Prática de Shadowing: The Ticketmaster monopoly is over, now what? - Aprenda a falar inglês com vídeo
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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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Vocabulário e dicas de fala para esta lição
Esta aula de conversação usa o vídeo “The Ticketmaster monopoly is over, now what?”. As palavras que mais se repetem: ticket, Nation, Ticketmaster, concert, venue. Este vídeo tem 74 frases e 1057 palavras para praticar shadowing. A fala dura 6:03. O falante fala em ritmo natural, cerca de 175 palavras por minuto, próximo de uma conversa do dia a dia. 82% das palavras estão entre as 3.000 mais comuns do inglês; vale a pena estudar o restante antes de começar.
Vocabulário principal deste vídeo
15 palavras do vídeo que vale a pena aprender, com pronúncia e significado:
| Palavra | Pronúncia | Significado |
|---|---|---|
| venue substantivo | /ˈvɛnjuː/ | sala de eventos, salão de eventos |
| monopoly substantivo | /məˈnɑpəli/ | monopólio |
| compete verbo | /kəmˈpiːt/ | competir, rivalizar |
| consent verbo | /kənˈsɛnt/ | consentir, aprovar |
| verdict substantivo | /ˈvɜː.dɪkt/ | veredito |
| decree substantivo | /dɪˈkɹiː/ | decreto |
| merge verbo | /mɝd͡ʒ/ | unir, convergir |
| breakup substantivo | /ˈbɹeɪk.ʌp/ | quebra |
| argue verbo | /ˈɑɹ.ɡju/ | discutir, argumentar |
| anger substantivo | /ˈæŋɡə/ | raiva, ira |
| dramatic adjetivo | /dɹəˈmætɪk/ | dramático |
| promotion substantivo | /pɹəˈmoʊʃn̩/ | promoção |
| lifetime substantivo | /ˈlaɪf.taɪm/ | vida |
| settle verbo | /ˈsɛtəl/ | resolver |
| lyrics substantivo | /ˈlɪɹ.ɪks/ | letra |
Phrasal verbs que você vai ouvir
| Palavra | Significado |
|---|---|
| go up verbo | subir |
Gramática neste vídeo
As estruturas que o falante mais usa, com as palavras exatas do vídeo:
| Estrutura | No vídeo |
|---|---|
| Present perfect continuous have/has been + -ing — uma ação que começou antes e continua | have been operating · have been coming |
| Present perfect have/has + particípio passado — uma ação passada que ainda importa agora | have complained · has been reached · has found |
| Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz | has been reached · is elected · are expected |
Pronúncia para ficar de olho
O falante usa 10 contrações e formas reduzidas, como doesn't, they're, can't. Diga-as na forma curta, do jeito que você ouve.
- Os sons de “sh” e “zh”: promotion /pɹəˈmoʊʃn̩/, punishment /ˈpʌnɪʃmənt/, innovation /ˌɪn.əˈveɪ.ʃən/, litigation /ˌlɪtɪˈɡeɪ̯ʃən/, retaliation /ɹɪˌtæl.iˈeɪ.ʃən/
- Palavras longas — acerte a sílaba tônica: monopoly /məˈnɑpəli/, innovation /ˌɪn.əˈveɪ.ʃən/, litigation /ˌlɪtɪˈɡeɪ̯ʃən/, subsidiary /sʌbˈsɪ.di.əɹ.i/, competitor /kəmˈpɛt.ɪ.tɚ/
Sons difíceis para falantes de português:
- Consoante final — sem acrescentar um “i” depois: compete /kəmˈpiːt/, consent /kənˈsɛnt/, verdict /ˈvɜː.dɪkt/, breakup /ˈbɹeɪk.ʌp/, dramatic /dɹəˈmætɪk/
- /l/ final — a língua toca o céu da boca, não vira “u”: settle /ˈsɛtəl/, millennial /mɪˈlɛn.ɪ.əl/
- s + consoante no início — sem um “i” antes: steep /stiːp/, slap /slæp/
Como praticar com este vídeo
- Ouça o vídeo inteiro uma vez sem falar e anote as palavras que você não conhece.
- Comece na velocidade 0,75×, faça shadowing frase por frase e volte à velocidade normal quando ficar fácil.
- Grave a sua voz e compare com o original, prestando atenção a palavras como venue, monopoly, compete.
O que é a Técnica de Shadowing?
Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.