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Segreteria Assomusica


Martedì 12 dicembre, gli agenti dei National Trading Standard hanno condotto incursioni in una serie di proprietà in tutto il Regno Unito", afferma un portavoce del National Trading Standards in una dichiarazione. "Questi raid fanno parte di un'indagine in corso che esamina le pratiche sleali nel mercato del ticketing secondario.


British consumer protection body National Trading Standards has made four arrests as part of its investigation into the business activities of large-scale secondary ticket sellers.

The existence of the investigation, which began in April 2017 and focuses on “businesses that buy and sell tickets in bulk”, was revealed last month when news broke that competition watchdog CMA had raided the London offices of StubHub and Viagogo. It is believed to be codenamed ‘Operation Electra’.

The arrests are linked to alleged breaches of the Consumer Protection from Unfair Trading Regulations act of 2008, the UK version of the EU Unfair Commercial Practices Directive, which seeks to protect consumers from “unfair, misleading or aggressive selling practices”.

While National Trading Standards has not named the four individuals, or the companies they represent, Viagogo in particular has been criticised for masquerading as an ‘official site’ for concert tickets, which could potentially breach the 2008 legislation. It was also recently criticised by French authorities for allegedly misleading consumers on the number of tickets available by suggesting they are about to sell out.

“Yesterday (Tuesday 12 December), officers from National Trading Standards conducted raids at a number of properties across the UK,” a National Trading Standards spokesperson says in a statement. “These raids are part of an ongoing investigation looking into unfair practices in the secondary ticketing market and particularly the practices of businesses that buy and sell tickets in bulk.

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Following an earlier decision by the Commercial Court, the Higher Regional Court of Vienna (OLG) has also found against CTS Eventim's oeticket over delivery charges.

Another judge has sided with the Austrian Consumers’ Association (VKI) in its legal dispute with CTS Eventim over the fees it levies on print-at-home tickets.

In August Vienna Commercial Court, a court of first instance, found that the fees on tickets sold via CTS’s oeticket website, which charges €2.50 for ‘print @ home’ and mobile tickets and €1.90 for those picked up from branches of Libro or oeticket’s own box offices, are “unusual and disadvantageous” for consumers and inadmissible under Austrian law.

The lawsuit by VKI against CTS Eventim last week reached the Higher Regional Court of Vienna (Oberlandesgericht Wien, OLG), which on 5 December similarly ruled the fees to be illegal, although the verdict is not yet legally binding.

According to VKI, the OLG took particular exception to the fact oeticket does not offer a fee-free delivery option, leaving the consumer with no option but to pay them.

“We hope in the interest of ticket buyers that this judgment will be final, meaning consumers are [finally] able to purchase tickets without these additional costs,” says VKI lawyer Joachim Kogelmann.

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Financial support from local and federal government is a key part of Canada's live music success, says one of its most senior booking agents

Agent Jack Ross, the newly appointed co-head of APA in Canada, has hailed Canadian authorities’ support for music businesses as being key to the health of its thriving live music industry.

Speaking to IQ for issue 74’s Canada market report, Ross identifies the grants provided by federal, provincial and municipal governments for events where live music is a major component as a significant contributor to the success of Canada’s concert market, which at US$711m (C$907m) is the world’s seventh largest (see PwC figures from the ITY 2017).

“That support,” he says, “really makes the Canadian music business the envy of the world, quite frankly.”

“It’s robust,” agrees Jim Cressman, president of Pentiction, British Columbia-based Invictus Entertainment Group, which books and promotes 500–700 concerts per year at multiple venues. “The right artist at the right price,” says Cressman, “almost always does predictable business.”

Though no national study has yet been done on the live music industry, an economic impact analysis of the business in Ontario – Canada’s most populous province and home to the music hub of Toronto – illustrates how important it is to the Canadian economy.

The Live Music Measures Up study showed that the industry was responsible for 20,000 full-time equivalent jobs in 2013 and that spending by live music companies and the tourism activity generated by music festivals together contributed just under C$1.2bn to Ontario’s gross domestic product.

While optimism was expressed by most people interviewed for the market report, the Canadian live music industry isn’t without its challenges. These include the secondary ticketing market, which the Ontario government is trying to curtail with new (albeit not universally supported) legislation, and the low value of the Canadian dollar compared to its American counterpart, which can in turn work to the advantage of homegrown artists who get paid in ‘loonies’.

“Every time we put an offer in for a US artist, a dollar is costing us C$1.35,” says Louis Thomas, president and owner of Sonic Entertainment Group, a Halifax, Nova Scotia-based concert promotion and artist management company that also owns a record label and recording studio. “That has a big impact on ticket prices, at the end of the day.”

Read the full market report, which focuses on Canada’s major promoters, venues, festivals and more, here.

