Matt Connarton Unleashed 8-23-25 hour 3

0:01 Speaker 1: NHS.

0:04 Speaker 2: Sorry for the words I said, Sorry that you were

0:09 Speaker 2: a mislead. Sorry, but you won't.

0:13 Speaker 3: Believe I could ever change.

0:17 Speaker 1: Really.

0:19 Speaker 4: Bridges burned.

0:22 Speaker 2: Bridges burned, and I can return cortics, and I.

0:30 Speaker 1: Can't go back.

0:33 Speaker 5: Oh my life.

0:35 Speaker 1: So lesson learned.

0:38 Speaker 4: When bridge is burned, When bridges burn.

0:45 Speaker 2: Take me back to yesterday, take away my sorrows, Give

0:51 Speaker 2: to me my dreams today and all my tomorrows.

0:58 Speaker 1: Because I can't go.

1:01 Speaker 2: But I can't go back, and what I've done I

1:07 Speaker 2: can't retract.

1:10 Speaker 6: But there's allways a lesson learns when bridges burn.

1:18 Speaker 4: And bridges burn.

1:22 Speaker 3: Feeding too forgotten all our memories, but my heart won't let.

1:30 Speaker 2: Them break away from me.

1:34 Speaker 7: If by chance you think of me, if I cross

1:38 Speaker 7: your mind, I wish I could turn back the hands

1:42 Speaker 7: of time. I wish I could turn back the hands

1:48 Speaker 7: of time.

1:50 Speaker 1: Because I can't go on.

1:53 Speaker 2: But I can't go back, and what I've done I

1:59 Speaker 2: can't retract.

2:00 Speaker 1: But there's always some lesson learns.

2:07 Speaker 4: When bridges burn and bridges burn, take me back to yesterday.

2:17 Speaker 4: Take away my sawbrows. Gift to me my dreams today.

2:22 Speaker 2: And all my tomorrows, cause I can't go on. But

2:30 Speaker 2: I can't go back. But I've done, I can't retract.

2:39 Speaker 1: But there's allways a lesson learn.

2:44 Speaker 4: When bridges burn, bridges bird.

2:50 Speaker 6: Yes, there is allays a lesson learn when priges burn,

2:59 Speaker 6: bridges burn, silver lining in the clouds.

3:05 Speaker 1: What do you have for me?

3:12 Speaker 8: What a beautiful voice? Linda Avelinda, and that is called

3:15 Speaker 8: bridges Burned? And I believe we have Linda with us

3:18 Speaker 8: via the phone. Hello, Linda, Hello, how are you good?

3:22 Speaker 8: Welcome to the show.

3:24 Speaker 9: Uh?

3:24 Speaker 8: Yeah, we were, Yeah, wonderful, wonderful voice you have. Tell

3:28 Speaker 8: us about Well, let's let's start here. So first of all,

3:30 Speaker 8: how do you say your last name? I want to

3:32 Speaker 8: make sure I'm saying it correctly.

3:34 Speaker 10: Oh, you're saying it correctly, Linda?

3:36 Speaker 8: Okay? What was your was Avelinda? Or avea? Linda? But

3:40 Speaker 8: where are you from? Linda?

3:42 Speaker 10: I am from Long Island? Are you up Nasall County?

3:45 Speaker 8: Okay? Okay, okay, very good, very good. So tell us

3:50 Speaker 8: about that song, because I I strongly suspect a song

3:54 Speaker 8: like that there's usually a story, right you don't You

3:57 Speaker 8: probably didn't just think one day I'm going to write

3:59 Speaker 8: a song about bridges Burned and the consequences of that,

4:02 Speaker 8: and and you know the rumination that comes with that

4:05 Speaker 8: when you're looking back. Is there a story behind the song.

4:09 Speaker 10: Yes, there's always a story behind all of my songs. Yeah,

4:12 Speaker 10: this is the first one that I'm releasing. So this

4:15 Speaker 10: story came about because somebody who I know said that

4:19 Speaker 10: he's changed a lot over the years, but nobody believes him.

4:23 Speaker 10: And he didn't say bridges burns, but automatically I thought,

4:27 Speaker 10: you know, he burned a lot of bridges, you know.

4:30 Speaker 10: And so all of my storngs start out with one line,

4:35 Speaker 10: and if I could sing it to a good melody,

4:38 Speaker 10: I just keep singing and singing in until the next

4:40 Speaker 10: line comes. The next line comes. So it started out

4:43 Speaker 10: with the first lines of the song, the first line

4:46 Speaker 10: of the song, sorry for the words I said, And

4:48 Speaker 10: then it just kept going from there.

4:50 Speaker 8: Now are you so are the lyrics from your own

4:53 Speaker 8: point of view in dealing with this person or are

4:55 Speaker 8: they more from his point of view? Are you writing?

4:58 Speaker 8: Are you writing the song from the point of view this,

5:01 Speaker 8: this person who is sorry for the thing?

5:04 Speaker 10: Yes, I'm writting the song from the point of view

5:06 Speaker 10: of that person.

5:07 Speaker 8: Gotcha, gotcha? Now have they heard the.

5:09 Speaker 10: Song, yes, and it resonates with them. Okay, and I've

5:16 Speaker 10: played it for you know, my friends and everything. And

5:20 Speaker 10: one other person said that, wow, this person is somebody

5:23 Speaker 10: you know this song it's just it tells a story

5:27 Speaker 10: about somebody's life who he knows, you know, a woman.

5:30 Speaker 10: So I think, you know, I guess we've all burned

5:33 Speaker 10: bridges big and small in our lives, and I think

5:37 Speaker 10: this song probably resonates with a lot of people.

5:40 Speaker 8: Well that's what I was thinking too, because obviously that's

5:42 Speaker 8: very relatable. Everybody has. You know, sometimes people will say, oh,

5:46 Speaker 8: you know, I live my life with no regrets or

5:48 Speaker 8: you know, but we all have regrets and we all

5:50 Speaker 8: have things that we look back on, whether there are

5:53 Speaker 8: family relationships, friendships, romantic relationships, you know, or professional relationships

5:59 Speaker 8: where maybe you you you burn a bridge out of

6:02 Speaker 8: out of pride, you know, you don't want to admit

6:04 Speaker 8: that maybe you were wrong about something, or or you

6:07 Speaker 8: just didn't have the emotional maturity to handle the situation

6:09 Speaker 8: or whatever it is, and then you kind of look

6:11 Speaker 8: back and you go, wow, I really I really pushed

6:14 Speaker 8: some people away or wrecked some relationships that in hindsight,

6:19 Speaker 8: I probably shouldn't have, So I think we can all relate.

6:23 Speaker 11: To that, right, definitely.

6:25 Speaker 10: Definitely.

6:27 Speaker 8: Do you have a lot of people who've heard the song?

6:28 Speaker 8: I mean, I know it's it's been out for a

6:30 Speaker 8: short time, but I mean, do you have a lot

6:32 Speaker 8: of people tell you that they can relate to, Like

6:34 Speaker 8: they can think of specific instances from their own lives

6:37 Speaker 8: that they can kind of could connect with the lyrics.

6:41 Speaker 10: Oh, definitely. They don't get into specifics, but they said

6:45 Speaker 10: that they the song resonates with them, and you can

6:48 Speaker 10: relate to the song.

6:49 Speaker 8: Now, the person who the song is about, who inspired it?

6:53 Speaker 8: So you said they like the song? Do they do

6:55 Speaker 8: they realize it's about them?

6:59 Speaker 10: H yes, I told that person that it was about them.

7:01 Speaker 8: Okay, they don't.

7:02 Speaker 10: Want me to share their story specifically, right, right, person

7:06 Speaker 10: knows that that song was inspired by you know, the

7:09 Speaker 10: person's wife and what they said.

