Jon Landau, Bruce Springsteen’s manager, attributes the high cost of tickets to a desire to combat resale and the use of a “dynamic pricing” algorithm that is not all that well calibrated. On July 20, tickets went on sale for six of the concerts on Springsteen’s 2023 U.S. tour: Tampa, Orlando, Hollywood (Florida), Tulsa, Denver and Boston. Barely 24 hours later, the community of the New Jersey artist’s ever-devoted fans was boiling mad: tickets were being sold at “obscene” prices, in excess of $5,000 in some cases. Moreover, the cheapest ones—theoretically $60—were nowhere to be found.
As Ron Lieber explains in a New York Times article about Ticketmaster’s “dynamic pricing system” for Springsteen’s concerts, “no scalpers were selling those tickets. Instead, a new definition of face value had emerged, one that many fans had never encountered.”
Music journalist Bill Werde, former editor-in-chief of Billboard magazine, also took to social media to express his dissatisfaction and shock: “Hard to believe that Bruce Springsteen turned out to be the one to make music fans miss scalpers.”
This is not our Bruce
What is strange in this case is that it involves the man who offered his rock music with roots and a conscience as an antidote to what he saw as the antisocial outburst of Ronald Reagan’s conservative counterrevolution. When your product is the proletarian ethic, you can’t sell it at the price of Iranian caviar.
More than a rock star, Bruce is the high priest of a contemporary religion with millions of followers. Its sacred books are albums like The River, Born to Run and The Wild, the Innocent & the E Street Shuffle, and its sermons on the mount, the ceremonies that fuel the sacred fire, are his concerts.
For his staunchest followers, the people who use their savings to follow Bruce from Dublin to Rome via Barcelona and Paris, a prohibitively priced ticket, or the lack of tickets altogether, is tantamount to expulsion from that community of believers. The emotional damage that this causes explains the degree of acrimony with which many of them are now revolting against their idol. As rock critic Jordi Meya wrote in RockZone magazine, “How much is a broken dream worth?”
Fifty years ago, Bruce Springsteen was more concerned about his fans’ pocketbooks. In December 1972, he performed for the first time in Ohio, at the Hara Arena in Dayton. He was the opening act for the New York doo-wop band Sha Na Na at a large venue with barely a thousand spectators that night. It was a somewhat dispirited concert, given before an unreceptive audience and under a poster that, because of an egregious mistake by the promoters, announced the performance of “Rick Springsteen.” But the main reason for Bruce’s complaint, as he explained the next day in a radio interview, was “the highway robbery” that a group of friends from New York who went to see him experienced when they had to pay more than $10 (the equivalent of about $70 today) for a ticket.
The 23-year-old Springsteen felt that spending five bucks to see a couple of bands was more than enough. If rock gave up its folk roots, it would die, he said. Of course, that Bruce was still very attuned to the bohemian coffeehouse and beach bar circuit of Asbury Park, on the New Jersey shore, the enthusiastic but precarious scene where he had been performing assiduously since 1969, both as a solo artist and in groups like The Castiles, Earth, and Steel Mill.
A few months later Greetings from Asbury Park, NJ came out, the album with which the Boss began his inexorable march to glory. After his rise from obscurity to incipient stardom, $10 became a pittance for seeing rock’s great white hope perform live.
A questionable defense
Returning to the present, Bruce and his representatives remained silent as the storm of criticism raged on social media. Finally, on July 26, almost a week later, Jon Landau—the former music critic who “discovered” Springsteen in 1974 at a concert in New York and has been the rock legend’s manager, spokesman and squire ever since—offered a series of technical explanations that have only added fuel to the fire.
Landau recognizes that a “modest number of tickets” are being sold at prices of over $1,000, but he asserts that the average cost per ticket has been in the mid-$200 range. According to Landau’s explanation, the higher prices are exclusively the result of a dynamic pricing algorithm, the function of which is to intelligently use the law of supply and demand, so that fans with more resources can get better seats close to the stage and help lower the price of the rest of the tickets.
“Dynamic pricing” refers to a flexible sales strategy that updates and adapts prices to changing demand in real time. Airlines and hotel chains have systematically used dynamic pricing for more than a decade. With the rise of e-commerce and advances in artificial intelligence, the sales strategy has been expanded to areas like large events. The principle is simple: an algorithm analyzes demand in real time and, if a particular location is in high demand, the price rises automatically; less-coveted locations tend to adjust their starting prices downward. In short, the idea is to “auction” each available seat to sell them at the ideal price.
