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Case tour dates 2024 - 2026

Case is currently touring across 1 country and has 11 upcoming concerts.

Their next tour date is at Chaifetz Arena in St Louis, after that they'll be at Dunkin Donuts Center in Providence.

Currently touring across

Upcoming concerts (11) See nearest concert

Chaifetz Arena

Dunkin Donuts Center

Multi-Purpose Center, VSU

Promenade Park Stage

Chesapeake Employers Insurance Arena

Liacouras Center

Crown Center Coliseum

Donald L. Tucker Civic Center

Bruton Theatre

Past concerts

The Lion & Lamb

Raising Cane's River Center Arena

View all past concerts

Support across tour dates

Recent tour reviews

Awesome show for an awesome guy!!! CASE can really sing!!! Worth the money, will always try and see him in concert as much as I can . I seen him in Cincinnati Ohio over the summer,,GREAT SHOW

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Case put on a really good show and he wasn't afraid to interact with the audience; he walked through the crowd giving hugs and handshakes. I would go see Case again!!!!!!

Case Woodard better known by his stage name Case may not be a particularly well known name on the modern R & B circuit yet back in the early 00s, he was considered one of the most successful artists after enjoying a handful of radio friendly hit singles. Anybody who is a fan of nostalgic R & B of the late 90s is recommend to see Case's live show as he not appear to have ever left this decade.

Releasing his most acclaimed albums early on, most of the setlist features music from the likes of 'Open Letter'. He opens with the smooth tones of 'Shine' and things simply get more nostalgic from there. All the hits are included tonight, Case expertly sings through the likes of 'Happily Ever After' 'Touch Me, Tease Me' and 'Faded Pictures' whilst dancers frequent the stage at the right times in order to encourage mass dancing from the room. He has the whole room bellowing along the chorus to 'Missing You' as a fitting finale to a really enjoyable live show.

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Jun 8, 2024 Feinstein’s at Hotel Carmichael

All Upcoming Events

Chaifetz Arena | St. Louis, MO

Ladies r&b kickback.

Amica Mutual Pavilion | Providence, RI

Ladies love r&b, mvp arena | albany, ny.

VSU Multi-Purpose Center | Petersburg, VA

Ladies r&b kickback concert, chesapeake employers insurance arena | baltimore, md.

• The Peake Club Pass - Ladies R&B Kickback (ONE PASS PER PERSON)

The Liacouras Center | Philadelphia, PA

Crown Coliseum | Fayetteville, NC

Ladies r&b kickback tour.

Donald L. Tucker Civic Center | Tallahassee, FL

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2024 Pasadena Showcase House of Design Revealed

59th Pasadena Showcase House of Design - Potter Daniels House Watercolor by Lynn Van Dam Cooper

The Pasadena Showcase House for the Arts has announced the 2024 Pasadena Showcase House of Design, one of the nation’s oldest, largest, and most successful home and garden tours. 

Potter Daniels Manor, the 59th Pasadena Showcase House of Design, boasts a significant historic background, several storied owners and even a prestigious designation as a Pasadena City Landmark. 

Potter Daniels Manor, located along picturesque North Grand Ave., was built in 1902 as a graceful, shingle-style structure, but was magnificently transformed in 1922 to an English Tudor Revival Style estate, creating this resplendent, classic storybook home and earning it a city landmark designation. 

“We are so delighted to be back in Pasadena and to be able to present such a grand and notable city landmark as our 59th Pasadena Showcase House of Design,” Suzanne Hart, President of Pasadena Showcase House for the Arts, said.  

Public tours of the Showcase House of Design will take place from April 21 to May 19, 2024. Golden Tickets are now on sale.

Originally commissioned by Gertrude Potter Daniels, wife of a wealthy Chicago businessman, this house was constructed in 1902 by Joseph J. Blick, a pioneering architect in Pasadena. It served as a “winter home” for the Daniels family, offering a shingle-style design and a price tag of $15,000, a considerable sum for the era. Nestled amidst the beauty of the Arroyo Seco with vistas of vineyards and citrus groves, this residence became a charming and grand venue for entertaining, attracting notable guests, including President Theodore Roosevelt.