7:11 Speaker 8: Oh okay, it's it's good that it's good that you've

7:16 Speaker 8: got a positive reaction because sometimes that can that can

7:19 Speaker 8: really I can really backfire. Like Jenny, remember we uh

7:23 Speaker 8: one of our conversations with Nancy Manet, she she did

7:27 Speaker 8: a whole basically, you know a lot of one of

7:29 Speaker 8: her albums is about her experiences with family members. Yes,

7:33 Speaker 8: and when they hear the songs, they get angry with her. Yep.

7:37 Speaker 8: So yeah, yeah, yeah, So you never know how that

7:41 Speaker 8: might go. Now, this is so this is the first

7:43 Speaker 8: single that you've released online.

7:47 Speaker 10: Yes, it's the first single that I've released online. I

7:50 Speaker 10: started writing songs and lyrics late in life. I have

7:54 Speaker 10: absolutely I don't play an instrument. I really have kind

7:58 Speaker 10: of no musical background. I mean to go background was

8:01 Speaker 10: kind of an elementary school, raising my hand as high

8:04 Speaker 10: as I could to try and play that triangle. Remember

8:06 Speaker 10: that triangle in school? You know, I never got picked of,

8:10 Speaker 10: you know, either that or I got the rhythm sticks instead.

8:13 Speaker 10: And then years ago I had a boyfriend and he

8:17 Speaker 10: was a music teacher, and he got me into writing lyrics.

8:21 Speaker 10: I you know, I've always been interested in writing. My

8:24 Speaker 10: major in college was creative writing, but I never envisioned

8:28 Speaker 10: that I would ever write a song. So I started

8:31 Speaker 10: writing the lyrics. He would do some music, and then

8:33 Speaker 10: we broke up, and you know, at the end, he's like,

8:37 Speaker 10: I wanted to just sing your lyrics into the song

8:39 Speaker 10: into your phone. So I'm like, okay, well these words

8:42 Speaker 10: keep coming. What am I going to do now? So

8:45 Speaker 10: I kept singing my lyrics and my songs into my phone,

8:49 Speaker 10: and then I went and there was a guitar teacher.

8:53 Speaker 10: I'm like, oh, maybe I'll learned how to play guitar

8:55 Speaker 10: late in life, but that's really hard to do. So

8:58 Speaker 10: they kind of turned into me bringing in my lyrics

9:02 Speaker 10: and saying, hey, what do you think et cetera, et cetera,

9:06 Speaker 10: And then I would just show up for the guitar

9:07 Speaker 10: lessons with no guitar. I know you're ever going to

9:09 Speaker 10: bring the guitar. I'm like, no, I have all these songs.

9:13 Speaker 8: Interesting. So then so that guitar teacher did they help you?

9:18 Speaker 8: Did they help you develop these songs?

9:21 Speaker 10: Well, I kind of wanted I just wanted to, you know,

9:24 Speaker 10: sometimes not with this song. This one kind of came

9:27 Speaker 10: out just as virtually it is, But like other songs

9:32 Speaker 10: that I just you know, I just wanted to learn

9:35 Speaker 10: the format. I kept changing key when I was I

9:38 Speaker 10: didn't know the rules of the songs of what you know,

9:42 Speaker 10: song ran evens about. So I learned a little bit

9:44 Speaker 10: about that. Not that to say that I don't break

9:46 Speaker 10: the rules or anything, because I don't know them well enough,

9:49 Speaker 10: which is a good thing, I think. But this song

9:53 Speaker 10: pretty much came out, you know, the way it was.

9:56 Speaker 5: It is.

9:57 Speaker 8: So I'm curious how you learned to sing, because, like

9:59 Speaker 8: I said, you have a beautiful voice. I mean, are

10:03 Speaker 8: you self nowhere? When when you were talking just now

10:06 Speaker 8: nowhere did you mention any kind of voice lessons? I mean,

10:08 Speaker 8: how did you learn to sing? Are you self taught?

10:10 Speaker 8: Some people the voice is like the one instrument where

10:14 Speaker 8: some people are just you know, and it is an instrument, right,

10:16 Speaker 8: it just happens to be a part of us physically.

10:19 Speaker 8: But the voice is like the one instrument where some

10:21 Speaker 8: people just seem to be able to to conduct that

10:24 Speaker 8: instrument naturally without any training. Is that the case with you?

10:30 Speaker 10: Well, yes, I can't play an instrument, never had a

10:33 Speaker 10: formal you know, voice lesson or anything. But sing about

10:38 Speaker 10: when you write your own song, you're singing them to

10:42 Speaker 10: what feels good and comfortable to you. You're not singing

10:45 Speaker 10: somebody else's song to the songs that I've written. I'm

10:48 Speaker 10: singing it, you know, to suit my own voice.

10:52 Speaker 8: Yeah, so you so, so you're naturally able to sing

10:57 Speaker 8: that way? That's like, how how did you. I mean,

11:01 Speaker 8: did you realize that about yourself from a young age

11:03 Speaker 8: that you could sing? Or is that something that kind

11:05 Speaker 8: of came as you were starting to write these songs

11:08 Speaker 8: and bring them to your guitar teacher and say, hey,

11:09 Speaker 8: what do you think? I mean?

11:11 Speaker 12: Is that?

11:11 Speaker 8: Is that something you always knew that you had or

11:13 Speaker 8: did you develop that more recently when you started really

11:15 Speaker 8: getting into writing.

11:17 Speaker 10: Yes, I never knew I had, you know that you know,

11:21 Speaker 10: would be able to sing. Yeah, so when I started

11:24 Speaker 10: singing my songs into my phone. Initially, when I found

11:30 Speaker 10: out about this producer was just wonderful Voodoo v U

11:35 Speaker 10: z U Studios in Port Jefferson and Long Island. I

11:40 Speaker 10: sent him my song which I recorded. Over the song,

11:44 Speaker 10: I'm like, well, you know, I'd like to hire a singer. Yeah, YadA, YadA.

11:47 Speaker 10: He's like, no, you stayed in tea and that's really

11:49 Speaker 10: hard to do with new music. It's like, we could

11:52 Speaker 10: work with you. Oh wow, Okay, I'd rather sing my

11:55 Speaker 10: own songs, of course, I would rather sing, But I

11:58 Speaker 10: never even dreamed about it. I was all set to

12:00 Speaker 10: hire a singer.

12:02 Speaker 8: How cool is that? Though, Like to get that kind

12:04 Speaker 8: of validation where you're going into a situation where you're like,

12:07 Speaker 8: I have the song, I want to hire someone to

12:10 Speaker 8: sing it, and then the producer says, you know, why

12:12 Speaker 8: don't you sing it? You know you're you're good enough.

12:14 Speaker 8: You know the way you sing it is great. Why

12:17 Speaker 8: don't you do it? I mean, that must have been

12:19 Speaker 8: that must have been a pretty affirming moment for you.

12:21 Speaker 8: I would imagine it.

12:24 Speaker 10: Was shocking and pleasantly surprised that he thought that. Yeah,

12:28 Speaker 10: I'm like, okay, well, I'll give it a try, and

12:31 Speaker 10: what's the worst that can happen if it doesn't sound good,

12:33 Speaker 10: I'll hire a singer, right anyway.

12:36 Speaker 8: You know, yeah, Oh that's fantastic. So that studio they

12:40 Speaker 8: did all the the the what's the name of the

12:43 Speaker 8: studio again, Voodoo.

12:46 Speaker 10: It's stilled the like Victor, you like Umbrella, d like David,

12:50 Speaker 10: you like Umbrella?

12:51 Speaker 8: Okay?

12:52 Speaker 10: Studios in Port Jefferson, Okay, okay.

12:55 Speaker 8: And then, uh, now have you just recorded the one

12:58 Speaker 8: song there? Or do you do you intend to because

13:00 Speaker 8: obviously because I assume you're going to be recording more

13:02 Speaker 8: singles in the future.

13:05 Speaker 10: Yes, I have about four others that are ready to

13:08 Speaker 10: be mastered.

13:09 Speaker 8: Oh excellent, Yes, and I never know.

