London Mayor Boris Johnson brands Olympics 2012 ticketing process ‘an oddity’ Locog gives itself until 24 June to inform successful applicantsThis article titled “London Olympic organisers defend ‘peculiar’ ticket payment process” was written by Owen Gibson, for The Guardian on Wednesday 18th May 2011 16.51 UTCLondon Olympic organisers including Lord Coe have been forced to defend their ticketing process in the wake of criticism from consumer groups and after the mayor of London, Boris Johnson, called it “peculiar”.Consumer groups including Which? have criticised the fact that money started coming out of applicant’s accounts this week but Locog has given itself until 24 June to inform them which tickets they have received, if any.Coe denied the policy was an attempt to avoid a scenario where customers may cancel their orders if they had only received tickets for less popular events. He argued instead it was an attempt to create the breathing space to solve any problems with payments.“The important thing here is, let’s not be coy or naive about, we want to make sure that people have the funds to be able to do this. We’re talking £500m here, this is not chopped liver,” said Coe. “We want to make sure people have funds available. In the event they don’t, we don’t want to rip up that application on the first day.”Which? has said the ordering process forced people to take “a gamble with their finances”. Johnson told a parliamentary committee that taking payment before emailing successful applicants was “a bit peculiar” and “an administrative oddity”, though he added it was “not the end of the world”.Locog’s head of ticketing, Paul Williamson, said up to 25% of ticket payments may not go through first time due to lost cards, technical problems or because there were insufficient funds, adding an extra layer of complexity to a system that had 6.6 million tickets on sale across 648 sessions at five price points and numerous venues. He said the ticketing process had been well trailed and that he had no regrets about the strategy.“We can’t tell people what tickets they’ve got until we’ve charged their card. We need to make sure it’s a fully paid for order before we inform people. That’s sensible business practice,” said Williamson. “The second reason is the sheer scale of this enterprise. More than 1.8 million applied and more than 20 million tickets were applied for. The sheer scale of it is why it takes time. If we told people the day after their credit card went through, we’d be telling people across three or four weeks. You might be told and your next door neighbour wouldn’t.”He said that by the middle of next week Locog expected to have charged well over half of all payments. The emails to inform applicants whether they were successful will all go out on the same day.“We’re trying to be fair to people. No one is going to be allocated a ticket they haven’t applied for. On average, people have applied for 12 tickets worth a total of £500. People are applying for tickets they’ve chosen,” said Williamson.He also defended the fact that Locog has not informed buyers where they will be sitting, effectively asking them to take on trust that more expensive tickets will have better views.“The higher price points are closer to the action and more central, the lower price points are further away and higher up. That’s quite normal in major events where you’re selling tickets a year beforehand,” said Williamson, drawing comparison with other events such as Wimbledon and the FA Cup final that sold tickets in price bands.In June, anyone who didn’t get any tickets at all will get “first bite at the second chance cherry”, said Williamson, followed by those who didn’t get everything they applied for. All the remaining tickets will go back on general sale in November. guardian.co.uk © Guardian News & Media Limited 2010Published via the Guardian News Feed plugin for WordPress.Thanks for subscribing to Andy Roberts blogLondon Olympic organisers defend ‘peculiar’ ticket payment processRelated posts:London Olympics organisers appeal to protesters not to disrupt flame routeWill the 2012 Olympics be a sell out?London 2012: Ten best of the web
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London Olympic organisers defend ‘peculiar’ ticket payment process
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May 18 2011, 11:55am | Comments »
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The day I (nearly) met Bob Dylan
http://distributedresearch.net/blog/2011/05/14/the-day-i-nearly-met-bob-dylan
Ten years ago, John Harris was within seconds of a meeting Bob Dylan – until Eric Clapton stole him away. Now he talks to those who have been granted an audience with rock’s greatest enigma.