The system tends to work best (and go relatively unnoticed) for events with medium or low levels of attendance. The least in-demand tickets drop in price and can end up being a real bargain if purchased at the last minute, while the most expensive ones remain at acceptable prices. However, for highly anticipated, in-demand events—such as Bruce’s tour—the only way to avoid major distortions is to establish maximum, minimum, and average starting prices.
Landau argues that if the cap were waived in this particular case, it would favor scalpers, who could buy at a lower price than the algorithm recommends and then resell the tickets at whatever price they want on the black market. In short, it’s a matter of widening the profit margin of artists and promoters by reducing that of scalpers. If someone is willing to pay more than $5,000 to see Bruce, why pay that amount to a criminal instead of Bruce and his business partners?
Beyond discussing mathematical models and the law of supply and demand, Landau contends that the abnormally high-priced tickets represent a “ridiculous” percentage and that it is perfectly possible to obtain “very decent” seats for “between $60 and $100,” a price he considers reasonable. Many fans responded to these claims on social media by posting screenshots to prove how difficult it was, especially for the Tampa concert, to buy tickets for less than $500 in most areas of the venue just a few hours after they went on sale, when many seats were still available.
Landau’s argument is questionable: Bruce has not done anything that other popular music stars like Drake and Taylor Swift—whose concerts pioneered the use of dynamic pricing systems without any price maximum —have not done as well. But perhaps the problem is that the Bruce Springsteen of a few years ago—the pride of working-class America—never would have appeared in the same sentence as Drake and Taylor Swift in the first place.
Amidst the controversy, some disenchanted fans brought up the fact that Bruce Springsteen is currently worth more than $650 million, and that he pays himself a yearly salary of $80 million as the manager of his own company. Moreover, in December 2021 he sold his music catalog and publishing rights to Sony for over $500 million, exceeding the $400 million that Bob Dylan received for selling his.
As Variety journalist Chris Willman explains, Bruce is now a very wealthy man who owes much of his wealth to the tremendous (and well-deserved) reputation of his live shows. At this point, expecting him to intercede so that his fans can see him play for the cost of a couple of beers is “supremely naïve.” With or without the algorithm, Bruce’s concerts will increasingly become a luxury that his diehard fans will not always be able to afford. Just like the Rolling Stones.
Egypt: Excavating the archives of the man who uncovered Tutankhamun’s tomb | Culture
It is rare to travel north in search of Tutankhamun. The young Pharaoh’s tomb is actually to the south, in Luxor, Egypt, as is his mummy, while the vast majority of artefacts buried with him – the famous “wonderful things” that include treasures such as the gold mask – have traditionally had their home at the Egyptian Museum in Cairo. But there is another treasure linked to Tutankhamun, less glittering but also fascinating, in the shape of the archives of the late Howard Carter, the archaeologist who discovered the tomb.
The documents compiled by Carter include maps and plans, detailed records of the thousands of artefacts – 5,300 to be exact, photographs, drawings, slides and both personal and excavation diaries, as well as other materials, such as private letters, telegrams and press clippings, all of which give the discovery context and are an exceptional source of information.
Donated to the center for Egyptology at Oxford University’s Griffith Institute by Carter’s favorite niece and heir, Phyllis Walker who died in 1977, the collection is now the subject of a timely exhibition at Oxford’s Bodleian Library, with additional material from other sources such as the Metropolitan Museum in New York.
Open until February 5, 2023, Tutankhamun: Excavating the Archive, invites visitors to “see beyond” the golden treasures of the young Pharaoh and explore the complexity of the discovery as it unfolded. A celebratory centenary exhibition, it recalls the moment on November 26, 1922, when Carter and his sponsor Lord Carnarvon looked into the tomb for the first time, breaking a seal that had held for over 3,000 years and beginning the excavation of the only untouched ancient Egyptian royal burial site to be found in the Valley of the Kings.
The exhibition features Carter’s first written mention of the find in one of the Lett’s Indian and Colonial Rough Diary pocket notebooks he used to record his activities during the eight months he spent each year in Egypt: “First steps of tomb found,” he scrawled in pencil, conveying irrepressible enthusiasm. The entry takes up the entire page for Saturday, November 4, 1922. It was the fourth day into the last sponsored excavation, as Lord Carnarvon had finally decided to stop paying for the concessionary rights to the Valley of the Kings.