13:12 Speaker 10: I'm always thinking, okay, though, that might be the last

13:15 Speaker 10: song I'm writing. And then and then a lot of

13:17 Speaker 10: my songs they come from either something from someone has said,

13:22 Speaker 10: like this song, it could be a mishurt lyric. I'll

13:25 Speaker 10: get a line and it's totally miss hurt lyrics. And

13:29 Speaker 10: then I'll set the radio off right away and I'm like, okay,

13:32 Speaker 10: I've been driving the car. That's when you get your

13:33 Speaker 10: best ideas. I'm like, yet light, red light, and you

13:36 Speaker 10: want it to last really long, the red life of course,

13:39 Speaker 10: when you wanted to last only just it turns green

13:41 Speaker 10: right away, right, And so I either put recording, you know,

13:44 Speaker 10: my phone on and start singing it, or I have

13:47 Speaker 10: a pad and paper next to me and start writing it.

13:50 Speaker 10: So my best ideas come when i'm driving and you know,

13:53 Speaker 10: it's hard to write things down, and when i'm doing dishes, Yeah,

13:57 Speaker 10: I'm doing this very bad days that like I'm starting

14:00 Speaker 10: to do that. This is something will come to me

14:02 Speaker 10: and I have plans and literally I have to sit

14:05 Speaker 10: down until the words stop, you know, because if you

14:08 Speaker 10: put it off until later, they're gone.

14:10 Speaker 8: Yeah. Yeah, that's a good a good problem to have, though,

14:14 Speaker 8: that you've got all these ideas, and so you've got

14:16 Speaker 8: so you've got four more that you're planning to record,

14:18 Speaker 8: and then so do you intend to h they recorded,

14:21 Speaker 8: they're just ready to be mastered. Oh there, Oh they're

14:24 Speaker 8: already Oh they're already recorded. They're ready to be mastered.

14:26 Speaker 8: Oh that's fantastic. And will these will these be? Will

14:29 Speaker 8: these be released as singles? Or do you intend to

14:31 Speaker 8: put out an EP or an album or what's what's

14:33 Speaker 8: kind of the long term plan?

14:36 Speaker 10: Well, I come, I'm just winging it because I don't

14:40 Speaker 10: know what I'm doing. But uh sure, sometimes like going

14:43 Speaker 10: to keep taking that next step and you figure out

14:46 Speaker 10: as I go along. I guess I'll release them as singles.

14:51 Speaker 8: I guess, yeah, yeah, No, that's that's fantastic. You know,

14:54 Speaker 8: we live in a time when you have so many

14:57 Speaker 8: different options in terms of how you release music. If

15:00 Speaker 8: you want to do an album, if you want to

15:01 Speaker 8: do an EP, if you just want to do singles.

15:03 Speaker 8: You know, some artists now they'll release a series of

15:06 Speaker 8: singles that eventually coalesce into an EP or an album,

15:10 Speaker 8: which is kind of the inverse of how it used

15:12 Speaker 8: to be. You know, when I was growing up, it

15:14 Speaker 8: was you know, the album and it would have a

15:16 Speaker 8: series of singles. Now some artists are doing the inversion

15:19 Speaker 8: of that, but you can you know, there are no

15:21 Speaker 8: you know, you were talking about rules and breaking the

15:23 Speaker 8: rules of songwriting, and you know, there's really no rules

15:26 Speaker 8: to how you release music anymore either in terms of

15:28 Speaker 8: I mean, there are things that you can do promotionally,

15:30 Speaker 8: that you should do promotionally, but as far as but

15:33 Speaker 8: as far as some sort of a schedule, uh, in

15:36 Speaker 8: terms of how you release the music and in what format.

15:40 Speaker 8: You know, there's you've got You've got a lot of

15:42 Speaker 8: freedom now in the industry, uh, in terms of how

15:45 Speaker 8: you do that. So uh, we will be uh, we

15:48 Speaker 8: will be watching with great interest to see how your

15:50 Speaker 8: your career progresses. Do you do you have any kind

15:52 Speaker 8: of do you have any kind of an idea of

15:54 Speaker 8: when the next single is going to be out? After

15:56 Speaker 8: the mastering's done, I assume it'll be ready to go, right, Oh,

16:00 Speaker 8: give this a.

16:00 Speaker 10: Couple of months, I think maybe before months, and I know, yeah,

16:04 Speaker 10: release the next one.

16:05 Speaker 8: Yeah, fantastic, fantastic, thank you.

16:08 Speaker 5: Yeah.

16:09 Speaker 8: Did you grow up in New York?

16:12 Speaker 10: I grew up in Brooklyn. For thirteen years, and then

16:15 Speaker 10: I moved to Queens, which is another borough in New

16:18 Speaker 10: York City, Brooklyn and Queens. And then I moved out

16:21 Speaker 10: to Long Island and just you know, a little more trees,

16:27 Speaker 10: more parks and stuff like that. I really like Long Island.

16:30 Speaker 8: Yeah, no, but it sounds like you're a real New Yorker.

16:32 Speaker 8: You've you've been there, You've been there most of your

16:35 Speaker 8: if not your whole life, right, yes, the whole life.

16:38 Speaker 10: Yeah, definitely a real New.

16:40 Speaker 8: New York excellent. Well, there's a lot of great music

16:43 Speaker 8: that comes out of that area, So you're in a

16:45 Speaker 8: You're in a good place, that's for sure. That's for sure. Well, Linda,

16:49 Speaker 8: let's let me ask you this and again, congratulations on

16:51 Speaker 8: the single Bridges Burned. And where should you know because

16:55 Speaker 8: you are going to be releasing new music in the

16:57 Speaker 8: future in addition to this, so where should people go online?

17:00 Speaker 8: Where's the best place for people to go online to

17:02 Speaker 8: keep up with everything that you're doing, so that so

17:05 Speaker 8: that they know when when new new music is coming out?

17:09 Speaker 10: Okay, well, I am on Instagram at Linda Avalanda. I

17:13 Speaker 10: guess because I literally just started Instagram three weeks ago. Okay,

17:17 Speaker 10: had no online presence before releasing this. Oh wow, I

17:21 Speaker 10: do have a I do have a YouTube video. Yes,

17:24 Speaker 10: you have to put in probably my name first, Linda Avalanza,

17:28 Speaker 10: then bridges Burned. If you do it the other way,

17:30 Speaker 10: the things will come up. And my song is out

17:35 Speaker 10: on all of the streaming services yep, so people can access.

17:39 Speaker 8: My song there, yep. Excellent, excellent. Well, you're off to

17:43 Speaker 8: a great start. And when the next UH single is

17:46 Speaker 8: ready to be released, I hope that you'll send it

17:48 Speaker 8: to us and you know we'd love to give it

17:50 Speaker 8: a spin here and have you back on to talk

17:52 Speaker 8: some more.

17:53 Speaker 10: Well, definitely, thank you so much.

17:55 Speaker 8: All right, Linda Avalinda, congratulations again on the single and

17:59 Speaker 8: we'll let you go, but thank you for joining us today.

18:02 Speaker 8: Thank you all right, you got it, Bye bye, Thank

18:04 Speaker 8: you you too. All right. That is Linda Avelinda again

18:09 Speaker 8: if you missed it, we played her her new single

18:11 Speaker 8: Bridges Burned, and I look forward to hearing more from

18:15 Speaker 8: her in the future. If you are listening live, we

18:18 Speaker 8: are live on WM and H ninety five point three

18:21 Speaker 8: FM in Glorious Manchester, New Hampshire. The date is August

18:24 Speaker 8: twenty third, twenty twenty five and this is Matt Connorton Unleashed,

18:29 Speaker 8: So I don't go away. We've got plenty more to come.

18:32 Speaker 8: And at the top of the show today we did

18:34 Speaker 8: a little the new single from Jersey Calling, a great

18:37 Speaker 8: band from Philly, and this is We're gonna play this again.