In 1905, the house was acquired by Susanna Bransford Emery Holmes, famously known as the “Silver Queen” after her late husband’s success in Utah’s Silver King Mines. With the purchase came significant architectural modifications, reflecting the Emery Holmes’ commitment to opulence. They continued to host extravagant gatherings in their winter residence for several years until 1922 when they decided to make it their permanent home. 

Mrs. Holmes, inspired by her European travels, enlisted the Postle Company of Los Angeles, renowned builders of the Pasadena Playhouse, to transform the house into the English Tudor Revival Style mansion that stands today. This extensive remodeling came at a cost of $37,000, resulting in a home that bore little resemblance to its original design but stood as one of Pasadena’s most impressive residences.

“It’s the quintessential Tudor style home and it conveys such grandeur and romance that harken you back to the days of old England,” Dotty Ewing, Chair of the 2024 Benefit committee, said.  “Our guests will certainly be awed by this home.”

Beginning in April 2024, over 25,000 guests are expected to tour through the 30 interior and landscape design spaces highlighting cutting-edge trends in high-style living. 

Guests can expect to see the famous Shops at Showcase offering a variety of boutique and craft merchants, as well as several on-site restaurants offering hot meals, grab-and-go snacks, and beer, wine, and cocktails. Entertainment and programming are planned throughout the event showcasing local musicians, docent-led garden tours, special brunches, and more.

The Pasadena Showcase House of Design is the primary fundraising benefit for Pasadena Showcase House for the Arts, an all-volunteer nonprofit organization that has supported local music and arts programs since 1948. During the 2022-2023 program year, the organization contributed $900,000 to 75 nonprofit organizations supporting music and arts programs. To date, the group has contributed more than $25 million to nonprofit organizations, particularly through its Gifts & Grants program, in support of music education, scholarships, concerts, and music therapy, while continuing to support the LA Phil. 

The organization nurtures the study and appreciation of music among young people with its three annual music programs: the Music Mobile, which has introduced orchestral instruments to more than 130,000 third grade students; the Instrumental Competition, which has awarded more than $685,000 in monetary prizes for exceptionally talented young musicians; and the Youth Concert, which has brought nearly 255,000 fourth graders to Walt Disney Concert Hall for exuberant performances presented by the LA Phil.

To purchase Golden Tickets that are valid any day or time the House is open for tours, visit www.pasadenashowcase.org/tickets . Insider Packages offer a fascinating behind-the-scenes look at the transformation of Potter Daniels Manor with access to the Empty House Party in January and the Premiere Night Gala in April. Timed entry tickets will go on sale in early February.

To learn more about the 2024 Pasadena Showcase House of Design, visit https://pasadenashowcase.org/showcase-house/ .

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Pasadena Showcase House for the Arts

• Who Benefits
• History of Showcase
• Board of Directors
• Become a Member
• Press Coverage
• This Year’s Show
• About the House
• Recent Houses
• Gifts & Grants
• Instrumental Competition
• Music Mobile™
• Youth Concert
• This Year’s House
• Plan your Visit
• Parking & Shuttles

Ticket & Event Information

Showcase Hours

April 21 – may 19, 2024.

Tuesday, Wednesday, Thursday, and Friday Tours 9:30am - 5:30pm 

• Last Entry to House 5:30pm
• Board Shuttle at least 30 minutes before your ticket entry time
• Property open 9am-6:45pm
• Restaurant 10am-6:30pm
• Shops 10am-6:30pm
• Live Music 6-6:45pm Friday only
• Last shuttle departs from property 7pm

Saturday and Sunday Tours 9:30am– 4pm

• Last Entry to House 4pm
• Board Shuttle   at least 30 minutes before your ticket entry time
• Property open 9am-5:45pm
• Restaurant 11am-5:30pm
• Shops 10am-5:30pm
• Live Music 11am-1pm Sunday only
• Last shuttle departs from property 6pm

Monday Closed for tours.

Ticket Offerings

Prime Time Admission: $50 9.30am – 1:30pm

Regular Admission: $40 1:30pm – 4pm

Happy Hour Admission: $35 4pm – closing (Tuesday, Wednesday, Thursday & Friday)

Purchased tickets but can't find them?   Follow this link to resend them. Need assistance? Phone 626.606.1600 Monday – Sunday: 6am - 6pm Or email us at [email protected]

No Refunds.

