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    Taylor Swift Fans Sue Ticketmaster’s Parent Company

    In a lawsuit filed on Friday in a California court, a group of 26 fans said Ticketmaster had engaged in anticompetitive conduct.A group of 26 fans of the singer-songwriter Taylor Swift filed a lawsuit on Friday accusing Ticketmaster’s parent company of anticompetitive conduct and fraud several weeks after a chaotic, glitch-filled sale of tickets for Ms. Swift’s upcoming tour left thousands of eager fans empty-handed and unhappy.The 33-page complaint, filed in the Superior Court of California in Los Angeles County, came after Ticketmaster canceled the public sale of tickets last month for Ms. Swift’s Eras Tour, 52 shows scheduled to begin in March. The resulting outcry from fans prompted calls from lawmakers to break up the 2010 merger of Ticketmaster and Live Nation.The complaint accuses Ticketmaster of anticompetitive conduct, saying the company has long perpetuated a “scheme” by forcing fans to exclusively use it for presale and sale prices, which are higher than what a competitive market price would be.Ticketmaster also “forced attendees to exclusively use” the platform that it operates for the resale of tickets, called the Secondary Ticket Exchange, to obtain fees and profits above what it could earn in a competitive market, the complaint states. That “anticompetitive behavior,” according to the lawsuit, harms fans and the ticket market.Fans who tried to buy tickets during a presale in mid-November reported waiting in queues for hours or being locked out of online sales. They had to preregister on Ticketmaster and be designated Verified Fans, but, for many, that didn’t help. Ticketmaster ultimately canceled its planned public sale of tickets amid the high demand.The Cultural Impact of Taylor Swift’s MusicNew LP: “Midnights,” Taylor Swift’s 10th studio album, is a return to the pop pipeline, with production from her longtime collaborator Jack Antonoff. Here is what our critic thought of it.Millennial Anti-Hero: On her latest album, Swift probes the realizations and reckonings of many 30-something women around relationships, motherhood and ambition.Fight for Her Masters: Revisit the origin story of Swift’s rerecordings of her older albums: a feud with the powerful manager Scooter Braun.Pandemic Records: In 2020, Swift released two new albums, “Folklore” and “Evermore.” In debuting a new sound, she turned to indie music.“Hundreds of thousands of people waited from four to eight hours and never got an opportunity to buy tickets, so they just want the system to change,” said Jennifer Kinder, a lawyer representing the fans.The lawsuit asks the court to stop Ticketmaster from engaging in similar conduct in the future and to fine the company $2,500 for each violation of a state code that governs unfair competition in California, where the parent company, Live Nation, is based.Even before the botched sale of Taylor Swift tickets, Live Nation, Ticketmaster’s parent company, had come under scrutiny for its power.Justin Lane/EPA, via Shutterstock“It has to be made fair,” said Ms. Kinder, who added that she and her 11-year-old daughter were Swift fans. “This is not a fair market. This is not supply and demand. This is a manipulated market that benefits Ticketmaster.”In 2010, Ticketmaster, a ticketing giant, merged with Live Nation, the world’s largest concert promotion company, becoming Live Nation Entertainment. The company, which says it processes 500 million tickets per year in more than 30 countries, did not immediately respond to a request for comment on Monday.Greg Maffei, the chairman of Live Nation Entertainment, said in an interview on CNBC last month that the company “could’ve filled 900 stadiums,” and he partly blamed Swift’s popularity for the problems. “The reality is, Taylor Swift hasn’t been on the road for three or four years, and that’s caused a huge issue,” he said.Ticketmaster apologized in November to Swift fans for the problems with its ticket sales for the Eras Tour.It said that more than two million tickets for the tour were sold on Nov. 15, the most for an artist in a single day. Ticketmaster said it had faced a “staggering number of bot attacks as well as fans who didn’t have codes” to buy tickets, resulting in 3.5 billion system requests, four times its previous peak.Even before the botched sale of the Swift concert tickets, Live Nation had come under scrutiny for its power and size. The Justice Department has in recent months been investigating its practices and whether the company maintains a monopoly over the multibillion-dollar live music industry, according to two people with knowledge of the matter.Ms. Swift called the situation “excruciating” in a sharply worded statement on Instagram last month that did not name Ticketmaster.Ms. Swift wrote that she was “extremely protective” of her fans and had brought “so many elements” of her career in house in order to improve fan experiences “by doing it myself with my team who care as much about my fans as I do.”“It’s really difficult for me to trust an outside entity with these relationships and loyalties, and excruciating for me to just watch mistakes happen with no recourse,” Ms. Swift added. “There are a multitude of reasons why people had such a hard time trying to get tickets and I’m trying to figure out how this situation can be improved moving forward. I’m not going to make excuses for anyone because we asked them, multiple times, if they could handle this kind of demand and we were assured they could.” More

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    Did Crush Snub Black Fans at a Concert in South Korea?