This article titled “The day I (nearly) met Bob Dylan” was written by John Harris, for The Guardian on Saturday 14th May 2011 11.05 UTC Imagine this: since you were 11 years old, you have been convinced Bob Dylan is a genius. You own every album he has ever made, and your shelves are full of books whose titles attest to the great cloak of mystery that surrounds him: Behind the Shades, Wanted Man, Invisible Republic. You can quote his lyrics, and play dozens of his songs on the guitar. There are days when you find yourself revering him more than the Beatles, which is saying something. And then it happens: someone points you in the direction of a set of stairs and says it’s time for you to meet him, which produces an attack of nerves so strong that you fear you might pass out. As he winds down after playing in front of 10,000 people, what exactly are you going to say? “Hello Bob, you’re the reason I made a harmonica holder out of one of my mum’s coathangers in 1983 and tortured the neighbours with repeated renditions of Like a Rolling Stone, and I just wanted to say thanks”? No. “Hello Bob, I’ve always had trouble making narrative sense of your 1978 song Changing of the Guards, and wondered whether you could help?” Absolutely not. “Hello Bob, great show”? Please. Sadly, to kill this shaggy dog story before it runs away with us, when the dressing room door eventually swung open, Dylan wasn’t there: he’d been spirited away by Eric Clapton, someone reckoned. Which makes 11 May 2002 – the day I nearly met Bob Dylan – nothing to tell the grandchildren about, really. Thanks to favours pulled by a musician friend, I did, though, watch Dylan perform from the wings of the London Arena that night, and studied him as he left the stage. I noted that he was smaller than I imagined (5ft 7in, apparently), and that he walked with a strange gait, shuffling on his toes, almost like a boxer. He passed a foot or so in front of me: I nodded at him, and I think he nodded back. To me that was quite something, but that’s an indication of what hero-worship can do to you. On 24 May, Dylan will turn 70, an occasion that has already given rise to celebration concerts, cover stories, radio shows and more. Maya Angelou has dutifully praised him as “a great American artist”. To Bruce Springsteen, Dylan is “the father of my country”. There is much more of this stuff to come – a renewed outpouring of the kind of questions that tantalise me, and the millions of people who have been profoundly touched by his music. Most of them boil down to two conundrums: Who is Bob Dylan? And what does he want? Like most of the high-achieving musicians of his generation, Dylan will never quite escape the shadow of the 1960s, but he is one the few alumni of that decade whose new work still seems vital and interesting. His last album, 2009′s Together Through Life, had its moments, but if you really want to understand how great his recent-ish work has been, you should sample Time Out of Mind (1997), Love and Theft (2001) and Modern Times (2006): albums streaked with wit, existential insight and the rare sound of a rock musician building age and experience into every note they sing. Dylan’s voice is now shot to pieces compared to how it sounded 40-odd years ago, but I think that’s part of what makes his latterday stuff so good. Mick Jagger shakes his bum and attempts to convince his audience that time has stood still since the mid-70s; Dylan confronts us with not just his own mortality, but ours, too. As ever, he is surrounded by a cloud of ephemera and apocryphal chatter. No one really knows anything about his politics: he has expressed approving sentiments about Barack Obama, but recently caused howls of dismay when he played in China; yesterday, a very unexpected post appeared on bobdylan.com, in which he acknowledged that a collection of recent setlists had been given in advance to the authorities, claimed he hadn’t been censored (“we played all the songs that we intended to play”), and said nothing at all about whether he should have followed the advice of some outraged commentators and spoken at least a little truth to power while he was there. In 2000 I watched him in talkative mood at Wembley Arena, expressing his pleasure at being in the UK with reference to Britain’s efforts in the second world war. What he said probably had more to do with his Jewish upbringing than anything else, but they didn’t sound like the words of the liberal peacenik of common assumption: “We all know how Britain stood alone. That always meant a lot to the people I grew up with.” Dylan has starred in ads for the lingerie chain Victoria’s Secret and for the iPod. He is said to have been married at least three times, although only one of those unions has been public. An infinite number of questions buzz around the internet, none of which are ever anwered: having embraced born-again Christianity circa 1978, but then apparently rediscovered his Judaism, where is his spiritual head at? Does he really leave his tour bus parked in motorway service stations and go for spontaneous moonlit rambles across fields? And did he really once consider relocating to Crouch End? I can well remember the source of my idea of Dylan as a shadowy, unbelievably enigmatic presence: a BBC film titled Getting to Dylan, first screened in 1987, in which a team from the Omnibus programme followed him as he played the part of a faded rock star in a risible film called Hearts of Fire (also starring Rupert Everett). Weeks went by before he consented to be interviewed, but it eventually happened, in an on-set trailer near Toronto – and in 20 minutes, he allowed a rare glimpse of his essential condition. You can see the entire Getting to Dylan interview on YouTube (have a look for “BBC Dylan interview”): it remains an enduring portrait not just of who he was, but who he will probably always be, and what a strange and lonely business being Bob Dylan actually is. So I place a call to his interviewer, Christopher Sykes, now 65, who has the rare distinction of being one of the only film-makers who has trained a camera on Dylan and