GROUP TICKETS : Groups of 9 or more purchasing Prime or Regular timed entry  admission tickets get perks including a 10% discount, reduced service fees, and payment flexibilty.   Find out more about group tickets.

Special Events

Plan your visit, health & safety.

Tickets to tour the House are required for all visitors.

Children under 10 (including infants) are not permitted on the Showcase House property.

Pets and emotional support animals are not permitted on the property, only service dogs.

Please wear comfortable, flat or broad-heeled (at least 2” wide at base) shoes. Tour “booties” will be provided to guests who do not have compliant footwear.  The Showcase House is a private estate. Due to steps, stairs, and narrow and uneven hallways and walkways, all visitors are strongly encouraged to use extra caution during their visit, both inside and outside the home.

Persons who use walkers, wheelchairs, canes and other mobility assistance tools may not be able to navigate all sections of the home and are strongly encouraged to view the available video tour of the home in lieu of touring the home in person. 

Large purses, bags, and backpacks are not allowed in the Showcase House. Those that measure more than 12"w x 8"d x 12"h must be checked in our Shops.

Photography is allowed as long as it does not interfere with the flow of the House tour.

Make a day of it! The 2024 Pasadena Showcase House of Design features a variety of craft purveyors at our famous Shops at Showcase.

Plated meals, grab & go snacks, wine, beer, and a variety of soft drinks are available at our restaurant.

Visit pasadenashowcase.org or return to this page for up-to-date information on opening times, event schedules, and Shops at Showcase vendors.

Given the current global health environment, Pasadena Showcase House for the Arts reserves the right to postpone or cancel this event due to changing circumstances and government restrictions. If a cancellation is determined necessary, your purchase will be considered a donation. Please refer to the Refund Policy on our website

NEW LOCATION!  Parking & Shuttles for the 2024 Pasadena Showcase House of Design run from the Explorer Road Parking Lot accessed via Explorer Road at the intersection of N Windsor Ave and Ventura St in Altadena. Follow this link for a Google map of the Parking & Shuttle location.

Scan this QR Code with your phone or click on it to link to a Google Map of the Parking & Shuttle location with directions from Exit 22b of the  I‑210 Freeway.

Directions to Explorer Road Parking Lot Parking & Shuttles 

• Take the  I-210 Freeway to exit 22B Arroyo Bvd / Windsor Ave Exit.
• Head North on Windsor Ave from I‑210 and pass by Jack in the Box (on the left).
• Continue on Windsor Ave for one mile.
• Turn left at the stop sign on the corner of Windsor Ave and Ventura St.
• Proceed onto Explorer Road and continue 1500 feet to the Explorer Road Parking Lot.

What is the address of the Showcase House?

As a courtesy to our neighbors, we do not provide the address of the Showcase House. All guests must take the designated shuttle.

Where do we park?

NEW LOCATION!  Parking & Shuttles for the 2024 Pasadena Showcase House of Design are located at the Explorer Road Parking Lot accessed via the Explorer Road entrance at the intersection of N Windsor Ave and Ventura St in Altadena. Follow this link for a Google map of the Parking & Shuttle location.

What if I have questions about tickets?

Please contact us at [email protected] or call us at 626.606.1600 .  

You can also   follow this link to resend your order to your email address. 

What is served at the Restaurant?

This year our restaurants include the Tudor Rose Bistro, Wattle & Daub Tavern, and the Silver Queen Café offering a selection of burgers, sandwiches, and salads, as well as snacks and bites all powered by Roe Fusion. Wine, beer, and a variety of beverages will be available.

Serving lunch starting at 11am. See our Bistro Menu and Tavern Menu .

And don't forget our Brunches with Bottomless Mimosas. Menus here .

When does the property close?

On Tuesday, Wednesday, Thursday, and Friday the last entry to the House is 5:30pm and the property closes at 6:45pm

On Saturday and Sunday, the last entry to the House is 4:00pm and the property closes at 5:45pm

What is the phone number for the Lost & Found?

Showcase House’s recorded information number is 626.578.8500 and it is possible to leave a message. Be sure to leave specific information about the item you lost and speak slowly and distinctly when leaving your contact information. If the item has been found, you will be contacted. It is also possible to contact us at PasadenaShowcase.org.

