Piracy affects ticket prices
I read with great interest Scott Mervis' recent feature "Concerts run into a summer slump" (July 14). He seems to imply that some artists are setting their ticket prices too high. I believe we need to place some blame on the hundreds of thousands of people out there who are illegally downloading and distributing music on the Internet. I counted myself among those pirates at one time but have since reformed.
Most artists cannot sell enough units to make a living at it, given declining CD sales and the record labels cut. Performers need to make their money touring and selling merchandise. If there is a plethora of bands touring during the summer even the most avid concert fan can afford to go to only a small percentage of them. If you look at WYEP's Web site "Concert Calendar," you will see what I mean. There are literally dozens of good shows each month. Who has the money (or the time)?
Another thing Scott failed to mention was the 10 percent to 40 percent "convenience" charge most masters of tickets hit us up for. The artists have nothing to do with that. In the end, I would say we need to stop piracy or be willing to pay the ultimate costs.
Dan Poljak
Whitehall
It's the ticket price
In regard to "Concerts run into a summer slump" (July 14), the reason is really quite simple: The prices are so high and the service charge is outrageous. The service charge is typically $10 to $15 on top of the $70 to $90 ticket price, parking is $12 to $22, and a beer is $6.50. Even lawn tickets are close to $50 after service charge.
Where does the rest of the service charge money go after the 37-cent stamp? Does it really cost that much to print a ticket and put it in an envelope?
So does that explain the slump?
Brian Jones
Baldwin
Concert slump causes
Regarding the article about concerts in a summer slump, just a few opinions: Maybe people are tired of paying the service charges per ticket. More specifically, if attendance is down at the Post-Gazette Pavilion, I can give you a few reasons why. First of all, a $10 to $12 charge to park in a lot that hasn't changed much since it opened is kind of irritating.
Security there always was and is a joke. They will make sure you don't smuggle in a pack of gum or Lifesavers and they will definitely go after the open containers in the parking lot, but when a fight breaks out they are nowhere to be found.
Also, true story, you will get yelled at by a dominatrix wannabe because you're leaning on the railing of her arts-and-crafts display. However, no one seems to say anything to the drunks who urinate in or near the sinks. Other than that it's a great concert experience -- weather permitting.
Mike Kostrzewa
Shaler
Punishing Clear Channel
The article on slumping concert sales failed to take another factor into consideration. Clear Channel Corporation runs the concerts at most of the larger local venues.
When Howard Stern was pulled from the X 105.9 (a Clear Channel station) in February, fans made it clear that a boycott of Clear Channel stations would occur. This includes their concerts also. I have always attended a large number of concerts each summer but have not attended any this year. If Clear Channel feels it can make decisions on what I can listen to, I can make decisions on how to spend my money, and giving it to Clear Channel is not an option.
Lori Merchant
Bridgeville
Venues are fine
In response to all the individuals who complain about the issues regarding the Post-Gazette Pavilion as well as other venues: I've grown excruciatingly tired of people thinking that the purchase of a concert ticket guarantees you the promise of a good seat and/or a good show. It never has and legally never will. If you people don't like your experience -- simple solution -- don't go back.
Second, everyone talks about how business is conducted at the Pavilion and other venues. Do you really know how it is conducted? Everyone has an idea what this business takes in but I'm sure has not clue-one what it pays out as a business. Yes, folks, it is a business, and last I checked businesses are in business to make money.
You have parking attendants making, at my best guess, little more than minimum wage. I'd imagine that it's not much more for security. They put their lives on the line to have to deal with thousands of concert-goers every show, some who are quite, let me put it nicely, RUDE IGNORANT SLOBS.
Paving the lot would be a disaster due to maintenance costs and the opportunity for people to drive faster. Security checks everyone for weapons -- guns, knives, bombs -- and I love that fact. That keeps all of us safer.
I'm 36 and have been an avid concert-goer for 24 years. I've seen well more than 300 shows. I've seen bands where the performance was horrible and have even gone back to see the bands a second or third time (everyone has an off night). I've waited in line over night in the freezing cold for tickets and always didn't get the best seat, and I've parked in section N at the Post-Gazette Pavilion when I've had front-row seats and had to wait more than an hour to get out of the lot.