18:40 Speaker 8: This is called working Class Punk, and this is so

18:43 Speaker 8: good and we're gonna have them on to talk about

18:45 Speaker 8: it soon. But this is the first time this has

18:48 Speaker 8: been played on American radio. Here we go. You're listening

18:53 Speaker 8: to Matt Connorton Unleashed on.

18:56 Speaker 9: WM and H ninety five point three.

19:00 Speaker 8: And now the world radio premiere of the new single

19:03 Speaker 8: from Jersey Calling. This is called working Class Punk.

19:12 Speaker 9: Why me at six am looks like got over, slept again?

19:18 Speaker 9: Jud got me dressed in on the door in and

19:23 Speaker 9: it's like trapping at its worst. Swear to God it

19:27 Speaker 9: must be cursed joined.

19:28 Speaker 5: The resident of dailout.

19:32 Speaker 1: Was screaming, suns.

19:44 Speaker 12: Go work, go to work, Go to work, Go to work,

19:50 Speaker 12: work so you can't feel the hurt till it makes

19:53 Speaker 12: you go berserve.

19:55 Speaker 11: Go to work, go to work, go to.

19:58 Speaker 9: Work, go to head in the closet, your face covered.

20:03 Speaker 5: In dir go to work.

20:11 Speaker 9: The bun gives me a shout, says I'm just a

20:15 Speaker 9: burnt out my altress to the confederations him down.

20:21 Speaker 13: So I say, hey, you're right, old man, flip.

20:24 Speaker 5: The burden of a ram. But there's now as get

20:28 Speaker 5: a taste out of the love.

20:32 Speaker 14: That's a redo in my straining sounds that let that say, wow,

20:38 Speaker 14: trying to tool.

20:43 Speaker 11: Go work, go to work, go to work, go to work.

20:48 Speaker 5: What do you get?

20:49 Speaker 12: Feel the hurtile it makes you go preserve go.

20:54 Speaker 11: To work, go to work, go to work, go to work.

20:59 Speaker 9: Head in the cloudst your race, cupboard and day, go

21:04 Speaker 9: to work.

21:05 Speaker 5: Four three where you win? You Yeah?

21:31 Speaker 13: How that bo screaming south time that the s low we.

21:37 Speaker 5: By going that as of to.

21:41 Speaker 15: Go to work, Go to work, Go to work, go

21:46 Speaker 15: to work, work so you can't feel the herd till

21:50 Speaker 15: it makes you go berserk.

21:52 Speaker 11: No work, go to work, go to work, go to.

21:57 Speaker 13: Work, head in the clouds with your face covered in.

22:03 Speaker 5: Count and watch out the work got you work? What

22:09 Speaker 5: do you get?

22:09 Speaker 16: Filin said it makes you come beside came walking doll

22:15 Speaker 16: you way do you work?

22:18 Speaker 5: Work? And in my confid go face common in jockey,

22:24 Speaker 5: don't go work. I got got a fading you.

22:52 Speaker 12: Somebody somebody to keep bott say to you know what's

23:01 Speaker 12: coming in my bow?

23:02 Speaker 8: The lights up, bun, It's time to go.

23:05 Speaker 5: Why did I keep my playing?

23:07 Speaker 12: No Stephen began, y'all izob man wasted?

23:11 Speaker 5: Yeah no your car man die, y'all stopping sell the

23:18 Speaker 5: why he even got up through the world, say.

23:27 Speaker 12: We'll come and geez, I'm starting some days to deal

23:30 Speaker 12: in nothing.

23:31 Speaker 1: All aptide is going.

23:32 Speaker 17: Man, You're not to your car one days a monthday

23:36 Speaker 17: feeling you start going to blain seat dealers.

23:38 Speaker 12: No waste against y'all be a slipping Yeah no your

23:41 Speaker 12: come man.

23:44 Speaker 5: The gotta stop us settling.

23:48 Speaker 18: Ya yaga is all.

24:07 Speaker 16: Y'all, BA, saybody comes out of bust out this buddy,

24:15 Speaker 16: yap brain.

24:17 Speaker 5: Still up it. I'll see if the same y'all gotta out.

24:22 Speaker 16: Y'all BA, let's stay buy jims outs like.

24:29 Speaker 5: This buddy, y'all braid see this same. I gotta be

25:19 Speaker 5: you know, t't me take your boy.

25:25 Speaker 11: You know you're got.

25:30 Speaker 5: On shirt boy, got they got you want anything to

25:43 Speaker 5: do that. I don't want to be like you.

25:48 Speaker 17: I recognize you from the persons should have known better.

25:56 Speaker 17: She's found for a while now probably trying to go.

26:02 Speaker 17: I said a lot of back chun.

26:04 Speaker 5: No way, Hill, don't wait, chow that ain't long, guy

26:17 Speaker 5: that ain't long?

26:21 Speaker 11: No brody r.

26:25 Speaker 5: That ain't a long guy? How do you love? God?

26:33 Speaker 13: Can say, I ain't hit the reset, but I don't.

26:36 Speaker 5: Want to start.

26:37 Speaker 17: John said, ain't no, please start choke.

26:41 Speaker 5: Let me start like you start.

26:43 Speaker 17: Say he wasn't what your mont's said, Joy, John is seven.

26:49 Speaker 13: We can't waste some min and we want to waste

26:52 Speaker 13: some minutes.

26:53 Speaker 5: Joy, some man, don't wait, chill that ain't Oh God,

27:02 Speaker 5: how long.

27:06 Speaker 1: My black yard?

27:08 Speaker 5: Guy that ain't a long? Guy that ain't long?

27:24 Speaker 10: M h.

27:28 Speaker 7: I've got that sick jim feeling? What out off we

27:32 Speaker 7: used to feeling.

27:34 Speaker 1: I don't know what to do.

27:36 Speaker 11: I still love shop you.

27:40 Speaker 13: I got that sick.

27:41 Speaker 11: Jet figure out right down.

27:43 Speaker 13: No, I don't know what sometime so.

28:14 Speaker 5: No way that a long long? No body that ain't long?

28:32 Speaker 5: That long?

28:36 Speaker 13: I got that, said Jeff very but I always to him.

28:42 Speaker 13: I said, no, what so su sell?

28:45 Speaker 5: How they sell? Yow?

28:54 Speaker 13: We're back from the Grand Corners.

29:10 Speaker 11: All right.

29:10 Speaker 8: Matt Connorton Unleashed is live from the studios of WMNH

29:15 Speaker 8: ninety five. Point three in Glorious Manchester, New Hampshire. And

29:19 Speaker 8: of course you can stream the show from anywhere. Go

29:20 Speaker 8: to Matt connorton dot com slash live for all your

29:24 Speaker 8: live streaming options, social media links, contact infoshore, archives, et cetera,

29:27 Speaker 8: et cetera if you are listening live. Today is Saturday,

29:31 Speaker 8: August twenty third, twenty twenty five. Jenny is here of

29:35 Speaker 8: course at the news table, President account and we want

29:38 Speaker 8: to mention again a big event next weekend, a big

29:42 Speaker 8: festival happening at the Strand Theater in Dover, New Hampshire.

29:46 Speaker 8: Our friends in the band Vices Inc. They put this

29:49 Speaker 8: show on every year, and this is August. It's three

29:53 Speaker 8: days August twenty ninth, thirtieth and thirty first, so it

29:56 Speaker 8: is Labor Day weekend. Let's see. I'm gonna give you

29:59 Speaker 8: the full here. A lot of these bands have been

30:02 Speaker 8: on the show. Let's see Vice's Inc. Of course, a

30:06 Speaker 8: signal to noise. Sepsis, of course, we've had Sepsus on

30:09 Speaker 8: many times. Trall they were on recently Scarecrow Hill, They've

30:13 Speaker 8: been on euphemea jony earthquake band, Night Fury under the Horizon.