What is the specific closing time for Shops?

On Tuesday, Wednesday, Thursday, and Friday the Shops close at 6:30pm.

On Saturday and Sunday, the Shops close at 5:30pm.

What are the phone numbers and/or contacts for the Shops?

The only phone number available is the Showcase House’s recorded information number 626.578.8500 . An email may be sent to [email protected] .

Will the Showcase House be open if it is raining or if rain is predicted?

Yes. The Showcase House is open for tours rain or shine.

Are there any Special Events?

Join us Friday evenings and Sunday mornings for live music concerts.

• May 17th brings Sharmila Lash to our stage.  She is a jazz singer accompanied by guitar bringing another dimension to our lineup. Friday, May 17 at 6 pm.
• Felix Bullock , guitarist extraordinaire, will be at the Sunday Brunch on Sunday, May 19, from 11am - 1pm .

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Architectural homes in Los Angeles: Eames House

Architectural homes in Los Angeles: Schindler House

Architectural homes in Los Angeles: Lummis House (El Alisal)

Architectural homes in Los Angeles: Hollyhock House

Architectural homes in Los Angeles: Sam Maloof House

Architectural homes in Los Angeles: Greystone Mansion

Architectural homes in Los Angeles: Gamble House

Architectural homes in Los Angeles: Neutra VDL Research House

Architectural homes in Los Angeles: Avila Adobe

Architectural homes in Los Angeles: Frank Gehry House

House tour: Architectural homes in Los Angeles

Visit these important architectural homes from some of LA's pioneering greats like Eames, Gehry and Neutra.

From tract homes to Case Study Houses, Southern California has always been at the forefront of residential home design ( even Ice Cube knows it ). Whether you’re interested in local history, celebrity digs or plain old house porn, we’ve got a spot for you. So get off the beaten museum track and check out these landmark architectural homes, all within a few mile radius and (mostly) open to the public.

An email you’ll actually love

Eames House

• Historic buildings and sites
• Pacific Palisades

Designing couple Charles and Ray Eames were known for their intelligence and their joie de vivre , both of which are apparent at the Eames House nestled in the Pacific Palisades. One of Southern California’s most beloved examples of modernist residential design, with its Mondrian-style color-block exterior and environmentally-sensitive siting, this home was the Eames’ residence from the time they moved in—on Christmas Eve of 1949—until their deaths in the '70s and '80s, respectively. Visitors park a couple blocks away and walk up the hilly driveway for a self-guided tour of the exterior ($10, reservations required). Interior tours are more difficult to come by: Members are invited for an appreciation day, always scheduled near the Eames’ June 20 anniversary. Anyone can book a one-hour personal tour ($275; $200 for members), but if you’re a real Eames fan, you may want to splurge on the picnic for four in the meadow ($750; $675 for members) and recreate the opening shots of the duo’s popular Powers of Ten video.

Schindler House

• Things to do
• Walks and tours
• West Hollywood

Sleeping baskets on the roof, communal kitchens and a revolving-door salon of artists. Nope, not a Burning Man camp: This is the Schindler House, designed by Austrian architect Rudolf Schindler, who built it as a dual-family residence in which his family cohabited for a time with his frenemy and fellow influential architect Richard Neutra. A quiet, Japanese-influenced concrete building hidden behind a bamboo grove on a street of condos, this experiment in living now houses the Mak Center , a Vienna-based institute that runs a fantastic program of events in the space, including experimental fashion shows, innovative performance art and concerts of new, original compositions. During the week, visitors can wander around the empty house and imagine themselves part of the freewheeling LA bohemia of the 1920s and '30s.

Lummis House (El Alisal)

• Highland Park

Where would we be without those energetic civic boosters that built Los Angeles? The prolific Charles Fletcher Lummis founded the Southwest Museum, was an editor at the Los Angeles Times , and still managed to design this house (the name of which means “the Sycamore” in Spanish) on the banks of the Arroyo Seco. Its exterior is made almost entirely from river rock and the interior is heavily influenced by Pueblo Indian dwellings. Fans of today’s DIY movement will appreciate the rustic Craftsman charm of this home, which is furnished with hand-crafted wood pieces; it’s interesting to see how closely modern-day bohemian design mirrors that of Lummis House. The Historical Society of Southern California is now headquartered here, and it holds several Sunday afternoon programs a year, as well as an annual holiday open house in December.