Do I go back? Yes, I do and will continue to.
Kelly Ackman-Homan
McDonald
Sting nice enough
Although I know reviews are opinions, I'm not sure why Scott Mervis thought Sting seemed snooty at his concert at the Post-Gazette Pavilion (July 13).
In fact, I thought Sting was in touch with a crowd that obviously was in touch with him. Granted, Sting may not be Jon Bon Jovi. But far from presenting an "I'm Sting and You're Not" attitude, I thought Mr. Sumner made as good contact with the crowd as any performers in an era where turning your back on the audience (a la Dave Matthews) has become de rigueur.
I also wonder why Mr. Mervis failed to mention that Annie Lennox -- who also put on a great show -- failed to utter a single word to the crowd for her first five songs.
Dave Molter
Whitehall
Radio genius
In response to Janet Cox's letter ("KISS Off," July 16), I was also shocked that Howard Stern was coming back to the Pittsburgh airwaves. Unlike Ms. Cox, I think K-ROCK general manager Keith Clark is a genius.
Thank you, Mr. Clark, for giving Pittsburgh listeners what they want to hear and have missed for five months. It took a lot of guts, and we appreciate it.
Believe me, that talentless foursome from B94 won't be missed and will be forgotten soon enough. Tell Bubba when he's cooking my hamburger at Hi-Tops to hold the onions.
All we want is the freedom to choose what we listen to. For those who don't care for Howard, change the station. How easy is that?
As for you, Ms. Cox, while you are ratting him out to the FCC, you'll be doing exactly what Howard wants: listening to his show.
Wayne Patterson
North Side
An encounter with Verdi
On July 10, I decided to take advantage of decent weather by taking a walk through upper-Frick Park with a friend and my 2-year-old yellow Labrador retriever, Verdi.
We headed toward the off-leash area, and Verdi immediately took off and engaged another dog; I introduced myself and my dog to the owner, who seized upon my canine's name. The conversation went something like this:
Stranger: "His name is Verdi? As in the Italian composer and word that stands for green?"
Me: "Yes, I named him after the composer."
Stranger: "As in Giuseppe Verdi? Did you know that Giuseppe is the Italian equivalent of Joe? So if one was to translate the Italian name Giuseppe Verdi into English, it would read Joe Greene. As in the famous Steeler 'Mean' Joe Greene."
I hadn't considered that.
The stranger introduced himself as Michael Lipman, cellist for the Pittsburgh Symphony Orchestra. Michael and I began to talk about the PSO, and he inquired if I heard about the night's performance at the symphony. I had not.
He mentioned that he had an extra ticket. Excited, I immediately took him up on his gracious offer, and I would not regret it.
The symphony, combined with the Mendelssohn Choir (with Sondra Radvanovsky, Marianne Cornetti, Jerry Hadley, John Relyea), re-created Verdi's Requiem Mass and was conducted by Gilbert Levine. The show was sold out. Only the Italian Mean Joe Greene, near the height of his power, could compose such an audacious masterpiece and get away with it.
The Pittsburgh Symphony, renowned throughout the world but ignored at home, routinely showcases its world-class talents to packed audiences abroad. In order to recondition their finances, they took a pay cut. I wonder how that would play to an heir of Mean Joe Greene's legacy here in Pittsburgh, Plaxico Burress? Could Plaxico go play in Japan and Europe in front of thousands as the PSO has done?
The Pittsburgh Symphony Orchestra members continue to lead by example, with their checkbooks and their hearts, as the friendly, intelligent and humorous Mike Lipman showed me the other day. I greatly appreciated the opportunity to enjoy one of classical music's finest requiems, performed by the masterful Pittsburgh Symphony Orchestra and the splendid Mendelssohn Choir.
I truly hope you understand my heartfelt thanks, Mike, because I do not have the requisite writing skills to convey my gratitude. My apologies for sharing this story with others, but I feel that it truly highlights and represents the character of the Pittsburgh Symphony and its members.
Roy Newman
North Side
First Published: July 23, 2004, 4:00 a.m.