    The singer Crush apologized for a “misunderstanding” after the exchange, which highlights what experts call K-pop’s uneasy relationship with Black culture.It happens so fast in the videos that you need to rewatch them to notice: As Crush, a South Korean R&B singer, high-fives fans during a recent performance, he avoids an area where some Black concertgoers have extended their hands.A fan on Twitter called the episode, at a music festival in Seoul this month, an act of discrimination. When others piled on, some of Crush’s supporters pushed back, saying that videos showed him skipping other parts of the packed audience and warning fans about overcrowding.Crush apologized last week for what he called a “misunderstanding,” telling his 2.7 million Instagram followers that he had avoided high-fiving some fans out of concern for their safety. He also told The New York Times that he loved and respected Black culture and had not meant to offend anyone.“I would never intentionally act in a way that would disrespect nor offend any individual,” he said.The debate over the episode has called attention to what experts call an old problem: the K-pop industry’s struggle to develop the level of cultural sensitivity that fans in the United States and elsewhere expect.The criticism also highlights resentment that has built up for years among many Black fans who feel that K-pop acts adopt their culture but do not respect them, just as earlier generations of white musicians appropriated Black music and reaped the riches.“There are Black fans who love K-pop so much,” said CedarBough T. Saeji, an expert on the K-pop industry at Pusan National University in South Korea. “But they also do have a bone to pick with the way that their fandom has been ignored, and the way that their concerns about things like cultural appropriation have also been ignored.”The Big PictureCrush, 30, whose real name is Shin Hyo-seob, is an A-list K-pop star at a time when South Korea’s cultural exports are winning legions of new fans abroad. As the K-pop industry becomes increasingly international, more of its lyrics are being written in English, and agencies that promote K-pop acts are opening offices abroad.Crush’s record label, P Nation, was founded in 2018 by the singer Psy, whose breakout 2012 hit, “Gangnam Style,” helped K-pop carve out an international profile.The label’s chief executive, Lionel Kim, said it had always tried aggressively to scrutinize its artists’ content for cultural sensitivity.“We want to reach as many fans as we can around the world,” Kim said in an interview. “We’re extremely cautious to ensure that our artists and music videos do not disrespect any ethnicity or culture.”The K-pop group Exo performing at the Winter Olympics in South Korea in 2018.Sergei Ilnitsky/European Pressphoto AgencyBut gaps in awareness have been frequent in South Korea, an ethnically homogeneous society that has generally been slow to welcome other cultures at home.“Some people don’t even know what counts as racist or not — and that includes artists,” said Gyu Tag Lee, a professor of cultural studies at George Mason University’s South Korea campus.Members of Exo, a boy band in Seoul, have been accused of making racist remarks during a live broadcast in which they applied makeup that resembled blackface. And last year, the Korean American rapper Jay Park removed the music video for his song “DNA Remix” after fans noted that some of the performers, who were not Black, wore hairstyles that included Afros, braids and dreadlocks.A Rising StarCrush has explored R&B, hip-hop, soul, jazz and other genres in his decade-long career. He began writing rap lyrics in middle school and listened to Donny Hathaway, Marvin Gaye, James Ingram and other Black musicians in high school, he has told the South Korean news media. In 2018, he released a song that paid homage to Stevie Wonder.Last month, Crush released “Rush Hour,” a hit single with the rapper J-Hope of BTS. The lyrics are a mix of English and Korean, the style riffs on funk and hip-hop, and the music video was filmed on a New York City-inspired set.But frustration toward Crush has been building among Black K-pop fans since 2016, when he performed on a Korean television show wearing a mask with dark skin, big lips and frizzy hair — and did not apologize after the backlash that followed.Some fans were also