The exhibition goes into the details of the sensational find and how it developed for better and worse, with recognition of the fact that Carter and Carnarvon lied in order to smuggle several small objects out of Egypt. It also explains how the discovery coincided with the proclamation of Egypt’s independence from Britain and the change in the country’s policy regarding its antiquities; and it mentions the infamous “curse” associated with the tomb. Significantly, it acknowledges the shortcomings of European colonial archaeology during that era and hails the essential role of the overlooked Egyptian professionals and laborers in the investigation.
The Egyptians, including many child laborers, appear in numerous photos of the excavation without being identified, reducing them to little more than exotic extras. They were rarely mentioned, and their role was underestimated in official reports. Now, archival research “is making it possible to restore the Egyptians’ role in the excavations,” and to “address the error.”
Donkeys instead of cabs
The exhibition also flags up the neglected role of the women who participated in the venture, such as Minnie, the wife of photographer Harry Burton, author of the famous photos of the excavation, who helped her husband and kept a personal diary that is a valuable source of information. In one passage, she recalls the excitement of visiting the tomb while it was being emptied and how Carter sent a donkey to fetch her home like someone might send a cab.
Coming to Oxford with the sole purpose of seeking out Tutankhamun lends the city an incongruous air of Egypt, even if arriving by bus rather than donkey. The kites spotted en route over the English countryside bring to mind the birds that fly over the pristine skies of Luxor, which are represented in pharaonic temples and tombs as divine creatures. These same birds are also present in Carter’s paintings, such as the 1895 watercolor of a falcon in the chapel of Anubis in the temple of Hatshepsut at Deir el-Bahari. Carter was an excellent draughtsman who came to archaeology precisely because of his artistic ability.
The Bodleian exhibition occupies the treasury room of the library and is small, like Tutankhamun’s tomb, but equally full of documentary wealth, though it requires immersion and the determination of an archaeologist to extract the information from the 20-odd showcases fittingly shrouded in gloom and mystery.
In a preamble, data is given on the reign of the young Pharaoh. For example, it is emphasized that his death was unexpected, and his burial consequently improvised, which explains many of its unusual characteristics. It is also mentions that the tomb remained substantially intact despite being visited by thieves shortly after first being sealed – they did not gain access to the mummy and the tomb was again rearranged and resealed so that what Carter encountered was virtually untouched. While it is written on a vaulting that the body of Tutankhamun is still in the sarcophagus, it was, in fact, removed from the stone coffin years ago and is exhibited in the same enclosure, but in a modern heated urn installed in the antechamber.
Obsession with the tomb
The tour begins with the climax of the discovery noted in Carter’s diary, before delving into the background of the discoverer himself, who was a complex personality who never married and had no children. A photo shows him at the age of 19, the same age as Tutankhamun when he died. An 1892 letter from the great Egyptologist Flinders Petrie, who took him to Egypt, offers this insight: “His interest is in painting and natural history (…) He is of no use to me as an excavator.”
There is then a space dedicated to “the long search” – a period that began after a proclamation in 1913 by excavation sponsor Theodore Davis that the Valley is exhausted; enter Carnarvon, who hired Carter, as he was obsessed with the idea that there was still a tomb to be found. It is thrilling to actually see a map drawn by Carter’s own hand with the excavations between 1917 and 1922, when the tomb was not yet located, lying concealed beneath the remains of the ancient workers’ huts from the neighboring tomb of Ramses VI. And then, the great moment of the discovery and the first actual foray into the tomb, around four o’clock in the afternoon on November 26, by Carter, Carnarvon, his daughter and several others.
A page from Carter’s excavation diary contains the account of that Great Moment in his own handwriting. The hole in the door, the candle inserted, and Carnarvon asking: “Can you see anything?” The answer, Carter noted, was not the famous “yes, wonderful things” which he later claimed in subsequent records, but the less dramatic “yes, it’s wonderful.”
It was the beginning of an amazing scientific adventure that would last until December 1932, the 10 years it took to empty the tomb. Carnarvon died on April 5, 1923, without seeing the opening of the sarcophagus and the mummy of Tutankhamun, which was not examined until November 11, 1925. A letter from Carter to Egyptologist Alan Gardiner describes some of the emblematic artefacts observed in the antechamber: carts, beds with strange animal shapes, two life-size figures of guardians… “So far, it is Tutankhamun,” he writes.
