Alessandro Moretti

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Alessandro Moretti

Alessandro Moretti

@Moretti131

Illicit markets, organised crime, online harms, deviant entrepreneurship. Ethnographic book on Ticket Touting: https://t.co/DpYUOPpNJE

Copenhagen Katılım Mart 2014
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Alessandro Moretti
Alessandro Moretti@Moretti131·
18 months ago my criminological ethnography on #touts came out. Sadly, things just keep getting worse and worse for consumers (see title!). My book is available in paperback from today, and you can use code RRI24 to get 25% off. 🤓 routledge.com/The-Rise-and-R… #TicketTouting #Deviance
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Alessandro Moretti@Moretti131

It’s two minutes to nine. You know the drill. You have your laptop and several other devices at the ready, multiple browsers and tabs open, credit card details pre-saved and… “sorry, #tickets are not currently available” …it’s sold out 💔😭 1/6 bit.ly/illegaltickett…

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Jack Stephens
Jack Stephens@iamjackstephens·
This is the best summary of why you see so little innovation actually gain traction in the ticketing space. Access to ticket inventory is the only thing that matters.
Nick Martitsch@nickmartitsch

Fun fact: my first job out of college in 2017 was founding a blockchain ticketing company called Cryptix (cryptographic tickets) to solve live event ticket fraud & scalping. We created an onchain ticket minting flow with Eventbrite's API and the Hyperledger blockchain, so event organizers could have full observability and rule enforcement inside of an integrated secondary marketplace. These tools would allow artists to sell directly to legit fans, set resale price limits, capture revenue from all primary/secondary transactions, and see who is actually coming to their shows. Sounds great in theory, but we got nowhere. These were the roadblocks that I ran into with the music industry: 1. Live Nation owns some of the largest venues in the US and gets to choose their ticket management software. Big surprise that they choose Ticketmaster for their venues (which they also own), boxing out competitors from the largest opportunities. 2. Smaller, independent venues have the ability to try other ticketing providers but don't have the same level of urgency around fraud & scalping, by nature of hosting smaller acts. This makes it difficult to establish an initial wedge in the market. 3. Primary ticketing issuers oftentimes don't publicly want to be associated with resale markets, which can have a negative consumer sentiment from perceived price gouging. Even though an integrated marketplace solves many of the issues here, its seen by some in the music industry to carry brand risk. 4. Promotion companies have different metrics for success other than maximizing revenue. Often times they want to be able to say that they "sold out a venue in X minutes/hours". Ironically, scalpers & bots snapping up tickets can help achieve this metric, though it ends up hurting venues who needs max attendance to make revenue on concession sales. 5. Live event tickets are an emotional transaction for both artists and fans, leading to downward price distortions. Artists massively underprice their tickets in order to build goodwill with fans, though the downstream effect is that the consumer surplus is captured by off-platform professional resellers. I'm excited for the current wave of music x crypto entrepreneurs like @3LAU @Cooopahtroopa @joeyinywho @roneil that have stuck with it, and have a good shot at making a difference in an industry that desperately needs it 🙂

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Xavier L'Hoiry
Xavier L'Hoiry@lhoiry·
Thanks to @LBG_research for the invitation to present with @Moretti131 our work on commercial sexual exploitation this week in Vienna. Great to discuss this with other researchers and practitioners across Europe.
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Alessandro Moretti
Alessandro Moretti@Moretti131·
@gabehurl Thanks! Not sure how I didn't spot Boston; interesting they changed plans. And I didn't realise the Toronto venue is correct, cheers! The additional dates are out now and are within a day of those in the leak - there's no doubt in my mind that it was genuine. #OasisLive25 #Touts
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Alessandro Moretti
Alessandro Moretti@Moretti131·
Shocking (not really): the #OasisLive25 🇨🇦+🇺🇸dates that had been leaked to a #TicketTouting WhatsApp group turned out, like 🇬🇧+🇮🇪, to be 💯% accurate - except for the venue in Toronto. Once they sell out, expect more "new" dates, as below, to be announced #TicketTouts #Corruption
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Alessandro Moretti@Moretti131

This confirms that touts have connections to insiders not just re information, but also for access to ticket allocations that are taken away from public sales for profit. The leak includes dates in 🇨🇦 and 🇺🇸 – it will be interesting to see if these are announced at some point 4/9

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Alessandro Moretti
Alessandro Moretti@Moretti131·
@warrenchrism @ByRobDavies Well, all seats are standard seats until they are labelled as premium (or something else). They likely would have been the ones closest to the stage, at least in theory. But as you yourself posted, Ticketmaster were called out for doing this pretty poorly bbc.com/news/entertain….
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Warren
Warren@warrench·
@Moretti131 @ByRobDavies Thanks for info. 2014 is crazy. I’m sure Platinum seat tickets for Depeche Mode (on sale in 2016) were among standard seats - it’s why I took an interest, and have done ever since!
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