30:18 Speaker 8: Of course we Love Under the Horizon, The Roscoes, Lions

30:22 Speaker 8: and Lavender, Battle Mode, House Lights. They've been on the show,

30:25 Speaker 8: The Shirts and Shoes, Alaska Angels, Let's See the Carrot Flowers,

30:30 Speaker 8: Plague Dad has been on the show Love Plague Dad,

30:33 Speaker 8: The Living Space, Boyd and the Monkeys, Willie DeNardo and

30:38 Speaker 8: the corporates Mango, Cash, Manuel, Separator, Silver Cord, Mother, Nimbus, Trading, Tombstones.

30:47 Speaker 8: They've been on the show Love Them, Decaine, Continuum, Cellar Door,

30:52 Speaker 8: Crian Caleb was on just recently Fine Pioneer Brady's Grown

30:57 Speaker 8: Up Time, The Joe Bilander, Shred Trio, Peter Gay, Adam Vatali,

31:02 Speaker 8: Jake Hebert and twenty five percent Vegan. So doors open

31:07 Speaker 8: on the twenty ninth at eleven am uh and then

31:10 Speaker 8: Saturday also at eleven am, and then Sunday the thirty

31:13 Speaker 8: first at noon. It is an all ages show and

31:16 Speaker 8: you can go to vices Fest twenty twenty three dot

31:18 Speaker 8: event brite dot com to get the tickets directly there,

31:22 Speaker 8: or just go to vices fest dot com and vice

31:27 Speaker 8: Fest twenty twenty five. So Jenny and I were invited,

31:29 Speaker 8: but it's hard to already get away for a three

31:31 Speaker 8: day festival with all of our other commitments like this

31:34 Speaker 8: radio show for example. So but but we we do

31:38 Speaker 8: support what they're uh, what they're doing. Oh and I

31:40 Speaker 8: didn't realize this earlier too. There's also going to be

31:42 Speaker 8: stand up comedy between sets provided by Jen Rose, So

31:47 Speaker 8: comedian Jen Rose will be there too. That sounds fun. Yeah, yeah,

31:51 Speaker 8: so I'm sure they'll I'm sure they'll have a very

31:53 Speaker 8: successful event. So yeah, that's a big commitment to three days.

31:56 Speaker 8: Oh boy. So speaking of events and ticket prices and

32:00 Speaker 8: you know, we actually we kind of mentioned that we

32:02 Speaker 8: didn't get into this part of it when we were

32:04 Speaker 8: talking to Charles about WWE and uh, you know how

32:07 Speaker 8: expensive it is with all the streaming services and everything,

32:10 Speaker 8: but also ticket price is very expensive. And of course

32:13 Speaker 8: when you buy tickets to go to a WW event,

32:17 Speaker 8: you're going to be buying them through you know, Live

32:19 Speaker 8: Nation slash Ticketmaster. There is some news now we've talked

32:22 Speaker 8: a lot about over the past couple of years on

32:25 Speaker 8: the show about tickets and ticket prices and how you know,

32:31 Speaker 8: the monopoly that Live Nation has on ticket prices and

32:34 Speaker 8: how expensive it is getting has become uh to go

32:37 Speaker 8: see live shows digital Music News has a story up.

32:41 Speaker 8: Major law firms seek class certification in Live Nation Ticketmaster suit.

32:47 Speaker 8: Uh say, the companies used their decade plus monopoly to

32:51 Speaker 8: raise prices, and of course that is nothing new. Everybody

32:55 Speaker 8: in the industry knows that that goes on. It's very,

32:58 Speaker 8: very difficult to compete with Live Nation slash Ticketmaster. You know,

33:03 Speaker 8: it's the same company. The two names are interchangeable, and

33:06 Speaker 8: when whenever anyone has tried, they haven't gotten very far.

33:09 Speaker 8: I still remember, Jesus goes back a long time now,

33:12 Speaker 8: But remember when Pearl Jam tried it, yep, and they

33:15 Speaker 8: started working with I don't even remember the name of

33:16 Speaker 8: the company they were working with, but they started working

33:18 Speaker 8: with a different company I cannot remember. I can't remember either,

33:22 Speaker 8: but you know, and they went and they testified before Congress.

33:24 Speaker 8: A couple of the members testified before Congress about the matter.

33:27 Speaker 8: But uh, the issue that they ran into was not

33:32 Speaker 8: only they tried to use a different ticketing service. Not

33:36 Speaker 8: only though does part of why Live Nation is able

33:40 Speaker 8: to maintain their stranglehold on all of this is because

33:45 Speaker 8: they don't just control the ticketing process, but they also

33:50 Speaker 8: control a lot of a lot of these buildings. So

33:54 Speaker 8: if you say, and by the way, this was pre merger,

33:56 Speaker 8: but if you are you know, even a band is popular,

34:00 Speaker 8: is Pearl Jam at that time? You know, this was

34:02 Speaker 8: back in the nineties when this happened. If you decide,

34:04 Speaker 8: you know, you're gonna flip the bird Ticketmaster and say

34:06 Speaker 8: we're gonna do this without you, you've still got the

34:09 Speaker 8: problem of they not only control the ticketing process, they

34:12 Speaker 8: control the buildings. They have exclusive relationships with these promoters,

34:17 Speaker 8: or even if they don't have exclusive relationships on paper.

34:21 Speaker 8: You know, if you're a promoter, you do not want

34:24 Speaker 8: to do something that's going to anger this organization, in

34:29 Speaker 8: this case Ticketmaster, that you depend on, that you have

34:32 Speaker 8: to work with, by suddenly you're putting on shows working

34:36 Speaker 8: with this other company. So Pearl Jam ended up. They

34:40 Speaker 8: had to finally give up, They had to give up

34:42 Speaker 8: on the whole thing because and just go back to

34:45 Speaker 8: working with Ticketmaster because they were running into a problem.

34:48 Speaker 8: Not only was it you know, they're using this this

34:53 Speaker 8: small sort of upstart company to sell their tickets, but

34:58 Speaker 8: there's venues, all these venues they say suddenly can't play yep,

35:01 Speaker 8: because Ticketmaster controls the venues. So it's very difficult to

35:06 Speaker 8: break this monopoly and to break through. So here's what's

35:10 Speaker 8: happening now. This is the latest. This story just went

35:13 Speaker 8: up yesterday on Digitalmusicnews dot com, which is a great

35:16 Speaker 8: site by the way, if you're interested in this subjector

35:19 Speaker 8: or anything involving the music industry. Major law firms are

35:22 Speaker 8: once again pushing for class certification in a high stakes

35:24 Speaker 8: lawsuit centering on the alleged anti competitive business practices of

35:29 Speaker 8: Live Nation and its Ticketmasters subsidiary. Let's see it says

35:34 Speaker 8: here attorneys with Quinn, Emanuel, Erkhart, and Sullivan. That's a

35:40 Speaker 8: mouthful as well as Keller Postman just recently asked the

35:46 Speaker 8: court for class certification in the complaint, which technically dates

35:50 Speaker 8: back to twenty twenty two. And I think we've talked

35:52 Speaker 8: about this case specifically on the show. So back in

35:54 Speaker 8: the twenty twenty two action, the plaintiffs maintained that Live

35:57 Speaker 8: Nation and Ticketmaster had since updated their arbitration agreement in

36:02 Speaker 8: ways that renders it unenforceable. Okay. Next part of this

36:08 Speaker 8: fast forward passed multiple twists and turns to October twenty

36:11 Speaker 8: twenty four, when the Ninth Circuit then upheld a District

36:15 Speaker 8: Court ruling rejecting Ticketmaster's attempt to compel arbitration via quote

36:20 Speaker 8: an arbitrator employed by a newly created entity, new era

36:24 Speaker 8: ADR using novel and unusual expedited mass arbitration procedures unquote,

36:29 Speaker 8: letting the October ruling summary take the wheel in the

36:32 Speaker 8: interest of brevity. The relevant quote panel held that the

36:37 Speaker 8: delegation clause of the arbitration agreement and the arbitration agreement

36:41 Speaker 8: as a whole were unconscionable and unenforceable under California law unquote.