Burton’s photos displayed in the exhibition are “the most famous archaeological images ever taken,” and these, together with the drawings of the different rooms of the tomb and the artefacts as they were discovered transport us to the key moments of the discovery. The exhibition also explains the conservation challenges faced by the archaeologists and the solutions they came up with to preserve the objects. Then there is documentation of the complex system of rails used to transport the tomb’s contents in wagons to the river to be shipped to the museum.
Particularly moving is a large portrait of an anonymous Egyptian boy photographed in 1927 by Burton wearing one of Tutankhamun’s necklaces, demonstrating how it would have been worn. Years later, Hussein Abd el Rasul, a member of the local Qurna family, identified himself as the sitter. The exhibition points out that “many stories have been told about the image and who the boy was and his role in the excavation.”
A group of Egyptian schoolchildren stopped in front of the photo the other day listening very attentively to the explanations of their teachers. Despite the lack of recognition for the Egyptians who worked on the tomb’s excavation, some names have nevertheless been salvaged thanks to the gratitude Carter expressed in his writings, such as the name of the foreman, Ahmed Gerigar and his colleagues Gad Hassan, Hussein Abu Awad and Hussein Ahmed Said.
Besides criticizing the patronizing attitude toward the Egyptians involved in the excavation, the exhibition flags up the pursuit of profit, especially Lord Carnarvon’s. It suggests that the origin of the famous curse on those tampering with the tomb mentioned in a delightful yellowed telegram in 1923 to “Carter Tutankhamun Thebes” from Dublin warning that if trouble continues he must reseal the tomb, was partly revenge by certain media angered by the aristocratic Carnarvon’s exclusive contract with The Times.
Curses and criticism aside, public excitement at the find was such during the 1920s that it inspired a boardgame and a rash of songs. Meanwhile, the archive, which continues to be enriched and has been digitized for open access (www.griffith.ox.ac.uk), is invaluable to the study of the tomb’s material, a work that Carter left unfinished.
For those whose appetite for “wonderful things” is not yet sated, the Ashmolean Museum close by houses an extraordinary collection of Egyptian antiquities, such as the large statues of the god of fertility Min who appears excited at the sight of a sensual bust of Antinous, Hadrian’s lover who drowned in the Nile; an impressive stone head of a crocodile; the precious coffins and the mummy of the Theban priest Djed-djehuty-iuef-ankh and the Amarna pieces, which are closely linked to Tutankhamun as they represent his family, Akhenaten, Nefertiti and the princesses, as well as to people and places he saw during his lifetime. The ostraca collection compiled by Gardiner, who collaborated with Carter, is also on display there.
Hollywood: They have it all, and take it on the road, too: These are the luxury RVs of the stars | Culture
RVs have long been considered a fairly modest means of travel, an option that combines transportation and accommodation and that allows you to enjoy a more affordable vacation – bearing in mind that the comforts that they offer have little or nothing to do with those of a five-star hotel. However, this image has evolved in recent years, and the alternative of touring the world with your house in tow is gaining more and more followers, including some movie and music stars. Some use them for tourism and others to move between cities while they promote something or as a dressing room during shootings or tours, but they all have a few things in common: their enormous dimensions, their luxurious amenities and their million-dollar price tags.
At the beginning of July, all the details of Dolly Parton’s mansion on wheels were released. More than an RV, this one is a bus. Dubbed Suite 1986, it is 45 feet long and Dolly has traveled more than 300,000 miles and visited more than 60 American cities in it. It houses all kinds of luxuries and personal belongings of the country music star — a display case for her wigs, a wide bed with pink velvet sheets, or a Parisian-inspired dressing table, among other things — and it is available to rent from $10,000, with a two night minimum stay. The Dollybus is part of the hotel complexes offered under the Dollywood label, the universe created in her image and likeness, which also includes a theme park inspired by Disney’s Hollywood Studios in Florida, numerous hotels and spas and a water park.
Another celebrity who likes to have a traveling home is Jennifer Lopez. The Bronx Diva owns a 1,200-square-feet trailer that is valued at $2 million and, like Parton’s, is also available to rent, for between $400 and $850 a night, when the singer is not using it. Its name is Baby Girl and, judging by the pictures, it has it all: in two spacious floors you can find amenities like a huge leather sofa, furniture made from materials like granite or marble, and all kinds of image and audio technologies, including everything from large TVs to state-of-the-art audio setups. An exclusive design by Anderson Mobile Estates, an American company specializing in this type of high-end vehicle, completely customizable to the customer’s taste.