asked him questions. (Though he directed the acclaimed Dylan documentary No Direction Home, not even Martin Scorsese managed that.) “I really liked him,” Sykes tells me. “He was tremendously funny. Charming, I thought. And he is incredibly charismatic. You find yourself wondering: is this something about him, or is this something you bring to someone that famous? But sitting a few feet away from him is pretty scary. He’s got a way of looking at you that’s frightening. When he looks straight at you, you really do feel like he’s got some sort of x-ray vision; that he sees right through you.” It was partly the memory of that look that threw me when I thought I was about to meet him. “He looks like a … funny old Gypsy person,” Sykes continues. “You have this sense that he’s been around for an awfully long time. I remember thinking, ‘I bet if you look through medieval paintings, there’ll be a picture of him somewhere.’ It really does feel like he’s been around for ever.” Sykes is nonplussed by suggestions that Dylan did the interview in a state of narcotic refreshment (“He liked drinking Johnny Walker black label, and I think he smoked dope”), and recalls a recent occasion when he had dinner in Los Angeles with Dylan’s son, Jesse – who was reminded of the interview, and offered a very telling question: “Was he kind to you?” “Tender and really helpful,” is the verdict of the writer Adrian Deevoy, who was summoned to Philadelphia a few years later to interview Dylan for Q magazine. They ended up talking in the seaside town of Narragansett, Rhode Island – and Deevoy’s memories chime with one regular observation of Dylan’s lifestyle: that whereas some artists glide through a world of luxury, Dylan seems to live and work in a fascinatingly higgledy-piggledy way. “It sounds weird,” he tells me, “but we were all on a double bed in a very small motel room: Dylan, myself, his manager Jeff Rosen, a willowy Scandinavian woman, and a massive dog.” Mike Scott, the singer and chief creative mind in the Waterboys, became a smitten Dylan fan at much the same age that I did, watching his appearance in the film of George Harrison’s Concert For Bangladesh, and realising that “he was the great poet of the times”. In 1978, Scott and a friend went to see Dylan play at Earls Court, then followed his tour bus back to a hotel where they spied him sitting in the bar. “That was exciting,” he says. “‘Fucking hell! I’m going to meet Bob Dylan!’ We got half way across the bar, and these blurred, giant shapes suddenly appeared in front of us: bouncers, who escorted us off the premises.” Seven years later, when Dylan was in London recording with the ex-Eurythmic and rock Zelig Dave Stewart, Scott and two of his band got a call, and were summoned to a north London recording studio. “That felt like crossing the other half of the room,” he says: the collected musicians spent two hours jamming, while Dylan spurned singing in favour of playing “burbling, non-stop lead guitar”. Scott recalls being perplexed by his refusal to step up to the microphone, but feeling thrilled when Dylan told him he was a fan of the Waterboys’ big hit The Whole of the Moon. Some time later the phone rang again, and Scott found himself in a rented house in Holland Park. “We hung out with him for a couple of hours. He played us a record by the McPeak Family, folk musicians from Ulster, and he gave me a cassette of an American Indian poet called John Trudell.” And what was Dylan like? “Puckish. Humorous. In the studio, he’d been very quiet and closed in on himself. But now he was gregarious: exactly what I’d want Bob Dylan to be like. It was great.” Dylan told them tales about the presence of Vikings in his native Minnesota, introduced Scott to his kids, and shared a herbal moment with him. “I don’t know whether you can say this,” says Scott, “but I’ve smoked a joint that Bob Dylan rolled, and he’s smoked a joint that I rolled.” Self-evidently, I cannot compete with any of that, but still: during 30-odd years, Dylan has powerfully spoken to me about love, loss, life, death, sadness and contentment, and he still does. When I recently moved house, it rather pains me to admit that a freshly acquired set of his CDs, faithful to the original mono versions, came with me in the car, lest anything should happen to them. Thanks to a moment of carelessness in Mississippi, I am proud to say that I own a speeding ticket issued on Highway 61. The last book I finished was a collection of writing about Dylan by the American author and thinker Greil Marcus; I’m about to start an updated version of the aforementioned biography Behind the Shades, by Clinton Heylin – 902 pages, which seems to me a very satisfactory length indeed. I have seen Dylan play at least 15 times, and I’ll probably keep doing so until his so-called Never Ending Tour comes to a close. It can be a frustrating business – certainly, I wish he wouldn’t endlessly change the phrasing of just about everything he sings, sometimes in the manner of a wheezing pub crooner. But in between the moments you’re left guessing which song he’s actually playing, there are always enough flashes of greatness to justify the effort, and occasions when just about everything aligns correctly. In 1995, Dylan leapt on stage at the Brixton Academy without his guitar, sang while waggling his legs in the style of the young Elvis, and delivered a fantastically rambunctious show that had me laughing with pleasure. In 2001, I saw him at Stirling Castle: probably the single best concert I have seen him play, full of restraint and tenderness perfectly suited to a summer twilight. The essential thing, though, is this: whatever happens, you can surely take great delight in looking toward the stage and saying, “Look – it’s Bob Dylan.” And then there is the excellence of so many of the songs he has written as he tumbles towards old age – such as Ain’t Talkin’, the final song from Modern Times: “Ain’t talkin’, just walkin’/ Through this weary world of woe,” he sings. “Heart burnin’, still yearnin’/ No one on earth would ever know.” How beautifully put, and how very true.
