跟讀練習: The Ticketmaster monopoly is over, now what? - 通過影片學習英語口語

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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.

Tears and anger as ticket sites crash for millions of Taylor Swift fans.

Extensive wait times, steep fees, and glitches.

Tickets were going for as much as $499 before fees.

And though it's not the first time fans and artists have complained about Ticketmaster, that moment became a turning point.

Congress even held hearings and quoted song lyrics.

I think it's a nightmare dressed like a daydream.

The meltdown around the Arrows tour exposed how Ticketmaster and Live Nation had become the gatekeepers to most major live music experiences.

And in April 2026, a federal jury ruled against this ticketing monopoly.

Breaking news, a verdict has been reached in the antitrust trial against entertainment giant Live Nation.

A federal jury has found Live Nation and its subsidiary, Ticketmaster, have been operating as a monopoly.

And the story is far from over.

So there will be a whole other round of litigation now.

And there's really only one question anyone cares about.

Will tickets get cheaper?

Ticketmaster and Live Nation first merged in 2010.

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.

One of the important things they promised not to do was to condition Live Nation concerts

and tours on a venue taking Ticketmaster for its whole season.

Basically, they can't say, if you want our concerts, you have to use Ticketmaster.

But it wasn't until 2024 when the government stepped in.

The DOJ, under former President Biden and 40 states, sued Live Nation.

The allegation?

Live Nation used its power across concerts, venues, and ticketing to shut out competitors, locking venues into exclusive deals with Ticketmaster.

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,

sometimes implicitly, these venues into using Ticketmaster if they wanted any of the concerts that Live Nation promotes.

But by the time the case is ready to go to trial, the politics change.

Donald Trump is elected in 2024, and when the trial begins in New York in March 2026, the federal government settles.

The settlement that is not yet final is a few what I would call sort of band -aids over the competitive problems.

Under the settlement, Live Nation would divest interests in 13 venues, allow venues to use competing ticket services without retaliation,

and cap certain Ticketmaster service fees at about 15 % at venues it controls.

A lot of people have been coming out against the settlement and saying, it's really kind of a slap on the wrist.

32 states and the District of Columbia reject the settlement and bring the case to trial themselves.

And they won.

After a five -week trial, the verdict came down and the jury sided with the states.

The jury found that they monopolized two markets.

One was the market for ticketing platforms.

This is the Ticketmaster product.

They also monopolized the market for amphitheaters And they even found a number,

$1 .72, upcharges that resulted from this maintained monopoly power.

Next, the judge needs to decide what the punishment is.

And Live Nation has said they will appeal.

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.

Live Nation could be expected to argue, look, we're already in this agreement with the DOJ.

This covers it.

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.

I think they can see better innovation in ticketing platforms, which we know has been a problem.

I think they can see lower fees even than that number.

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.

I think they're still going to be very expensive.

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.

That's because over the last two decades, the music industry completely changed how artists make money.

Streaming made music cheap and touring became the business.

On a $100 ticket, including fees, you're looking at the artists getting 75 to 80 % of that ticket price.

The artist portion is going to pay for the tour bus, to going to pay for gas, flights, the crew.

A portion of the ticket, approximately 10%, goes to the venue.

And then it goes to the ticketing company.

They get paid on every single ticket sold.

Even if Live Nation and Ticketmaster are forced to split, a breakup isn't a price cut.

Which raises the question, how does this ruling change things for the fans?

Ultimately, what is this going to mean for fans right now? not much.

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.

More competition is a good thing.

If you have five ticketing platforms instead of one, they have to compete on the fees.

That could trim the service charges and the processing fees, the stuff that turns your $89 ticket into $130.

Still, this doesn't mean people are going to see huge price cuts for tickets to large shows.

And despite the cost, concert attendance is at an all time high.

Gen Z has spent an average of $2 ,100 on concert tickets over the past two years.

And they're even going into debt choosing buy now, pay later options to buy tickets.

Most of the drive behind those really big expensive concerts is just people's willingness to pay.

You know, boomers will pay anything to see Bruce Springsteen one more time.

Millennials will pay anything to see Taylor Swift.

It's just the nature of people having money to spend, the importance of these experiences that have driven prices really high.