36:47 Speaker 8: For this will all make sense eventually, we just got

36:50 Speaker 8: to get to it, okay. So for a company Live

36:52 Speaker 8: Nation in this case that's face and is facing a

36:54 Speaker 8: number of suits from ticked off consumers, the development was,

36:58 Speaker 8: of course significant. The promoter moved forward with a Supreme

37:00 Speaker 8: Court petition as well, with Live Nations slash Ticketmaster lacking

37:05 Speaker 8: quote the shield of an enforceable arbitration agreement unquote. The

37:08 Speaker 8: Columbia Law Journal of the Arts summed up quote it

37:10 Speaker 8: seems the plaintiffs are free to bring their antitrust case unquote.

37:14 Speaker 19: So just to clarify for people too, a class certification

37:18 Speaker 19: is a legal step that comes before the actual class

37:23 Speaker 19: action lawsuit. It's when you go to court and you

37:26 Speaker 19: prove to the court that you've got numerous people, that

37:30 Speaker 19: there's commonality between it all, that there's adequate representation, that

37:34 Speaker 19: you meet all of the essential parts to go forward

37:37 Speaker 19: with a class astion lawsuit. So this is a critical

37:40 Speaker 19: for a.

37:40 Speaker 8: Step, right right, let's see. Okay, the next part of

37:48 Speaker 8: this enter the initially mentioned attempt to secure class certification,

37:52 Speaker 8: with a related hearing schedule to take place on the

37:54 Speaker 8: morning of December fourth, so closer to the present. The

37:58 Speaker 8: filing largely recaps the alleged consumer harm resulting from the

38:04 Speaker 8: practices of Live Nation and Ticketmaster. Okay, this gets to

38:07 Speaker 8: the heart of the matter. Admittedly, as recent years have

38:11 Speaker 8: delivered more than a few qualms with and suits against

38:15 Speaker 8: the defendants, not to mention an ongoing doj antitrust action

38:19 Speaker 8: looking to split ticket Master from Live Nation, the underlying

38:23 Speaker 8: arguments don't exactly break new ground. The legal text reads,

38:26 Speaker 8: in part quote to backstop their exclusive dealing, defendants have

38:31 Speaker 8: leveraged their dominance in concert promotion to coerce venues. This

38:37 Speaker 8: is what I was referring to earlier. This is a

38:39 Speaker 8: problem Pearl Jam ran into to coerce venues into exclusive

38:43 Speaker 8: ticketing deals with Ticketmaster. Major venues rely on concert promoters

38:50 Speaker 8: to rent their space and sell tickets. Defendants exploit this

38:54 Speaker 8: dependence by tying Ticketmaster services to Live Nation promoted conscer.

39:00 Speaker 8: It's unquote. I mean, look, let's call it what it is.

39:03 Speaker 8: They own. They own the concert industry. They own, they

39:08 Speaker 8: own it, and that's the problem.

39:10 Speaker 19: Yeah, and then that translates into these enormous ticket prices.

39:16 Speaker 19: I mentioned it earlier. The artist young Blood, he there's

39:19 Speaker 19: an interview out there with him talking about how ridiculous

39:23 Speaker 19: prices are and how he was really freaked out when

39:26 Speaker 19: he found out that people who were getting up front

39:28 Speaker 19: were paying three hundred dollars a ticket yeah to see him,

39:32 Speaker 19: and he thought that was really grotesque. And a lot

39:35 Speaker 19: of artists do. But they're stuck between a rock and

39:37 Speaker 19: a hard place. You want to go to, you want

39:40 Speaker 19: to do a concert, you gotta have a venue. And

39:42 Speaker 19: if the venues got the exclusivity contract with Ticketmaster to

39:45 Speaker 19: do all the ticket sales, you can't do anything.

39:49 Speaker 8: And even if there is no agreement, even if there

39:51 Speaker 8: is no exclusivity agreement, they're still going to lean on you, right,

39:55 Speaker 8: you know what I mean.

39:56 Speaker 19: And if that's where the venue is going anyway, like

39:58 Speaker 19: that's where they're doing it. And it probably simplicity they have.

40:01 Speaker 19: It's easier to put a concert up and sell the

40:04 Speaker 19: tickets through them than it is for the individual venues

40:07 Speaker 19: to do it themselves, which requires more employees or what

40:10 Speaker 19: have you. So, yeah, they've used to be venues told

40:14 Speaker 19: sold their own tickets years ago. Yeah, years and years ago,

40:19 Speaker 19: But now that's completely pretty much unheard of. You you

40:22 Speaker 19: got to go to a ticket math where else do

40:25 Speaker 19: you go to get a ticket?

40:26 Speaker 8: I mean for small for you know, if you're a

40:28 Speaker 8: small promoter like so so for example, we were just

40:30 Speaker 8: talking about vices Fest. You know, you go to you

40:33 Speaker 8: go to the vice's best website and you can buy tickets,

40:36 Speaker 8: but you know through you know, because you do have

40:38 Speaker 8: services like event right and so forth. But but if

40:41 Speaker 8: you're if.

40:42 Speaker 19: You're a venue that doesn't put a requirement.

40:44 Speaker 8: On them, how the ticket right, it's the Strand and Dover,

40:47 Speaker 8: it's not a you know, it's not an arena. But

40:50 Speaker 8: if you're in an arena or even even a lot

40:53 Speaker 8: of theaters, you know, this is this is what you're

40:55 Speaker 8: dealing with, It says here. Ultimately, this alleged misconduct class

41:00 Speaker 8: members those who bought tickets in or after twenty ten

41:04 Speaker 8: and therefore coughed up quote associated primary ticketing fees for

41:08 Speaker 8: an event at a major concert venue unquote, to pay

41:11 Speaker 8: more than they would have in a competitive market. Per

41:14 Speaker 8: the document, Live Nation and Ticketmaster quote used their decade

41:18 Speaker 8: plus monopoly to raise prices, stifle competition, and output into

41:23 Speaker 8: grade service quality by squashing rivals and innovation impacts that

41:27 Speaker 8: each class member felt unquote. The filing says, can.

41:31 Speaker 19: We say grotesque greed again? It's the theme of the day.

41:34 Speaker 19: Oh yeah, oh yeah, gro tesque greed. That's what it like.

41:37 Speaker 19: They're not happy making money. They got to really take

41:41 Speaker 19: every dime out of the person's pocket that they can get. Well,

41:44 Speaker 19: it's it's sad, and it also disenfranchises so many people

41:48 Speaker 19: from being able to see artists. Because you get spent

41:51 Speaker 19: three hundred dollars on the ticket, it's gonna cost you

41:53 Speaker 19: two hudred dollars for groceries for the week. So yeah,

41:56 Speaker 19: you don't really have three hundred discs laying around for

41:59 Speaker 19: the average Joe, The average working man is getting the

42:04 Speaker 19: shaft on being able to go to concerts unless they

42:07 Speaker 19: play for Nosebleeder Sea. It's you know, you get your

42:09 Speaker 19: fifty bucks set up in the mesona behind a poll.

42:13 Speaker 19: You can't see anything, but you can hear it.

42:15 Speaker 9: Right.

42:17 Speaker 19: Yeah, it's not about quality for the customer anymore.

42:21 Speaker 16: Is it.

42:22 Speaker 8: It also says here it'll be worth noting. I'm sorry,

42:24 Speaker 8: it'll be worth tracking the push for class certification moving

42:27 Speaker 8: forward right now. Discovery is ongoing and the plaintiff's council

42:30 Speaker 8: reiterated plans to prove their arguments with, among other things,

42:33 Speaker 8: testimony from Live Nation, ticketmaster competitors, and market participants to boot.