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May 14 2011, 3:17pm | Comments »
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What to see: Lyn Gardner’s theatre tips
http://distributedresearch.net/blog/2011/04/01/what-to-see-lyn-gardners-theatre-tips
Arts Council cuts have hit many of this week’s theatre companies, from Shared Experience to Manchester’s Greenroom. All the more important to go on theatre breaks and see them – now.
This article titled “What to see: Lyn Gardner’s theatre tips” was written by Lyn Gardner, for guardian.co.uk on Friday 1st April 2011 14.06 UTC There’s plenty of great theatre around this week, but the question after this week’s cuts is whether the same will be true in five years’ time – or even a year. The Arts Council is not to blame for the hand it’s been dealt by the government, but has it really done enough to realign the landscape and redirect money away from the haves to the have-nots? Most importantly, has ACE’s strategic thinking been as robust as it needs to be to ensure that theatre continues to thrive and audiences grow both in numbers and diversity? So let’s start What to see this week with fine companies who have been unlucky in the recent funding round. Shared Experience have been excluded from the National Portfolio but who – as their multi-layered production Brontë confirms – can deliver probing and beautiful work. Catch it at Oxford Playhouse until tomorrow, and then at London’s Tricycle Theatre from next Tuesday. Another casualty – and one of several small touring companies who have been cut, including Northumberland Theatre Company and Oxfordshire Theatre Co – is Forest Forge, which is out on the road playing village halls and venues with Peeling (tonight at the Lighthouse, Poole). Then there’s Manchester’s Greenroom, which for 28 years has been supporting artists making performance and live art in a city dominated by the Royal Exchange, and who are this week playing host to Kings of England and Levantes Dance Theatre through their Method Lab, a scheme that previously helped nurture Nic Green’s Trilogy and Drunken Chorus. Remove the venue, and where do the artists find the support they need? Despite an 11% cut for many organisations, regional theatre buildings are going to have to do a great deal more to nurture talent, support companies and present work. Feeling the pinch will be no excuse and it can’t be business as usual. Every bit of theatre is now reliant on collaboration. This week Coventry’s Belgrade theatre, which took almost a 15% hit, has a new version of Uncle Vanya, which will then transfer to London’s Arcola (which, with an 82% rise, was one of the day’s big winners). North in Bolton, the Octagon opens its tale of local hero and steeplejack Fred Dibnah, The Demolition Man, in the same week that its highly acclaimed revival of The Price transfers to the Stephen Joseph, which says goodbye to Paines Plough’s touring show, Love Love Love, which in turns is heading into the West Yorkshire Playhouse. It’s all connected, and my hunch is that it will have to be more so in the years ahead. Staying in the north, Birmingham Rep’s teenage drama of life and death, Notes to Future Self, goes into the Royal Exchange Studio, the excellent Who’s Afraid of Virginia Woolf continues at Sheffield Crucible before heading to Northern Stage, and Alan Bennett’s tale of the woman who took up residence in his garden, Lady in the Van, is revived at Hull Truck. While we’re in Yorkshire, do think about