disappointed when Crush removed an Instagram post two years ago about his donation to a George Floyd memorial fund in support of the Black Lives Matter movement. Crush’s label, P Nation, told The Times last week that Crush had archived that post, along with dozens of others that were not related to music, later that year. The FalloutAfter the high-fiving episode at the 2022 Someday Pleroma festival this month, some Crush allies seemed to backtrack on their initial support.J-Hope “liked” Crush’s apology on Instagram. Devin Morrison, a Black singer in Los Angeles who has also collaborated with Crush, wrote on Twitter that he had been astounded to see criticism of “an artist who has treated me and my (Black) friends with nothing but respect and kindness.”But J-Hope’s like and Morrison’s tweet later disappeared. Neither artist responded to requests for comment.Some Black fans took a nuanced view of the episode, saying that they were frustrated less with Crush than with the culture of racial bias that they feel pervades the K-pop industry.Videos of Crush “skipping over the Black fans seemed unlike him, but it didn’t seem like it was unlike K-pop,” said Akeyla Vincent, 32, an African American public-school teacher in South Korea. Melissa Limenyande, 29, a Black South African who also teaches in South Korea, said she believed Crush’s explanation that he had acted out of concern for fans’ safety.At the same time, she said, she has struggled to reconcile her enjoyment of K-pop with what she sees as its creators’ insensitivity toward other cultures.“I like these artists so much and I love their music and their personalities,” she said. “But if I can take my time to learn about their culture or where they come from, why can’t they do the same?” More

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    Morgan Wallen’s Career Seemed Over. Now He’s Broken a Billboard Record.

    The country singer was rebuked by the music industry after using a racial slur. Still, “Dangerous: The Double Album” has logged 86 weeks in the Top 10 of Billboard’s 200 chart.Nineteen months ago, it seemed that the music career of Morgan Wallen — primed as Nashville’s next crossover star — might be dead. Instead, he is now playing to sold-out arenas and has broken chart records set by the likes of Adele and Bruce Springsteen, in a success story that highlights the power of fan loyalty and the challenges of cancel culture.“Dangerous: The Double Album,” Wallen’s second LP, came out at the beginning of 2021 and shot to No. 1 on Billboard’s album chart, with big streaming numbers that demonstrated his power among a new generation of country performers. The album was in its third week at the top when TMZ published a video of Wallen using a racial slur. The rebuke was immediate and strong, with Wallen’s songs removed from radio and streaming playlists, and Wallen’s label, Big Loud, saying it would “suspend” his recording contract “indefinitely.”Yet “Dangerous” would hold at No. 1 for a further seven weeks, and since then it has become an unusually enduring hit. The album has now spent 86 weeks in the Top 10 of Billboard’s chart — dipping to No. 12 only once, when it was pushed out by holiday albums last December — and has been in the Top 5 for 65 of those times.“Dangerous” stands at No. 2 on the latest chart, beaten only by the Puerto Rican superstar Bad Bunny’s “Un Verano Sin Ti,” another streaming blockbuster that came out in May and has just matched Wallen’s 10-week run at No. 1.Wallen has now beaten the 1964 record set by the folk trio Peter, Paul and Mary for the longest Top 10 run for an album by a single artist. (In the 66 years of the Billboard 200 album chart, seven other titles have had longer stretches in the Top 10, but those are all movie soundtracks or Broadway cast albums; the longest run of all albums is 173 weeks for the cast album of “My Fair Lady,” which came out in 1956.)In the wake of the controversy last year, Wallen issued multiple apologies, but was otherwise largely unseen in the mainstream media — a rare test of the commercial appeal of an artist without the benefit of supportive TV interviews or magazine covers. But for many in Nashville, he remains a symbol of a pervasive racism that exists just below the surface of the country music business.To hear it from executives at Big Loud, which functions as Wallen’s label, management company and music publisher, the success of “Dangerous” is proof of Wallen’s broad cultural appeal and the quality of his music, which blends beer-soaked bro-countryisms with mellow melodies that at times recall classic rock like Eagles.