the singer’s 2023 Eras Tour.
On Monday, Ticketmaster sent an email out to select fans informing them they will have a “limited opportunity” to purchase no more than two tickets each for one of Swift’s upcoming shows.
“You were selected for this opportunity because you have been identified as a fan who received a boost during the Verified Fan presale but did not purchase tickets,” the email read.
“We apologize for the difficulties you may have experienced, and have been asked by Taylor’s team to create this additional opportunity for you to purchase tickets,” Ticketmaster continued.
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Many fans took to Twitter to share screenshots of the email from Ticketmaster.
In a wild turn of events in the Ticketmaster/Taylor Swift Eras Tour saga… I just got this email 🤔 pic.twitter.com/odmXj4GNZn
HELLO TICKETMASTER JUST SENT ME THIS?!?:!3$2&/ THE WAY I THREW MY PHONE “we have been asked by taylor’s team to do this” TAYLOR SWIFT I LOVE U SO MUCH pic.twitter.com/8kEBE9fuYc
The new sale is in response to a fiasco which occurred during the original Swift tour ticket presale, when, after hours of waiting in oft-malfunctioning digital queues, the majority of fans were unable to purchase tickets. Immediately following the presale, scalpers were attempting to resell Swift tickets for up to US$28,000 ($37,430).
On Nov. 17, Ticketmaster cancelled the general sale for Swift’s U.S. Eras Tour “due to extraordinarily high demands” and “insufficient remaining ticket inventory.”
Due to extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand, tomorrow’s public on-sale for Taylor Swift | The Eras Tour has been cancelled.
Ticketmaster used a “Verified Fan” presale to sell Swift tickets — a common practice for the company — that aims to limit the number of scalpers and bots buying tickets to popular shows by providing registered fans with a special ticket-buying code.
The company claimed more than 3.5 million people registered for the presale. In a statement, Ticketmaster wrote it sold more than two million tickets and fielded 3.5 billion system requests, which is four times its previous peak.
A group of Swift fans has since filed a lawsuit against Ticketmaster and its parent company Live Nation, claiming the ticketing site engaged in “fraud, price-fixing, and antitrust violations.”
Swift herself also commented on the mismanaged ticket sale in November and said she and her team are working “to figure out how this situation can be improved moving forward.”
She claimed it was “excruciating for me to just watch mistakes happen with no recourse.”
Taylor Swift posted a statement to her Instagram account about Ticketmaster’s sale cancellation on Nov. 17, 2022.
Instagram / @taylorswift
On Monday, Ticketmaster issued an apology on its website and said select fans will receive staggered invitations to purchase tickets based on tour dates in each city. All of the invitations will be sent prior to Dec. 23.
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Ticketmaster merged with Live Nation in 2010, resulting in control of more than 70 per cent of the primary ticketing and live event venues market.
In November, the U.S. Justice Department launched an inquiry into whether Live Nation has abused its power in the multibillion-dollar live music industry. The investigation began before the Swift ticket sale outrage.
Taylor Swift ticket chaos leads to US Justice department probe of Ticketmaster, Live Nation
Live Nation denied any wrongdoing and claimed the company “takes its responsibilities under the antitrust laws seriously and does not engage in behaviours that could justify antitrust litigation.”
Ticketmaster echoed this sentiment in a statement. The company wrote: “Ticketmaster has a significant share of the primary ticketing services market because of the large gap that exists between the quality of the Ticketmaster system and the next best primary ticketing system.”
Taylor Swift says she never planned to be a director.
It was announced on Friday that the singer-songwriter would try her hand at feature film writing and directing for Searchlight Pictures. The news comes after Swift directed her acclaimed short film “All Too Well” which could qualify for an Oscar nomination.
For the Grammy winner, this wasn’t a direction she expected her career to take initially.
“This actually came out of necessity,” she told director Martin McDonagh for Variety‘s Directors on Directors. “I was writing my videos for years, and I had a video that was a very specific concept I had written [2019’s “The Man”], which was that I wanted to be prosthetically turned into a man and live my life as a man.”
It turns out that Swift originally planned to leave the directing to other female directors.
“And I wanted a female director to direct it. And the few that I reached out to were fortunately booked. We like it when women work. So I was like, ‘I could do it, maybe.’ And when I did direct, I just thought, ‘This is actually more fulfilling than I ever could have imagined,” she recalled.
When asked whether it was an accident by McDonagh, she admitted it wasn’t initially in the cards.
“It was, sort of. I think I’ve directed about 10 music videos and now one short. I’m just inching my way along toward taking on more responsibility,” she continued.
This isn’t her first brush with film, however, as Swift has had a handful of acting roles in the past including in 2019’s “Cats”. Her experience with acting has helped inform how she wants to direct.
“Every aspect of my job as a singer has affected the way that I am as a director. I’ve occasionally been in a film for very short periods of time. I really want someone to feel comfortable. If they want to be able to look at the monitor, or they want to know how it’s set up, they should be able to,” explained the 32-year-old. “But I think it’s helpful when people know what story it is they’re telling. I’ve been part of things where you didn’t know the script, and no one knew what the story was.”
Not wishing to repeat the experience for people who work with her, she expressed a desire to make sure everyone was on the same page.
“And so as much as I like to be secretive about projects I’m making, you have to trust the people that you’re making something with to let them know this is exactly why this matters,” she added.
As for her music, while Swift has been writing about heartbreak all her life, her age and newfound wisdom have drastically changed her outlook when confronting this topic in her music.
“I definitely feel more free to create now. And I’m making more albums at a more rapid pace than I ever did before, because I think the more art you create, hopefully the less pressure you put on yourself. It’s just a phase I’m in right now. And everybody’s different,” she said. “There are people who put an album out every five years and it’s brilliant and that’s the way they work. And I have full respect for that. But I’m happier when I’m making things more often.”
Taylor Swift is already one of the most popular musical acts of all time, and she’s about to embark on a new artistic endeavor: directing a feature film. Swift, 32, will write and direct a movie produced by Searchlight Pictures, the film company said in a press release on Friday, according to Entertainment Tonight.
Swift has directed before — most recently, the music video for her single “Anti-Hero,” which she also starred in. Last year, she directed a short film for her 2012 song “All Too Well,” which she re-recorded.
The Grammy winner is currently re-recording her albums that she recorded with record companies so that she can own the music herself. Hence, she re-recorded and released “All Too Well” again. She embarked on the project after her albums were sold to Hollywood talent agent Scooter Braun, which she says was done without her knowledge.
On Thursday, just one day before her feature film was announced, Swift released a short behind-the-scenes film about the “All Too Well” video shoot. On Instagram, she said the “first seeds of this short film were planted over ten years ago.”
Swift also co-directed a music video for her 2019 song “You Need to Calm Down” with Drew Kirsch, which earned an MTV Video Music Award (VMA) for best direction. She won the award again for the “All Too Well: The Short Film” video, which has received a Grammy nomination for best music video and could also be submitted to the Oscars, according to ET.
“Taylor is a once in a generation artist and storyteller. It is a genuine joy and privilege to collaborate with her as she embarks on this exciting and new creative journey,” Searchlight Presidents David Greenbaum and Matthew Greenfield said in the statement announcing her feature film. CBS News has reached out to Searchlight for more information and is awaiting a response.