booking for Harrogate’s Two’s Company Festival in May, a mini version of BAC’s brilliant One-on-One Festival, which features Laura Mugridge’s delightful camper van show, Running on Air, a new piece by Analogue, and Tea is an Evening Meal, a collaboration between Northern Stage and Third Angel, (the latter very mysteriously cut by ACE). Two successes in the funding round are Freedom Studios who are behind Mill – City of Dreams in Bradford, and Theatre in the Mill, which this weekend offers the interactive thriller, The Falling Sickness, and follows it with Instant Dissidence’s One on One, When Night Falls, from Tuesday. Let’s head further south to the Royal and Derngate in Northampton, where Rattigan’s In Praise of Love opens next week, and from there into London, where the lively young Colombian circus, Circolombia, which is made up of former street kids, returns to the Roundhouse (another funding winner). Looking ahead, at the Roundhouse you should be booking for The Fat Girl Gets a Haircut and Other Stories, Mark Storor’s participatory show made with teenagers. The Almeida may have suffered a substantial 39% funding cut, but it still gets £704,000, which should be more than enough to ensure that it continues projects such as Crawling in the Dark, a new play for young people inspired by the current main house hit, David Eldridge’s addiction drama, The Knot of the Heart. Soho Theatre – another significant loser but with new artistic director Steve Marmion at the helm – has Bryony Kimmings’ Sex Idiot, a tale of STDs and pubic hair. Ireland’s Abbey Theatre bring Mark O’Rowe’s play about Dublin life Terminus to the Young Vic, which has a small uplift in funding. Cheek by Jowl take their Russian Tempest into the Barbican. Tim Etchells and Ant Hampton collaborate on The Quiet Volume, a unique experience in a library as part of the London Word Festival and check out Chisenhale Art Club, which always happens on the first Wednesday of the month. I rather like the sound of Hotel Confessions, too, which is performed in a Bermondsey hotel. Just outside London, Lee Hall’s terrific The Pitmen Painters sets off from the Theatre Royal in Windsor on a nationwide tour. Derek Jacobi’s King Lear is at the Theatre Royal in Bath. Fevered Sleep’s delightful children’s show And the Rain Falls Down goes into Bristol Old Vic, Comedy of Errors continues at the Tobacco Factory, Journey’s End goes into the Theatre Royal in Brighton and at the Basement choreographer Ivana Muller considers her place on the stage in 60 Minutes of Opportunism. Circus did well in the funding shake-up and its happy birthday to Circomedia in Bristol who are celebrating in style. Marivaux’s A Game of Love and Chance opens at Salisbury Playhouse. In Scotland – which is, of course, unaffected by ACE funding decisions – Liz Lochhead’s Educating Agnes, a version of Molière’s School for Wives, is at the Royal Lyceum in Edinburgh. Elsewhere in the capital, the Jimmy Boyle-inspired The Hard Man is at the King’s, and Catherine Wheels’ new version of Beauty and the Beast, Caged, is at the Traverse today before moving to Aberdeen’s Lemon Tree tomorrow, with more tour dates to follow. Head to The Arches in Glasgow from Tuesday for a double showcase of award-winning work, which includes Me and the Machine’s dislocating love story When We Meet Again, Claire Duffy’s Money… the Game Show, Thickskin’s tale of teenage catastrophe, Blackout, and Gareth Nicholls’ Pause With a Smile, which lingers on everyday coincidences.
