(04-06-2018, 15:21)thomas9790 Wrote: En ook gemeenschap van goederen zeker? Stelletje opa's.

(04-06-2018, 15:21)thomas9790 Wrote: En ook gemeenschap van goederen zeker? Stelletje opa's.

(04-06-2018, 15:26)hythloth Wrote: De nieuwe generatie heeft geen prenups nodig, want ze hebben toch geen goederen.

(04-06-2018, 15:46)BigBird Wrote: De nieuwe generatie rappers gebruikt geen coke of xtc, maar pijnstillers of antipsychotica https://www.volkskrant.nl/a-ba77548b

(04-06-2018, 16:32)Uplift Wrote: Depressief zijn is stilaan het nieuwe normaal; dat is de boodschap die overal doorschemert en waar het establishment volgens mij best mee kan leven.

(04-06-2018, 19:06)Kreuz Wrote: Feit is wel dat de wereld voor veel mensen de laatste jaren gewoon te snel aan het gaan is. Zelfs bij kleine kinderen zijn stress, schoolmoeheid en prestatiedruk al geen vreemd begrip meer, waar zijn we dan mee bezig hé.

Quote:Met 'filter' lanceren we een nieuw Antwerps festival dat het kruim van de alternatieve internationale popmuziek samenbrengt. Trix filtert de beste pop, rock, indie, en electronica uit het gigantische aanbod waarmee u om de oren wordt geslagen, en zet die acts dan gewoon lekker op één affiche. Handig toch? 

Line-up: Unknown Mortal Orchestra, Stephen Malkmus & The Jicks, Trevor Powers, Andy Schauf, Rolling Blackouts Coastal Fever + meer tba
Tickets: €27
Datum: 2 november

(20-03-2018, 11:33)Uplift Wrote: Prima als je een hype dan wil exploiteren met een arena-show, maar dan wel aan ongeveer de helft van wat vandaag gangbare ticketprijzen zijn. [..] En toch is dat een koele, beredeneerde keuze. LN en consorten zullen opteren voor halflege zalen waar enkel nog de kapitaalkrachtigen te vinden zijn. Zelfs met kleinere shows (ik herinner mij nog een Yeasayer in de AB in 2012) doen ze dat. 

Quote:Lefsetz then moved on to “flex pricing,” flexible or dynamic pricing, which allows the artists and venues to adjust the price in real time, based on demand. “That’s been a big thing in the press in the last six months, the sea change in price,” he said, citing The Rolling Stones, an AEG-promoted act.

“I think almost every arena show, we do have flex pricing,” Mueller said, explaining, “There’s probably two differences between flex pricing and dynamic pricing, so typically flexing in arenas have been if you have had a price level 1 or price level 2, you hold seats in between those sections and you decide what that’s going to be, depending on how hot your on-sale is or you're going to go up with more, you’re gonna take a lower price.

“The dynamic price is really to try and mirror what market pricing is. We touched briefly on this one when I did your podcast a few months ago. Neil Young did a theater tour several years ago. It’s the first time we did a solo acoustic theater tour in a long time. Tickets came out. He was charging $275, I think, and people were in a bit of an uproar at the time because those were some pretty aggressive prices because the fan felt entitled to see Neil for $50, or whatever they felt the appropriate price was.

“Well, Neil sold out like that, those theaters, and people were pissed off about it. I looked at it as if Neil had played for $50 or $75, scalpers would have found a way to get the tickets, and they would’ve made a healthy margin off of that. So my opinion is people who’ve invested in this equation -- the artist, the manager, the promoter, the agent -- deserve a share in that gross, not the secondary market, not people who are opportunistic. Scalpers on that show are probably making more money than I am, as the promoter, so I think that you can’t change what the market price is for your ticket.

“There is technology coming out that will be able to -- here’s two paths you can go: You can charge market pricing, or you can try and use technology to try and lock the ticket price and make it non-transferable. That will dictate if a fan and an artist has a desire for their fan to buy a ticket for that $50 to $75 range, or whatever it is they want to charge, having a digital ticket, a true digital ticket, where it’s assigned to you or to me, whoever buys that, will be able to kind of keep that continuity in place of what the artist intended to charge.  

“So I’m a big fan of going either way depending on what the artist’s agenda is. I would like to see us maximize revenues whenever we can.”