42:39 Speaker 8: So that is from Digitalmusic News dot com. So that's

42:44 Speaker 8: where that stands. But there's another element here. This is

42:47 Speaker 8: from hypebot dot com, another site that has a lot

42:51 Speaker 8: of industry related news on it that's very interesting. So,

42:55 Speaker 8: and this just went up. This just went up a

42:59 Speaker 8: last couple days. Could state attorneys general use RICO to

43:05 Speaker 8: stop ticket scalpers and bots? Now the reason so part

43:10 Speaker 8: of what and the other article didn't get into this

43:12 Speaker 8: part of it, but part of what is so in

43:13 Speaker 8: city and we've talked about this on the show. Part

43:15 Speaker 8: of what is so insidious about the ticketing business is

43:18 Speaker 8: how is the secondary market and how so? And there's

43:23 Speaker 8: multi levels to this. But part of how that works

43:28 Speaker 8: is scalpers buy up these tickets and then resell them

43:32 Speaker 8: on their own sites ridiculous prices, right right. So so

43:37 Speaker 8: now you can't get so now the show has sold

43:39 Speaker 8: out through Ticketmaster, but now you can get it at

43:43 Speaker 8: a much higher price on one of these secondary sites.

43:46 Speaker 8: But here's the kicker. Some of these secondary sites are

43:49 Speaker 8: literally they're actually owned by Live Nation.

43:52 Speaker 19: Stop it really.

43:53 Speaker 8: Yeah, we've talked about that on the show before. Oh yeah, yeah,

43:57 Speaker 8: that's how that's how much they've rigged the game legal,

44:02 Speaker 8: you know, until the Justice Department says they can't do

44:04 Speaker 8: it anymore. No, it's it's all. It's all legal U

44:10 Speaker 8: at least for now. So so this story is also

44:13 Speaker 8: interesting because it talks about scalpers and bots. So again

44:17 Speaker 8: this is from Hypebot. The Federal Trade Commission has filed

44:20 Speaker 8: the lawsuit in federal Court UH in Maryland against Key

44:26 Speaker 8: Investment Group, a ticket reseller operating under names like epic Seats,

44:32 Speaker 8: total tickets, dot Com, and totally Ticks. The FTC alleges

44:36 Speaker 8: that between November one, twenty twenty two, and December thirtieth,

44:40 Speaker 8: twenty twenty three, the company used thousands of fictitious or

44:45 Speaker 8: purchased Ticketmaster accounts, along with spoofed IP addresses, proxy networks,

44:52 Speaker 8: virtual credit cards, and simbach setups to evade purchasing limits

44:59 Speaker 8: on high demand events, including and we definitely talked about this,

45:03 Speaker 8: including Taylor Swift's eras tour. Oh yeah, remember all the

45:08 Speaker 8: controverts remember that now? Yep? Yep. All together the defendants

45:13 Speaker 8: purchased three hundred seventy nine thousand, seven hundred and seventy

45:18 Speaker 8: six tickets at a cost of nearly fifty seven million,

45:22 Speaker 8: reselling many for approximately sixty four million. Notably, two hundred

45:27 Speaker 8: seventy three tickets for one Swift concert were acquired via

45:31 Speaker 8: forty nine different accounts, far exceeding the sixth ticket per

45:36 Speaker 8: event limit. And by the way, just some quick math.

45:39 Speaker 8: I'm not good at math, but that's that's what a

45:42 Speaker 8: seven million dollar profit.

45:43 Speaker 19: Us ruin music for everybody else.

45:47 Speaker 8: Yep. The FTC alleges violations of both the Better Online

45:53 Speaker 8: Ticket Sales Act or BOTS, which prohibits circumventing online ticketing

45:59 Speaker 8: controls and the broader FTC Act prohibiting unfair or deceptive

46:03 Speaker 8: business practices. Key Investment Group's defenses are likely to be

46:07 Speaker 8: that the company employs human buyers, not bots, and therefore

46:11 Speaker 8: the FDC is misapplying the Bots Act, and that the

46:14 Speaker 8: lawsuit risks dismantling the secondary ticket market and ending competition

46:19 Speaker 8: benefiting only major corporate players. Now so I'm guessing then,

46:26 Speaker 8: So what that means is so Key Investments Group defense

46:29 Speaker 8: will be, well, you know these fictitious accounts, these are

46:33 Speaker 8: actual human beings operating the fictitious accounts, therefore is not

46:37 Speaker 8: covered by the Bots Act. That'll be their defense. Let's

46:42 Speaker 8: see the loophole. Yeah, a loophole exactly. The case is

46:46 Speaker 8: part of an expanded federal court federal effort rather spurred

46:50 Speaker 8: by an executive order from March twenty twenty five, issued

46:53 Speaker 8: after President Trump met with kid Rock to promote transparency

46:57 Speaker 8: and fairness in ticket resale markets and to curb predatory

47:00 Speaker 8: resale tactics. Well that's something I support a blind dog,

47:04 Speaker 8: that's right. The FTC's action reflects growing regulatory scrutiny of

47:09 Speaker 8: ticketing practices that disadvantages ordinary consumers at both the federal

47:14 Speaker 8: and state levels. Recall that the authors of the Obama

47:18 Speaker 8: era Bots Act were recently complaining that the FTC had

47:22 Speaker 8: rarely enforced that law. It seems unlikely that the FTC's

47:26 Speaker 8: enforcement action against Key Investment Group would have occurred without

47:29 Speaker 8: the broader policy momentum catalyzed by President Trump's executive Order

47:33 Speaker 8: targeting ticket scalping and abusive resale practices. That order directed

47:38 Speaker 8: federal agencies, including the FTCN, DOJ, to prioritize investigations and

47:43 Speaker 8: enforcement actions addressing deceptive or anti competitive conduct in the

47:47 Speaker 8: live events and ticketing industries. The executive like what you

47:51 Speaker 8: said about a blind dog or a broken clock. The

47:54 Speaker 8: executive order was followed by public consultation processes jointly initiated

47:59 Speaker 8: by the DOJ and FDC to gather information on how

48:02 Speaker 8: ticket resellers were impacting consumer access and market fairness. These

48:06 Speaker 8: actions created a clear regulatory mandate to pursue high profile

48:10 Speaker 8: investigations like the one brought against Key Investment Group. I

48:16 Speaker 8: don't know if we have time to get through all

48:18 Speaker 8: of this just a little bit more. We don't have

48:20 Speaker 8: to think to go through the whole thing, but so

48:21 Speaker 8: the elements of a recocase. So how does this become

48:24 Speaker 8: a recocase racketeering? If the FTC case sounds like racketeering,

48:30 Speaker 8: that's because it is. To make a reco case, Federal

48:35 Speaker 8: or state prosecutors must show one enterprise a structured association

48:41 Speaker 8: formal or informal, two pattern of racketeering activity, at least

48:46 Speaker 8: two participate I'm sorry, at least two predicate crimes within

48:50 Speaker 8: ten years, Three predicate acts crimes like wire fraud, mail fraud,

48:56 Speaker 8: computer fraud, access device fraud, or identity theft. And continuity

49:01 Speaker 8: conduct that is ongoing or opposes a threat of continuing harm.

49:06 Speaker 8: The FDC's complaint practically hands this up on a silver platter,

49:10 Speaker 8: multiple interlocking LLCs. You've got Key Investment Group, Total Tickets,

49:15 Speaker 8: dot Com totally takes front Rows Tickets, WLKE Investments plus

49:20 Speaker 8: individual managers provide the enterprise. The use of fake accounts, bots,

49:25 Speaker 8: and deceptive transactions can likely be recast as wire fraud

49:30 Speaker 8: and computer fraud. The classic reco predicates, and the continuity

49:35 Speaker 8: is obvious. The complaint says the conduct has persisted from

49:39 Speaker 8: twenty sixteen through today. So I'm gonna kind of skip

49:49 Speaker 8: down here. Because we're running out of time. The FDC's

49:52 Speaker 8: complaint seeks civil penalties and injunctions, but a state recoaction

49:56 Speaker 8: could carry treble damages, asset forfeitures, and potentially criminal exposure.