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April 1 2011, 3:47pm | Comments »
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London 2012 tickets, Japan appeal and census targeted by scammers
Warnings issued over phoney doorstop callers, fake emails asking for money and too-good-to-be-true London 2012 Olympic tickets
This article titled “London 2012 tickets, Japan appeal and census targeted by scammers” was written by Jill Insley, for The Observer on Sunday 27th March 2011 00.05 UTC Bogus doorstep callers have been posing as census collectors to try to get into people’s homes – and householders are being warned to be on their guard for fraudsters after today’s deadline for filling in the form. Following an attempt by a fraudster purporting to be a census official from the county council to get into an elderly man’s home in Leicestershire, the Local Government Association has urged people to be vigilant. Paul Bettison, the chairman of local government regulation, said: “Fraudsters are known to take advantage of any situation. If they can make money from it, then they will give it a go. “People visiting a household for official business should be able to provide photographic identification and unless that is the case, nobody should allow anyone access to their property.” Official census collectors will, from 6 April, visit a small number of households that have failed to complete the census – which can be returned in a pre-paid envelope or filled in online – but they will provide identification. Anyone who thinks they have been targeted by a bogus caller should call the census helpline on 0300 0201 101. Fraudsters have also been trying to scam money out of people wanting to donate cash to the Japan Tsunami Appeal. A spokesman for the Red Cross said: “There are some fraudulent emails circulating claiming to be raising money for the Japan Tsunami Appeal. These may request that you donate through companies like Western Union or Money Bookers, which we would never do. If you suspect an email is fraudulent, do not open attachments or click on links. “In addition to this we have also received reports of people requesting money over the phone, or cash on the doorstep. Although the British Red Cross does undertake both street and telephone fundraising, our calls are for regular commitment by direct debit and not for donations by cash or credit card.” An email forwarded to the Observer includes a donation form requesting details that including the donor’s credit card details, their mother’s maiden name, driver’s licence or passport details, and Verified by Visa password. Mark South, a spokesman for the Red Cross, confirmed the email was fake and added that people wanting to donate money to Japan should ensure they never divulge their personal details to an unknown source. Donors should only give through trusted channels, such as the Red Cross website or via the British Red Cross hotline on 08450 53 53 53. All British Red Cross marketing email addresses end @mail.redcross.org.uk, and the charity does not use general email providers such as BT Internet or Gmail to solicit donations. Anyone suspicious of an email they have received should contact the British Red Cross supporter care team on 0844 87 100 87 or at supportercare@redcross.org.uk. The 2012 Olympics have also proved a temptation for fraudsters who have set up websites to act as fake or unauthorised ticket outlets for the games. The official Olympic website – http://www.london2012.com – includes a tool that will check if a website is a genuine outlet, plus a list of known unauthorised websites claiming to offer London 2012 tickets. These include genuine-sounding names like http://www.london-olympics-tickets.org.uk and http://www.london-2012-games.com/2012-olympics-tickets – two sites that are defunct or look like they have been abandoned. However, other fake or unauthorised sites are still live, including http://www.londonolympicstickets.com and http://www.2010olympictickets.net. Real tickets will carry the name of the purchaser, and it is illegal to sell them on through auction sites such as eBay or to ticket resale sites. Those who buy legitimate tickets but can’t go to the event will be able to resell through an official resale exchange: this will launch early in 2012 before tickets are sent out, and will set prices at the tickets’ face value. But, a spokesman for London 2012 admitted, many people will have had tickets bought on their behalf and while spot checks may be carried out, only those with cancelled or fake tickets are likely to be turned away from events. He said it would be impossible to check whether all tickets are being used by the original purchasers and their friends and families as 8.8m tickets will be issued for events at 34 venues over 16 days. “We’re more interested in protecting people from losing their money through the purchase of fake tickets,” he added. Michael Norton, the managing director of PayPoint.net, said: “We expect fraud levels to increase dramatically following the passing of the ticket application deadline on 26 April. Opportunistic fraudsters will be looking to take advantage of those unlucky consumers not able to get tickets for some of the most oversubscribed events.” Tickets may only be bought using a Visa debit, credit or pre-paid card, which enable consumers to claim all their money back if they do fall into the trap of buying fake tickets. Norton said ticketholders should check the London 2012 site for a list of the official sales channels, research the true cost of tickets and not be lulled into a false sense of security by a well-designed site – some of the fake ones look very legitimate. He added that they should print out or take a copy of all sellers’ details, including the terms of the ticket purchase, full contact information for the ticket seller, and any published criteria about ticket location and likely delivery date. This will let them pursue any issue with the order even if the seller website changes and will support any future credit card chargeback.
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March 27 2011, 10:00am | Comments »
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Will the 2012 Olympics be a sell out?
http://distributedresearch.net/blog/2011/03/24/will-the-2012-olympics-be-a-sell-out
Now the London 2012 Olympic Games tickets have been on sale for a week, the success of the event in London will be determined by the sports fans.
