シャドーイング練習: The Ticketmaster monopoly is over, now what? - 動画で英語スピーキングを学ぶ
レッスンを作成中...
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In 2022, outrage around predatory concert ticket pricing came to a head when tickets went on sale for Taylor Swift's Errors Tour.
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Tears and anger as ticket sites crash for millions of Taylor Swift fans.
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Extensive wait times, steep fees, and glitches.
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Tickets were going for as much as $499 before fees.
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And though it's not the first time fans and artists have complained about Ticketmaster, that moment became a turning point.
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Congress even held hearings and quoted song lyrics.
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I think it's a nightmare dressed like a daydream.
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The meltdown around the Arrows tour exposed how Ticketmaster and Live Nation had become the gatekeepers to most major live music experiences.
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And in April 2026, a federal jury ruled against this ticketing monopoly.
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Breaking news, a verdict has been reached in the antitrust trial against entertainment giant Live Nation.
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A federal jury has found Live Nation and its subsidiary, Ticketmaster, have been operating as a monopoly.
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And the story is far from over.
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So there will be a whole other round of litigation now.
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And there's really only one question anyone cares about.
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Will tickets get cheaper?
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Ticketmaster and Live Nation first merged in 2010.
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The DOJ allowed it to go through with what's called a consent decree, which is like a contract between the government and the merging parties.
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One of the important things they promised not to do was to condition Live Nation concerts
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and tours on a venue taking Ticketmaster for its whole season.
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Basically, they can't say, if you want our concerts, you have to use Ticketmaster.
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But it wasn't until 2024 when the government stepped in.
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The DOJ, under former President Biden and 40 states, sued Live Nation.
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The allegation?
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Live Nation used its power across concerts, venues, and ticketing to shut out competitors, locking venues into exclusive deals with Ticketmaster.
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They were claiming that Ticketmaster and Live Nation were violating this part of the consent decree, that they were sort of, in some cases, coercing explicitly,
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sometimes implicitly, these venues into using Ticketmaster if they wanted any of the concerts that Live Nation promotes.
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But by the time the case is ready to go to trial, the politics change.
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Donald Trump is elected in 2024, and when the trial begins in New York in March 2026, the federal government settles.
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The settlement that is not yet final is a few what I would call sort of band -aids over the competitive problems.
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Under the settlement, Live Nation would divest interests in 13 venues, allow venues to use competing ticket services without retaliation,
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and cap certain Ticketmaster service fees at about 15 % at venues it controls.
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A lot of people have been coming out against the settlement and saying, it's really kind of a slap on the wrist.
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32 states and the District of Columbia reject the settlement and bring the case to trial themselves.
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And they won.
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After a five -week trial, the verdict came down and the jury sided with the states.
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The jury found that they monopolized two markets.
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One was the market for ticketing platforms.
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This is the Ticketmaster product.
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They also monopolized the market for amphitheaters And they even found a number,
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$1 .72, upcharges that resulted from this maintained monopoly power.
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Next, the judge needs to decide what the punishment is.
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And Live Nation has said they will appeal.
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The states are expected to ask for a breakup, but Live Nation will probably ask for something similar to the deal they already worked out with the DOJ.
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Live Nation could be expected to argue, look, we're already in this agreement with the DOJ.
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This covers it.
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I think that if there's a good remedy here, and that's a big if, then I think consumers can expect over time to see a lot more benefits than just $1 .72.
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I think they can see better innovation in ticketing platforms, which we know has been a problem.
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I think they can see lower fees even than that number.
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But one thing that's not going to happen, it is these hundreds and sometimes thousands of dollars paid for these big, extravagant, once -in -a -lifetime type of concerts.
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I think they're still going to be very expensive.
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The cost of concerts keep going up, and not just for fans, for promoters, for the venues that put on these shows, and most notably for the artists.
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That's because over the last two decades, the music industry completely changed how artists make money.
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Streaming made music cheap and touring became the business.
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On a $100 ticket, including fees, you're looking at the artists getting 75 to 80 % of that ticket price.
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The artist portion is going to pay for the tour bus, to going to pay for gas, flights, the crew.
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A portion of the ticket, approximately 10%, goes to the venue.
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And then it goes to the ticketing company.
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They get paid on every single ticket sold.
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Even if Live Nation and Ticketmaster are forced to split, a breakup isn't a price cut.
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Which raises the question, how does this ruling change things for the fans?
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Ultimately, what is this going to mean for fans right now? not much.
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However, I think it's important to note there are other things that are better for fans, even if it doesn't mean a dramatic decrease in prices.
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More competition is a good thing.
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If you have five ticketing platforms instead of one, they have to compete on the fees.
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That could trim the service charges and the processing fees, the stuff that turns your $89 ticket into $130.
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Still, this doesn't mean people are going to see huge price cuts for tickets to large shows.
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And despite the cost, concert attendance is at an all time high.
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Gen Z has spent an average of $2 ,100 on concert tickets over the past two years.
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And they're even going into debt choosing buy now, pay later options to buy tickets.
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Most of the drive behind those really big expensive concerts is just people's willingness to pay.
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You know, boomers will pay anything to see Bruce Springsteen one more time.
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Millennials will pay anything to see Taylor Swift.
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It's just the nature of people having money to spend, the importance of these experiences that have driven prices really high.
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That doesn't mean that there's some amount of that that is from ticketing and the promotion services, but it's not maybe the big ticket item, so to speak.