“We’re having our Garth Brooks moment, our Taylor Swift emergent moment,” Seth England, the chief executive of Big Loud, said in an interview, “of just an artist so big, everyone is getting used to it. Pop is short for popular culture, and he just is popular culture.”When asked how “Dangerous” has managed such extraordinary success, Greg Thompson, the president of Big Loud Management, added simply: “There’s only one explanation. The music is that good.” (Wallen’s suspension from Big Loud, which continued to sell his music, was temporary. Through a representative, Wallen declined to answer questions for this article.)Yet from the beginning, Big Loud — and Republic Records, the division of the giant Universal Music Group that has a deal with Big Loud to promote its artists — has pursued smart strategies to make “Dangerous” a success in the streaming era. Most obvious is the album’s length; taking a page from hip-hop albums that have been exploiting this aspect of the streaming economy for years, “Dangerous” has 30 songs on its standard edition, each of which contributes to the album’s overall numbers each week.Second, Wallen stoked his fans by releasing batches of new songs ahead of the album’s release, sometimes a few at a time, which helped foster the fan loyalty that sustained him in his fallow months of promotion.With Republic’s help, Wallen has also had some success as a pop crossover act, though that process has been slow. Two of his songs, “7 Summers” and “You Proof,” his latest single, have gone as high as No. 6 on Billboard’s Hot 100 singles chart. According to data from the tracking service Luminate, a little more than half of Wallen’s radio airplay has been on country stations, with pop stations a distant second.In the wake of Wallen’s use of the slur, musicians and journalists debated the role of racism in country music. Wallen gave an interview to “Good Morning America” in which he characterized the incident as a mistake among close friends who “say dumb stuff together.” He added: “In our minds it’s playful. That sounds ignorant, but that’s really where it came from.”Gradually, the Nashville world, and beyond, has largely welcomed him back. In an interview with The New York Times published this month, the country singer Kane Brown, who is Black, said: “I texted him that day. I told him he shouldn’t have said it, but also knowing Morgan, I knew that he didn’t mean it in the way that the world thought that he meant it.” Late last year, Wallen appeared on Lil Durk’s track “Broadway Girls,” a hit on the rapper’s No. 1 album “7220.”Despite the intensity of the criticism levied against Wallen, fans remained loyal. According to Chartmetric, a company that tracks data from streaming and social media, Wallen’s followers on Facebook and Spotify increased at the height of his controversy.Within months, his songs were back in force on the official playlists of major streaming platforms. And according to Luminate, radio stations are now playing Wallen more than at any point since “Dangerous” was released, with his songs being played about 19,000 times a week this summer.Also on this week’s Billboard album chart, the veteran metal band Megadeth opens at No. 3 with its first studio release in six years, “The Sick, the Dying … and the Dead!” DJ Khaled’s “God Did,” last week’s top seller, falls to No. 4, and Harry Styles’s “Harry’s House” is in fifth place. More

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    Shakespeare or Bieber? This Canadian City Draws Devotees of Both