50:01 Speaker 8: That shift in remedies would change the incentives dramatically for

50:04 Speaker 8: defendants who have so far treated civil finds as a

50:07 Speaker 8: cost of doing business, and beyond punishment, it would send

50:11 Speaker 8: a signal ticket bodying isn't just unfair, it's racketeering. So

50:16 Speaker 8: there's more to the article. We don't have time to

50:18 Speaker 8: get through the rest of it, but I encourage you

50:19 Speaker 8: to check out hypebot dot com. Very interesting. And that is,

50:23 Speaker 8: by the way, how a lot of businesses get around things.

50:25 Speaker 8: Like you know, if something is is uh illegal but

50:31 Speaker 8: not necessarily a crime, but just there are potential fines involved. Yeah,

50:39 Speaker 8: you can say, okay, well that's the cost of doing

50:41 Speaker 8: business if I have to pay this fine, but the

50:44 Speaker 8: fine is well, that's the thing. It's like a tax

50:48 Speaker 8: to them exactly if the fine is say okay, I

50:51 Speaker 8: got to pay this two hundred thousand dollars fine, but

50:54 Speaker 8: I made but I made seven million on the transaction.

50:57 Speaker 8: Who cares?

50:58 Speaker 19: I paid a tax?

50:59 Speaker 8: Cost of doing this exactly business that's so terrible.

51:03 Speaker 19: So on that note, it's thee all these subsidiaries, it's

51:06 Speaker 19: all the different versions of themselves.

51:08 Speaker 8: Yes, yeah, exactly exactly.

51:10 Speaker 19: And healthcare does the same thing.

51:12 Speaker 8: Yeah, there you go, there you go. All right, we

51:15 Speaker 8: got to begin to wrap up. But thank you to

51:16 Speaker 8: everybody who joined us today. Of course in the first

51:18 Speaker 8: hour where were joined by scal a great band from

51:21 Speaker 8: the UK, and the second hour Charles Richardson. Always loved

51:24 Speaker 8: having Charles on. And in the third hour Linda Avelinda

51:27 Speaker 8: and her new single Burning Bridges and really enjoyed speaking

51:31 Speaker 8: with her or Bridges burned. I think actually, if you burned,

51:34 Speaker 8: I think I'm pardon me. I believe I'm suffering from

51:37 Speaker 8: adult onset dyslexia.

51:40 Speaker 10: So uh.

51:43 Speaker 8: Jenny, again, congratulations on the article on Common Dreams. If

51:46 Speaker 8: you want to mention that again.

51:47 Speaker 19: Lei, I am proud to have my first byline on

51:49 Speaker 19: Common Dreams. You can check out the article on their website.

51:53 Speaker 19: You can also check me out on my website at

51:55 Speaker 19: Jencoffee dot com j E. N N C O F

51:57 Speaker 19: f Ey dot com. And don't forget the mosaic. Our

52:01 Speaker 19: collective has an open call right now for art for

52:03 Speaker 19: the Full Circus, Full Circus, Full Circle for the Full

52:07 Speaker 19: Circle Art Show. The deadline is next week Saturday, so

52:11 Speaker 19: get your pieces in love to see you on the

52:13 Speaker 19: our alls. Check out mosaic Arcollective dot com.

52:17 Speaker 8: Very good, let's see, And of course you can go

52:21 Speaker 8: to Gencoffee dot com for more information on Jenny. You

52:23 Speaker 8: can go to my website Matt Connorton dot com for

52:26 Speaker 8: more information on me if you want to keep up

52:28 Speaker 8: with everything I'm doing. I do believe we're doing another

52:31 Speaker 8: Tough Pumps podcast on Sunday, Eric Pilcher and I and oh,

52:36 Speaker 8: I should let this out of the bag just quickly.

52:38 Speaker 8: If you're a fan of Eric Pilcher's classic film reviews,

52:40 Speaker 8: those are finally coming back, so we'll have more information

52:42 Speaker 8: about that in the near future as well. All Right,

52:46 Speaker 8: we gotta wrap up. If you missed any part of

52:47 Speaker 8: today's show, it will be up in just a little

52:49 Speaker 8: bit Wmnhradio dot org and of course at my website

52:53 Speaker 8: Matt Connorton dot com. And that's it for us for now.

52:55 Speaker 8: Did we forget anything? All right, We'll talk to y'all

52:58 Speaker 8: a little bit later. Bye everybody, Bye.

52:59 Speaker 11: Bye.

53:03 Speaker 8: You're listening to macconnorton Unleashed on wm n H ninety

53:08 Speaker 8: five point three and now the world radio premiere of

53:12 Speaker 8: the new single from Jersey Calling. This is called working

53:17 Speaker 8: Class Punk.

53:23 Speaker 9: Why me at six am looks like got over? Slept again?

53:28 Speaker 9: Jun cocky dressing on.

53:30 Speaker 5: The door, and and fight traffic at.

53:35 Speaker 13: Its worst, swear and God must.

53:37 Speaker 5: Be curse join the r resident of Taylor.

53:42 Speaker 1: Was screaming sounds.

53:54 Speaker 12: Go work, go to work, Go to work, go to work,

54:00 Speaker 12: work so you can't feel the hurt till it makes

54:03 Speaker 12: you go berserve.

54:05 Speaker 11: Go to work, go to work, go to work, go

54:09 Speaker 11: to work.

54:11 Speaker 13: In the covert, your face.

54:13 Speaker 11: Covered in tur.

54:16 Speaker 5: Go to work.

54:21 Speaker 9: Love bunkiss me a shout says I'm just up, burnt

54:26 Speaker 9: out my algiance to the Confederations.

54:29 Speaker 5: Him down.

54:31 Speaker 9: Oh, I say, hey, you're right, old man, flip the

54:35 Speaker 9: burden of a ramp.

54:37 Speaker 5: But there's now as get a taste that hard of

54:40 Speaker 5: a love.

54:42 Speaker 14: That's a res in my own streaming sounds not what

54:47 Speaker 14: I said, low me trying to It's essential tool.

54:53 Speaker 11: Go work, go to work, go to work, go to work, or.

54:59 Speaker 13: Till you get feel the hurt till it makes you

55:02 Speaker 13: go berserve.

55:04 Speaker 11: Go to work, Go to work, Go to work, go

55:08 Speaker 11: to work.

55:09 Speaker 13: Head in the closet, your face covered in d.

55:14 Speaker 5: Go to work. Three where you keep going RB.

55:41 Speaker 13: Yeah, come that bone scream itself.

55:45 Speaker 5: But I said, wow, we like to that of tone.

55:52 Speaker 5: Go to work, Go to work, Go to work, go

55:56 Speaker 5: to work.

55:57 Speaker 13: Work so you can't feel the herd till it makes

56:01 Speaker 13: you go berserk.

56:02 Speaker 1: No work, go to work, go to work, go work.

56:08 Speaker 13: Head in the clouds with your face covered in.

56:13 Speaker 5: Cou walk out, you work out, you work, go work.

56:19 Speaker 5: What do you get tall?

56:21 Speaker 13: It makes you come beside?

56:24 Speaker 5: Go work do what do you work? Go to work?

56:29 Speaker 5: And I content re comedy to go.

56:41 Speaker 20: Work, work, w work yeeh its is Texas Smike And

56:48 Speaker 20: you're listening to Matt Carrnton on Reach on W M

56:52 Speaker 20: and H ninety five point three f M.

56:55 Speaker 15: You are listening to WU M and H.

57:01 Speaker 9: The Commander don't get Supreme Leader mats coming.

58:26 Speaker 8: This is Jesse Rutstein and Caleb Dyer. Oh oh no, okay,

58:30 Speaker 8: we we can. Let's do that one more time. This

58:32 Speaker 8: is Jesse Rutstein and Caleb Dyer. Oh crap, hold on,

58:37 Speaker 8: what do you want me to say? Right after that?

58:39 Speaker 8: From Hatchet Act from and then I'll say you're listening right,

58:42 Speaker 8: sounds good. This is Jesse Rutstein and oh