This article titled “Will the 2012 Olympics be a sell out?” was written by Owen Gibson, for guardian.co.uk on Thursday 24th March 2011 11.21 UTC It is an extraordinary ticketing process in more ways than one. Ten days into the application process for 6.6m of the 8.8m tickets to the biggest sporting event ever to hit these shores and it remains hard to precisely calibrate the level of enthusiasm for being there. The keenest have constructed elaborate spreadsheets and affixed colour coded Post-it notes to their already dog eared Guardian guides as they try and spread their bets between events they are desperate to see and their chances of getting the hottest tickets (opening and closing ceremonies, velodrome, evening athletics sessions among them). For others, next August still feels like a long way away – particularly if there are more pressing financial concerns. My barber reckons he’ll leave it until closer to the time and see what’s left, our childminder has become so used to picking up tickets at the last minute from eBay or Viagogo that she too can’t see the point in shelling out more than a year before the Games. For some football fans, there’s the annual debate about whether to renew their season ticket to be had first, for others a discussion about whether to forego the family holiday in favour of the Games. The fact that Locog has promised a ticket resale system has perhaps encouraged those inclined to wait it out. Locog has successfully communicated the “marathon not a sprint” message to avoid a rush on the first day that applications opened – but could be a victim of its own success if people translate that as a signal not to hurry at all. Expect the reminders about this being the best chance to secure tickets for the events you really want to see to increase in frequency as the closing date on April 26 approaches. For the media too, there seems to be uncertainty about how to judge success. The usual media narrative around the sale of tickets for big events (Glastonbury, Take That, Champions League final) runs like this: huge hype around the onsale date, followed by a mad rush, creaking technology and a spate of stories about tickets being sold for exhorbitant sums and online scams. Because this process is so different, we have instead already seen the first stories hinting that sales have been “steady” rather than spectacular. In truth, it is hard to criticise Locog for doing exactly what they said they would do – give people time to find their way through a complex process. During this period of stasis, Locog – which can monitor what registered users are doing – believes many people are still calculating their options and trying different combinations of tickets in their online shopping baskets before hitting the buy button. Such is the scale of the task – 645 sessions across 26 sports at five main price points – that it was never going to be simple. Locog deserves huge credit for thinking long and hard about how to balance the need to raise the £2bn required to stage the Games with its promise to make it as accessible as possible. The eye watering prices for the most expensive (including that £2012 opening ceremony ticket) were justified on the basis that it was better for that money to flow to Locog, where it could subsidise cheaper price points, than touts who would mark them up anyway. But even given the number of £20 tickets (2.5m), the pay your age scheme, the concessions for over 60s and the free tickets for some school kids there is no getting away from the fact that the sums involved soon add up – particularly if you are buying for a whole family, and particularly if you are coming from outside London. There are already some grumbles about the high prices of the packages being sold through Thomas Cook and for all the entreaties from Locog and the Mayor to the hotel industry, staying in London during the Games was never going to be cheap. Which? has also raised concerns about the fact that money could come out of ticket buyers accounts on May 10 but it could be as late as June 24 before they are told which tickets they have. For most, it is likely to be a big outlay in one go. And while some have alighted upon the solution of applying for a Visa card with an interest free period to spread the cost, it is something of a surprise that Locog have not put in a place a more formal scheme to pay in installments. While reluctant to go into detail about levels of demand for individual sports and sessions, organisers say they are pleased with the level of steady engagement and that the spikes of demand are largely where you would expect them to be. Sports that are less familiar, but on the Olympic Park, are unlikely to prove too difficult to shift as people look for a relatively cost effective way of grabbing a slice of the atmosphere. More problematic could be the events at the cavernous Excel. And there must be a nagging fear that the there is a band of mid range tickets – those around £300 that are not the prized blue riband ones that people will want at all costs, nor the relatively cheap ones that will give you a slice of the experience – that will prove most difficult to shift. Somewhat ironically, given the extent to which it dominates media coverage and conversation in this country, football is likely to give organisers the biggest headache. With more than a million tickets to sell to a population who perhaps see the Olympics as an antidote to football’s dominance for the rest of the sporting calendar, just a few weeks after Euro 2012, it is a big ask. Bear in mind too that the Olympics (under 23 with a handful of over age players) is not the pinnacle of achievement as it is for most other sports, while the political issues surrounding the British team appear endlessly intractable. And while 2012 represents a huge opportunity for women’s football in this country if organisers can fill the Ricoh Stadium in Coventry or St James’ Park to see, say the Japanese women’s team take on the Swedes on a night when Team GB is going for gold elsewhere the Locog marketing and ticketing gurus will deserve every one of the plaudits that will flow their way. Locog chief executive Paul Deighton has set a high bar by promising to marry an electric atmosphere with full stands in all venues, while selling out all tickets. It is something that has never been achieved in recent Games. He has the British love of sport and major events of any kind on his side. But our natural cynicism and tendency to wait until the last minute might yet leave him with some nervous moments.
guardian.co.uk © Guardian News & Media Limited 2010 Published via the Guardian News Feed plugin for WordPress.
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March 24 2011, 1:28pm | Comments »
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