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このレッスンの語彙とスピーキングのポイント
このスピーキングレッスンは、動画「The Ticketmaster monopoly is over, now what?」を教材にしています。 繰り返し出てくる語は次のとおりです：ticket, Nation, Ticketmaster, concert, venue。 この動画には、シャドーイング用の文が74文、単語が1057語あります。 音声の長さは6:03です。 話す速さは1分あたり約175語で、日常会話に近い自然なペースです。 単語の82%は英語の頻出3,000語に含まれます。残りは練習の前に確認しておきましょう。
この動画の重要語彙
動画に出てくる覚えておきたい単語15語を、発音と意味つきで紹介します。
| 単語 | 発音 | 意味 |
|---|---|---|
| monopoly 名詞 | /məˈnɑpəli/ | 独占, 独り占め |
| compete 動詞 | /kəmˈpiːt/ | 争う, 競う |
| consent 動詞 | /kənˈsɛnt/ | 承諾する, 同意する |
| verdict 名詞 | /ˈvɜː.dɪkt/ | 評決 |
| decree 名詞 | /dɪˈkɹiː/ | 命令, 詔書 |
| merge 動詞 | /mɝd͡ʒ/ | 合わせる, 合併する |
| argue 動詞 | /ˈɑɹ.ɡju/ | 議論する, 論ずる |
| anger 名詞 | /ˈæŋɡə/ | 怒り, 忿怒 |
| dramatic 形容詞 | /dɹəˈmætɪk/ | 劇的, ドラマティック |
| promotion 名詞 | /pɹəˈmoʊʃn̩/ | 昇進, 進級 |
| lifetime 名詞 | /ˈlaɪf.taɪm/ | 生涯, 一生 |
| settle 動詞 | /ˈsɛtəl/ | 解決する |
| lyrics 名詞 | /ˈlɪɹ.ɪks/ | 歌詞, リリック |
| tear 動詞 | /tɛɹ/ | 破る, 引き裂く |
| punishment 名詞 | /ˈpʌnɪʃmənt/ | 罰, 懲罰 |
動画に出てくる句動詞
| 単語 | 意味 |
|---|---|
| come down 動詞 | 降りる |
| go up 動詞 | 上がる, 登る |
この動画の文法
話し手がよく使っている文型を、動画の実際の表現とともに紹介します。
| 文型 | 動画での表現 |
|---|---|
| 現在完了進行形 have/has been + -ing — 以前に始まり今も続いている動作 | have been operating · have been coming |
| 現在完了形 have/has + 過去分詞 — 過去の出来事が今も関係している | have complained · has been reached · has found |
| 受動態 be + 過去分詞 — 誰がするかより、何が起きるかに焦点を当てる | has been reached · is elected · are expected |
注意したい発音
話し手はdoesn't, they're, can'tなど、短縮形や弱形を10回使っています。聞こえたとおりの短い形で発音しましょう。
- 「sh」と「zh」の音: promotion /pɹəˈmoʊʃn̩/, punishment /ˈpʌnɪʃmənt/, innovation /ˌɪn.əˈveɪ.ʃən/, litigation /ˌlɪtɪˈɡeɪ̯ʃən/, retaliation /ɹɪˌtæl.iˈeɪ.ʃən/
- 長い単語（アクセントの位置に注意）: monopoly /məˈnɑpəli/, innovation /ˌɪn.əˈveɪ.ʃən/, litigation /ˌlɪtɪˈɡeɪ̯ʃən/, subsidiary /sʌbˈsɪ.di.əɹ.i/, competitor /kəmˈpɛt.ɪ.tɚ/
日本語話者が苦手な音：
- /r/ と /l/ の区別 — /l/ は舌先を歯茎につけ、/r/ はどこにもつけない: lyrics /ˈlɪɹ.ɪks/, retaliation /ɹɪˌtæl.iˈeɪ.ʃən/
- /v/ — /b/ にならないように、上の歯を下唇に当てる: venue /ˈvɛnjuː/, verdict /ˈvɜː.dɪkt/, innovation /ˌɪn.əˈveɪ.ʃən/, violate /ˈvaɪəˌleɪt/, divest /daɪˈvɛst/
- 子音の連続 — 間に母音を入れない: consent /kənˈsɛnt/, verdict /ˈvɜː.dɪkt/, breakup /ˈbɹeɪk.ʌp/, argue /ˈɑɹ.ɡju/, dramatic /dɹəˈmætɪk/
この動画での練習方法
- まず声を出さずに動画を最後まで聞き、知らない単語をメモします。
- まず0.75倍速で一文ずつシャドーイングし、慣れてきたら通常の速度に戻します。
- 自分の声を録音して元の音声と比べます。monopoly, compete, consentなどの単語に特に注意しましょう。
シャドーイングとは？英語上達に効果的な理由
シャドーイング（Shadowing）は、もともとプロの通訳者養成プログラムで開発された言語学習法で、多言語習得者として知られるDr. Alexander Arguelles によって広く普及されました。方法はシンプルですが非常に効果的：ネイティブスピーカーの英語を聞きながら、1〜2秒の遅延で声に出してすぐに繰り返す——まるで「影（shadow）」のように話者を追いかけます。文法ドリルや受動的なリスニングと異なり、シャドーイングは脳と口の筋肉が同時にリアルタイムで英語を処理・再現することを強制します。研究により、発音精度、抑揚、リズム、連音、リスニング力、そして会話の流暢さが大幅に向上することが確認されています。IELTSスピーキング対策や自然な英語コミュニケーションを目指す方に特におすすめです。