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Ue, Spera (Assomusica): lavoriamo con direzione cultura su Music Moves Europe

“In questo nuovo movimento che si sta creando in Europa e in questa nuova progettualità del Parlamento europeo bisogna stare molto attenti affinché le cose non restino come sono, con la musica che finisce per essere solo la musica classica, la cultura solo quella materiale e dei monumenti e non si rende conto che ad esempio si possono valorizzare i monumenti con la musica e viceversa fare delle cose”. Lo ha detto ad Agcult il presidente di Assomusica, Vincenzo Spera, a margine della prima giornata del Forum europeo della cultura che si è tenuto a Milano. Per esempio, spiega, “c’è chi ha musicato le opere di Caravaggio trasformandole in musica: questo è il prodotto del futuro, tutto sta nel lavorarci sopra”.

“Stiamo lavorando con la direzione cultura della commissione europea sulla progettualità legata a Music Moves Europe, un tentativo di sperimentare alcuni format per poi riuscire ad ottenere una legge specifica sulla musica così come accaduto con la legge sull’audiovisivo. Però questo non basta, bisogna intervenire anche su azioni legislative”, ha concluso Spera.

fonte: Ag Cult


With terrorists now deliberately targeting venues and events, Richard Smirke talks to Europe's top security experts to hear how the industry is dealing with the threat.

Music arenas have long been prepared for the possibility of a terrorist attack, but it was the tragic events of 22 May – when UK-born Salman Abedi detonated a homemade bomb outside the 21,000-capacity Manchester Arena following an Ariana Grande concert, killing 22 people, many of them children, and injuring over 200 more – that confirmed the worst fears about the stark realities now facing venue owners and operators.

“It happened in Manchester, but we all consider ourselves equally at risk,” says Neil Walker, general manager of the SSE Arena, Belfast. “Security and the health and safety of everyone who comes to our building has always been the number-one priority in everything we do, from making sure a production is rolled in safely, to making sure the public are well looked after when they’re here,” he adds, “but it’s been elevated to an even higher focus now.”

“What happened in Manchester brought it brutally home to everyone in the industry that this can happen anywhere,” agrees Reg Walker, director of Iridium Consultancy, which works with a number of UK venues and festivals on security matters. He says that the attack reinforced the need for a “seamless security operation and security in depth” both inside and outside concert arenas, extending to transport hubs servicing venues. “We can’t be complacent over this,” he warns. “The problem with a Manchester-style atrocity is that you see adequate resourcing in the immediate aftermath, but then what happens is the bean-counters kick in and start applying pressure to curtail costs. That is something that must be resisted by venue operators at this time.”

Upping the anti
Thankfully, the general consensus throughout the industry is in favour of enhanced safety provisions, with the majority of European arenas already at a heightened level of security following 2015’s Bataclan and Paris terror attacks. “For 18 months now, everyone who wants to enter the arena is checked twice: first time outside the arena with a preliminary security screening, and a second time at each entrance of the building with a full body search,” explains Julien Collette, general manager of AccorHotels Arena in Paris.

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Circo Massimo in Music

The confirmation that the Circo Massimo will return to host the great gatherings of the music people yesterday came via social with the posts of the mayor Raggi and with the meeting with promoters and institutions at the Palazzo delle Esposizioni. The task of re-igniting the great music, two years after Springsteen's live - hits a rockstar of the caliber of Roger Waters, historical bishop of Pink Floyd, bassist, guitarist, multi-instrumentalist, songwriter, singer. The deputy mayor Luca Bergamo explaned that "the great events will not be missing in Rome, but they will never be fireworks end in themselves, rather appointments able to bring positive effects of all kinds in the capital".

ASSOMUSICA: "Da Genova, capitale dei cantautori, a Sanremo, patria del Festival"


"Da Genova, capitale dei cantautori, a Sanremo, patria del Festival”


La tratta ferroviaria scelta dal segretario del Partito democratico e già Presidente del Consiglio dei Ministri, Matteo Renzi, per incontrare Assomusica ed illustrare la nuova legge sulla musica dal vivo è stata tutt'altro che casuale: "Da Genova, capitale dei cantautori, a Sanremo, patria del Festival”.

L’incontro è avvenuto proprio nel giorno in cui il Presidente della Repubblica Sergio Mattarella ha firmato la legge, che, nei prossimi giorni, sarà pubblicata sulla Gazzetta Ufficiale.

E l'"esperienza d'ascolto" di Renzi sul treno è diventata una carrellata sui problemi principali del comparto, con una serie di interlocutori ad illustrargli le proprie idee, i propri problemi e suggerimenti per rendere ancora più proficuo il lavoro del governo e del Parlamento sul segmento di mercato.

Dal canto suo, il leader del Pd ha invitato Anna Ascani, responsabile cultura del partito, e Roberto Rampi, il deputato che ha seguito l’iter della legge, a vigilare perchè siano emessi quanto prima i decreti attuativi - confermando il bonus per i diciottenni; l'importanza dell'alternanza scuola-lavoro, anche in questo settore; l'impegno per creare strutture per concerti, soprattutto al Sud; la ricerca di una soluzione per il “secondary ticketing” e l'attenzione al valore della cultura e della sua divulgazione, anche in campagna elettorale".