The same company built Will Smith’s RV, known as The Heat, which the actor purchased in 2000 to use while filming. It is 55 feet long, has two floors and it is valued at 2.5 million dollars. It includes a projection room with a 100-inch screen and
capacity for thirty people, an ample lounge, a bathroom with sauna, first-rate materials like granite and leather, and technological devices everywhere.
Leonardo DiCaprio’s RV does not fall far behind: it is 52 feet long, with four modules that can be extended to further expand the space. Of course, it includes all the necessary amenities, with eccentric details like two fireplaces and a large recycled glass shower valued at more than $40,000.
Justin Bieber’s RV also has its fair share of eccentricities. In 2020, the Canadian singer purchased for $2.5 million a bus turned luxurious mansion that he takes on his tours and that he himself showed off in the American edition of GQ Magazine. Equipped to the last detail, it offers wonders such as underfloor heating, ceilings with LED lights, a steam shower, and an infrared sauna.
Other celebrities, after years of traveling with their house in tow, have decided to part with theirs. That is the case of Tom Hanks. The legendary actor auctioned off his RV last year: the trailer that was his home during the shooting of movies like Forrest Gump or Apollo 13 was sold for $235,200, an almost trivial figure when compared to those of his colleagues.
Among so much luxury on wheels, Chris Hemsworth’s RV is also surprising for its modest dimensions. It was made by the Australian company Lotus Trooper, and it is equipped for all kinds of terrain. Despite its limited size, it includes things like Italian leather sofas and a designer kitchen; with this vehicle, the actor who brings Thor to life in the Marvel Cinematic Universe likes to enjoy family getaways, as he himself has shown on his social media.
Whether it is to go on road trips or as a place to rest between concerts or shootings, it is clear that the biggest music and movie stars cannot resist the opportunity to take all the comforts of home anywhere they go, preferably in rolling eccentricities that reinvent a concept popularized in the 1960s by the hippie movement – and look more fit for a Transformers movie than for an actual highway.
Writer Salman Rushdie attacked while giving a speech in New York | USA
Indian-born writer Salman Rushdie was attacked on Friday while giving a lecture in Chautauqua County, a town of about 140,000 inhabitants in western New York state. The first images of the event that have been shared on social networks show Rushdie on the floor, being attended by attendees and emergency services.
New York state police announced in a press release that the writer suffered an apparent stab wound to the neck, and was transported by helicopter to an area hospital. His condition is not yet known. An Associated Press reporter witnessed a man storm the stage at the Chautauqua Institution and begin punching or stabbing Rushdie as he was being introduced. The 75-year-old author was pushed or fell to the floor, and the man was restrained. The assailant has been arrested.
Rushdie’s book The Satanic Verses has been banned in Iran since 1988, as many Muslims consider it blasphemous. A year later, on February 14, 1989, Iran’s late leader, Ayatollah Ruhollah Khomeini, issued a fatwa calling for Rushdie’s death. The theocratic Iranian regime also offered a reward of more than $3 million for anyone who killed the writer, who holds dual British and US citizenship.
Iran’s government had long since distanced itself from Khomeini’s decree, but anti-Rushdie sentiment has persisted. In 2012, a semi-official Iranian religious foundation raised the reward for Rushdie’s death from $2.8 million to $3.3 million.
Rushdie, an English-language writer and perennial contender for the Nobel Prize in Literature, downplayed that threat then and said there was “no evidence” that people were interested in the reward. That year, Rushdie published a memoir, Joseph Anton, about the fatwa.
The 75-year-old author achieved international fame with the novel Midnight’s Children, which was published in 1980 and won him the Booker Prize, the UK’s most prestigious literary prize, the following year. The book sparked controversy in India for allegedly derogatory remarks towards the then prime minister of the country, Indira Gandhi.
With an overflowing imagination, his style has been compared to the magical realism of Gabriel García Márquez and Carlos Fuentes, among others. He himself has recognized on numerous occasions his important links with Latin American literature. His latest book Quixote (2020) adapts Cervantes’ classic to the situation that the United States under the Donald Trump administration.
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