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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本課的詞彙與口語要點

這節口語課以影片“The Ticketmaster monopoly is over, now what?”為素材。影片中反覆出現的詞有：ticket, Nation, Ticketmaster, concert, venue。這段影片共有 74 個句子、1057 個單詞可供跟讀。講話部分時長為 6:03。說話人語速自然，每分鐘約 175 個詞，接近日常對話。 82% 的單詞屬於英語最常用的 3,000 詞，其餘的詞建議在練習前先學一下。

影片中的重點詞彙

影片中 15 個值得學習的單詞，附發音和釋義：

單詞	發音	釋義
venue 名詞	/ˈvɛnjuː/	地點 /地點, 場地 /場地
monopoly 名詞	/məˈnɑpəli/	專賣 /專賣
compete 動詞	/kəmˈpiːt/	競爭 /競爭, 高下
consent 動詞	/kənˈsɛnt/	承諾 /承諾, 同意
verdict 名詞	/ˈvɜː.dɪkt/	裁決 /裁決, 裁定
decree 名詞	/dɪˈkɹiː/	法令, 上諭 /上諭
merge 動詞	/mɝd͡ʒ/	合併
argue 動詞	/ˈɑɹ.ɡju/	辯論 /辯論, 爭辯 /爭辯
anger 名詞	/ˈæŋɡə/	發怒 /發怒, 忿怒
dramatic 形容詞	/dɹəˈmætɪk/	戲劇的 /戲劇的
promotion 名詞	/pɹəˈmoʊʃn̩/	提升, 升官
lifetime 名詞	/ˈlaɪf.taɪm/	一生, 一輩子 /一輩子
lyrics 名詞	/ˈlɪɹ.ɪks/	歌詞 /歌詞
tear 動詞	/tɛɹ/	撕, 撕破
punishment 名詞	/ˈpʌnɪʃmənt/	懲罰 /懲罰, 刑罰 /刑罰

影片中出現的短語動詞

單詞	釋義
come down 動詞	下來 /下來, 降
go through with 動詞	完成, 實現 /實現
go up 動詞	上昇 /上升, 上去

影片中的語法

說話人最常用的結構，並附上影片中的原話：

結構	影片中的用法
現在完成進行時 have/has been + -ing — 以前開始、現在仍在繼續的動作	have been operating · have been coming
現在完成時 have/has + 過去分詞 — 過去發生但與現在仍有關聯的事	have complained · has been reached · has found
被動語態 be + 過去分詞 — 強調發生了什麼，而不是誰做的	has been reached · is elected · are expected

需要注意的發音

說話人用了 10 次縮略和弱讀形式，例如 doesn't, they're, can't。請按聽到的簡短形式來說。

“sh” 和 “zh” 音: promotion /pɹəˈmoʊʃn̩/, punishment /ˈpʌnɪʃmənt/, innovation /ˌɪn.əˈveɪ.ʃən/, litigation /ˌlɪtɪˈɡeɪ̯ʃən/, retaliation /ɹɪˌtæl.iˈeɪ.ʃən/
長單詞——注意重音位置: monopoly /məˈnɑpəli/, innovation /ˌɪn.əˈveɪ.ʃən/, litigation /ˌlɪtɪˈɡeɪ̯ʃən/, subsidiary /sʌbˈsɪ.di.əɹ.i/, competitor /kəmˈpɛt.ɪ.tɚ/

中文母語者容易讀錯的音：

/v/ — 不要讀成 /w/，上齒輕觸下唇: venue /ˈvɛnjuː/, verdict /ˈvɜː.dɪkt/, innovation /ˌɪn.əˈveɪ.ʃən/, violate /ˈvaɪəˌleɪt/, divest /daɪˈvɛst/
詞尾子音 — 要讀清楚，後面不要加母音: compete /kəmˈpiːt/, consent /kənˈsɛnt/, verdict /ˈvɜː.dɪkt/, merge /mɝd͡ʒ/, breakup /ˈbɹeɪk.ʌp/
/r/ 和 /l/ 的區別: lyrics /ˈlɪɹ.ɪks/, retaliation /ɹɪˌtæl.iˈeɪ.ʃən/

如何用這段影片練習

先完整聽一遍影片，不要開口，記下不認識的單詞。
先用 0.75 倍速逐句跟讀，熟練之後再回到正常速度。
錄下自己的聲音並與原聲對比，特別注意 venue, monopoly, compete 這類單詞。

什麼是跟讀法？

跟讀法 (Shadowing) 是一種有科學依據的語言學習技巧，最初開發用於專業口譯員的培訓，並由多語言者Alexander Arguelles博士普及。這個方法簡單而強大：您在聽英語母語原聲的同時立即大聲重複——就像是一個延遲1-2秒緊跟說話者的影子。與被動聽力或語法練習不同，跟讀法強迫您的大腦和口腔肌肉同時處理並模模擬實的講話模式。研究表明它能顯著提高發音準確性，語調，節奏，連讀，聽力理解和口語流利度——使其成為雅思口語備考和真實英語交流最有效的方法之一。

影子跟讀法: 閱讀完整分步指南 →

跟讀練習: The Ticketmaster monopoly is over, now what? - 通過影片學習英語口語

選擇練習模式

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