    For nearly 70 years, Stratford, Ontario, has attracted legions of theater fanatics to its Shakespeare festival. About a dozen years ago, a very different type of pilgrim began arriving: Beliebers.STRATFORD, Ontario — It’s a small city that practically shouts “Shakespeare!”Majestic white swans float in the Avon River, not far from Falstaff Street and Anne Hathaway Park, named for the playwright’s wife. Some residents live in Romeo Ward, while young students attend Hamlet elementary. And the school’s namesake play is often performed as part of a renowned theater festival that draws legions of Shakespeare fans from around the world, every April to October.Stratford, Ontario, steeped in references to and reverence for the Bard, has counted on its association with Shakespeare for decades to dependably bring in millions of tourist dollars to a city that would otherwise have little appeal to travelers.“My dad always said we have a world-class theater stuck in a farm community,” said Frank Herr, the second-generation owner of a boat tour and rental business along the Avon River.Then, about a dozen years ago, a new and typically much younger type of cultural enthusiast began showing up in Stratford’s streets: Beliebers, or fans of the pop star Justin Bieber, a homegrown talent.William Shakespeare Street in Stratford.Brett Gundlock for The New York TimesA star dedicated to Justin Bieber outside the Avon Theater where he would busk as a child.Brett Gundlock for The New York TimesResidents don’t have much trouble telling the two types of visitors apart. One clue: Look at what they are carrying.“They’ve got the Shakespeare books in their hands,” Mr. Herr said of those who are here for the love of theater. “They’re just serious people.”Beliebers, on the other hand, always have their smartphones at the ready to excitedly document the otherwise humdrum landmarks connected to the pop star: the site of his first date, the local radio station that first played his music, the diner where he was rumored to eat.Unlike Shakespeare — who never set foot in this city, named after his birthplace, Stratford-upon-Avon, England — Mr. Bieber has genuine and deep connections: He grew up here and is familiar to many.“I know Justin,” Mr. Herr said. “He was always skateboarding on the cenotaph, and I was always kicking him off the cenotaph,” he added, referring to a World War I memorial in the gardens next to Lake Victoria.A cutout of Justin Bieber in the Stratford Perth Museum. The setting is meant to replicate the steps of the city’s Avon Theater. Brett Gundlock for The New York TimesDiane Dale, Mr. Bieber’s maternal grandmother, and her husband, Bruce, lived a 10-minute drive away from downtown Stratford, where the fledgling singer, now 28, could often be found busking on the steps of Avon Theater under their supervision, collecting as much as $200 per day, she said in a recent interview.Those steps became something of a pilgrimage site for Mr. Bieber’s fans, especially those vying to become “One Less Lonely Girl” during his teen-pop dreamboat era.Another popular stop on the pilgrim’s tour was Ms. Dale’s doorstep. After fans rang her doorbell, she would assure them that her grandson was not home, though that didn’t stop them from taking selfies outside the red brick bungalow.“Justin said, if you don’t move, we’re not coming to visit you anymore,” Ms. Dale, a retired sewer at a now shuttered automotive factory in town, recalled. She has since relocated.Businesses in Stratford that benefited from this second set of tourists began speaking of “the Bieber Effect,” a play on the “Bilbao Effect” in reference to the Spanish city revitalized by a museum.Justin Bieber’s grandparents’ former home in Stratford.Brett Gundlock for The New York TimesBut one of the problems with pop fame is that it can be fickle. As fans have aged out of their teen infatuation with the musician, “Bieber fever” has cooled and the number of pilgrims has dropped.The issues that have long afflicted other Canadian cities, like increased housing prices and drug addiction, are more often peeking through the quaint veneer of Stratford, a city of about 33,000 people bordered by sprawling fields of corn in the farmland region of southwestern Ontario.But more than 400 years after his death, Shakespeare’s magnetic force remains fully intact.The theater festival, which draws over 500,000 guests in a typical year and employs about 1,000 people, features Shakespeare classics, Broadway-style musicals and modern plays in its repertoire.Early in the coronavirus pandemic, the festival returned to its roots, staging a limited run of shows outside under canopies, as it did during its first four seasons, starting in 1953. In 1957, the Festival Theater building opened with a summer performance of “Hamlet,” with the Canadian actor Christopher Plummer in the titular role.The Tom Patterson Theater, a new addition to the Stratford Festival.Brett Gundlock for The New York TimesThis year’s production stars a woman, Amaka Umeh, the first Black actor to play Hamlet at the festival.While it’s unknown how popular Mr. Bieber will be four centuries from now, the appeal of someone who has sold over 100 million digital singles in the United States alone doesn’t dissipate overnight.And Stratford has taken steps to permanently memorialize his youth here.Mr. Bieber’s grandparents had hung on to boxes of his belongings, including talent show score sheets and a drum set paid for the by the community in a crowdfunding effort — until a local museum presented them with an opportunity to display the items.