Durante il viaggio in treno, Renzi ha preso nota di tutte le osservazioni dei vari interlocutori, a cominciare da quelle del presidente di Assomusica Vincenzo Spera, che ha ripercorso il successo dell'approvazione della legge, insieme a tutti i rappresentanti della filiera presenti (dai montatori dei palchi ai direttori di produzione, dagli imprenditori musicali ai direttori di teatro ai tecnici delle luci, fino al Sovrintendente del “Teatro Carlo Felice” Maurizio Roi).

Spera ha tenuto a far presente l’enorme lavoro svolto sul campo tra Assomusica e i Parlamentari che si sono occupati della legge, ribadendo che ora resta ancora molto lavoro da fare attraverso i decreti attuativi, che si augura possano viaggiare con altrettanta velocità.

Vittorio De Scalzi ed Edmondo Romano hanno fatto presente le esigenze degli artisti, relativamente alla gestione della Siae e alle difficoltà per chi comincia a suonare musica dal vivo nei locali, mentre il direttore del “Teatro della Tosse”, Amedeo Romeo, ha posto l'accento sul coinvolgimento dei giovani, con una promozione del teatro che non lo faccia più passare per un mondo paludato e da anziani.

A tirare le fila dell'incontro ci ha pensato lo stesso Renzi, che, ringraziando Spera per l'impegno decisivo di Assomusica nell'approvare una legge che è un modello anche per altri Paesi, ha sottolineato l'importanza del settore: "Questo non è un giocattolo per addetti ai lavori, ma un pezzo vero dell'economia del nostro Paese. Qui ci sono imprenditori che rischiano del loro, che pagano gli stipendi e che danno lavoro ed è giusto aiutarli. Lorenzo Jovanotti, l'altra sera, mi raccontava che, su sessanta date del suo tour, la stragrande maggioranza saranno al Centro-Nord e solo otto al Sud, per mancanza di spazi adeguati. Ci daremo da fare anche per questo, sempre con lo slogan che è stato il faro della nostra politica: un euro in sicurezza, un euro in cultura".

Per quanto riguarda la musica, grazie alla legge fortemente voluta da Assomusica, possiamo dire che il treno è giunto a destinazione.


Comunicazione Assomusica

“Daniele Mignardi Promopressagency”

(Tel. 06.32651758 info@danielemignardi.it)


The organisers of the International Live Music Conference (ILMC) today launched the event’s ‘Close Encounters of the 30th Kind’ anniversary edition, which will bring together more than 1,000 key decision-makers to London next March for four days of panels, talks and workshops dissecting the business of live music.

A raft of the industry’s top companies have already lined up to support the conference’s 30th year – the second in its new midweek format – set to kick off with a UFO-themed opening party on Tuesday 6 March, with many from the wider music industry also invited.

“With its ongoing mission to maintain peace and harmony among the live music worlds, ILMC 30 will feature more meetings, events, networking and out-of-body experiences than ever,” says conference head Greg Parmley.

ILMC – described by Ticketmaster International president Mark Yovich as “the leading conference for live entertainment” – has sold out in advance for more than a decade, with delegates including booking agents, promoters, festival organisers, venue operators and related professionals.

Within the schedule, the Arthur Awards – the live music industry’s equivalent of the Oscars – will be presented during a Gala Dinner at 8Northumberland on Thursday 8 March.

ILMC 30 will take place from 6–9 March 2018. The new website, which calls on “otherworldly inhabitants of the live music universe to congregate at the top secret Royal Garden HQ space base in Kensington”, is live at 30.ilmc.com.

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Michael Dugher has asked chancellor Philip Hammond to scrap his planned 4% rates increase, warning the rise could prove "catastrophic" for already under-pressure venues

UK Music chief executive Michael Dugher has written to the chancellor of the exchequer, Philip Hammond, to ask for an urgent review of his plans to raise business rates, which the industry group says will disproportionately affect the music business and could leave many venues “fighting to survive”.

In the letter, Dugher warns that the planned 4% rise in business rates – the tax levied on non-residential property in the UK – coupled with the ‘revaluation’ announced in February, which has sent the rateable value of many music venues and recording studios to “catastrophic” and “woefully unjust” levels, risks harming Britain’s music business, “the jewel in the UK’s cultural crown”.

As evidence, Dugher attaches to the letter a table showing how the business rates revaluation, introduced in April, has sent taxes paid by both large and small venues skyrocketing: The O2, for instance, has seen its ‘rateable value’, which is used to calculate rates, increase 141%, while Manchester Arena’s has grown 80% and Leeds’ First Direct Arena 84%.

On the other end of the scale, the 200-capacity Lexington in London has seen an increase in 118%, with London’s 350-cap. Jazz Café (+73%) and 350-cap. 100 Club (+52%) and Norwich’s 260-cap. Arts Centre (+40%) hit similarly hard.

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