“It’s changed the museum forever, in a myriad of ways,” said John Kastner, the general manager of the Stratford Perth Museum.After informing the local newspaper that the museum was opening an exhibition, “Justin Bieber: Steps to Stardom,” in February 2018, Mr. Kastner said, he was flooded with calls from international media.“We were going to do one room, like one 10-by-10 room,” Mr. Kastner said. He called his curator. “I said, ‘We have a problem.’”Angelyka Byrne walking through the Bieber exhibit at the Stratford Perth Museum.Brett Gundlock for The New York TimesThey cut the agricultural exhibition that had been planned for the adjoining space, which proved helpful in accommodating the 18,000 visitors in the first year of the Bieber show, a huge jump in attendance from the 850 who visited the museum in 2013.The Bieber show, on view through at least next year, has brought in thousands of dollars in merchandise purchases, Mr. Kastner said, giving the modest museum some welcome financial cushion.Mr. Bieber has also made a handful of visits, marking his name in chalk on the guest blackboard and donating some more recent memorabilia, including his wedding invitation and reception menu, featuring a dish called “Grandma Diane’s Bolognese.”But even before the Beliebers descended on the town, young people had been coming to Stratford by the busload thanks to organized school visits, with 50,000 to 100,000 students arriving from the United States and around Canada each year.With the exception of the pandemic border closures, James Pakala, and his wife, Denise, both retired seminary librarians in St. Louis, have been coming to Stratford for about a week every year since the early 1990s. Thirty years before that, Ms. Pakala traveled to Stratford with her high school English literature class from Ithaca, N.Y., and the trip has since become a tradition.The Shakespearean Gardens in Stratford.Brett Gundlock for The New York Times“I love Shakespeare and also Molière,” said Mr. Pakala, 78, who was studying his program outside the Festival Theater before a recent production of Molière’s comedy “The Miser.”Other guests enjoy the simplicity of getting around Stratford. The traffic is fairly light, there is ample parking and most major attractions are a short walk from one other, with pleasant views of the rippling river and picturesque gardens.“It’s easy to attend theater here,” said Michael Walker, a retired banker from Newport Beach, Calif., who visits each year with friends. “It’s not like New York, where it’s burdensome, and the quality of the theater here, I think, is better than what’s in Los Angeles or Chicago.”Here for Now Theater, an independent nonprofit that opened during the pandemic and plays to audiences of no more than 50, enjoys a “symbiotic relationship” with the festival, said its artistic director, Fiona Mongillo, who compared the scale of their operations as a Fiat to the festival’s freight train.Performing “Take Care” at the Here for Now Theater in August.Brett Gundlock for The New York Times“It’s an interesting moment for Stratford because I think it’s growing and changing in a really lovely way,” said Ms. Mongillo, citing the increased diversity as Canadians from neighboring cities have relocated to a town that was formerly, she added, “very, very white.”Longtime residents of Stratford, like Madeleine McCormick, a retired correctional officer, said it can sometimes feel like the concerns of residents are sidelined in favor of tourists.Still, Ms. McCormick acknowledged the pluses of the vibrant community of artists and creative people, one that drew her musician husband into its orbit.“It’s a strange place,” she said. “There’s never going to be another place that’s like this, because of the theater.”And Mr. Bieber. More