Hollyhock House

This 1921, Mayan-inflected Frank Lloyd Wright house was originally built as a “progressive theatrical community” space by activist and oil heiress Aline Barnsdall. Today it’s the centerpiece of Barnsdall Park and is open for tours during the park’s popular Friday night wine tasting events . Rudolf Schindler, a protégé of Wright’s, was the overseeing architect on this project (unusual for Wright, who typically was on-site for all of his buildings) and by all reports it was a contentious building process, with the same delays and cost overruns familiar to anyone who’s attempted construction. After it was completed, frequent flooding of the living room in the short yet destructive rainy season and seismic concerns prevented Barnsdall from living in the gorgeous but impractical concrete and stucco house for long—though she did spend the rest of her life in a smaller house on the property, which the family called Olive Hill.

Sam Maloof House

• Inland Empire

Master woodworker Sam Maloof and his carpenters designed and built this lovely, thoughtful home piece by piece in his on-site workshop; no two door openings are the same here, and each joint is a wonder of craftsmanship. A MacArthur Genius Grant recipient, Maloof has had his iconic rocking chairs shown at the Smithsonian; he also designed the chairs that were used on-camera at the history-changing Nixon/Kennedy debates. Visitors can see some of this furniture, as well as the wide-ranging collection of arts-and-craft pieces that he and his wife of 50 years, Alfreda, amassed together. The garden, which he tended, and the house are both open for tours; if you ask, you might be able to peek into the workshop, where he continued building until his death in 2009 at the age of 93.

Greystone Mansion

• Beverly Hills

Is the Greystone Mansion haunted ? The society that runs it certainly wants us to think so—haunted house tours and a popular interactive play capitalize on the 1929 scandal in which the owner of the mansion, oil heir Ned Doheny, died in a mysterious murder-suicide with his boyhood friend and employee. Doheny’s father was mired in the Teacup Dome Scandal at the time, and the deaths meant that he was excused from testifying; rumors also abounded that Ned, who was married with children, was trying to cover up a same-sex affair. Either way, a tour of this 55-room Tudor estate is a good way to get a glimpse into the lives of LA’s historical 1%—costly slate clads the façade and walkways, the windows are leaded glass and guests were entertained in the bowling alley and two movie theaters. When the home was finished in 1929, it cost a reported $3M, making it the most expensive private home in the city at the time.

Gamble House

• Cultural centers
• price 2 of 4

Pasadena may think it owes much of its traditional Arts and Crafts style to Charles and Henry Greene, the brothers and architects responsible for designing many of the city’s landmark buildings, but really, they should be honoring Thomas Greene, the architects’ father. He was the one who decided on their profession, sending them off to MIT and then demanding they move out to Pasadena once they graduated. No word on whether he determined their style as well, but no matter who the progenitor, this graceful house originally built for one of the heirs of the Proctor & Gamble fortune remains one of the best examples of their work. Programming at the Gamble House is exceptional—there are tours that focus on things like the art glass or the details and joinery in the house, as well as more casual events like Brown Bag Tuesday, when visitors bring their own picnic lunch to eat on the grounds, followed by a 20-minute tour. However you decide to experience it, don’t miss the remarkable zig-zag staircase, a joyous element that adds a bit of fun to the perfection of the house.

Neutra VDL Research House

• Silver Lake

The original Neutra VDL Research House, a living laboratory for architect Richard Neutra’s theories on residential design, was built for $8,000 (including the site!) in 1932; it burned down in 1963 and two years later his son oversaw the rebuilding of an updated version. Neutra was something of a control-freak as a designer—he made recommendations to his clients that included the ideal flowers to display, and would occasionally make unannounced visits to see how, exactly, people were living in his homes. This remodel retains Neutra’s clarity of vision and is still a stunner. Today, this glass-walled paragon of modern design overlooking the Silver Lake Reservoir is an active part of LA’s design community and home to occasional art installations. Each Saturday, students in Cal Poly Pomona’s architecture program lead half-hour tours.

Avila Adobe

Visit this 1818 home to see what life was like in California when it was still governed by Mexico. This is the oldest standing residence in the city, built by wealthy cattle rancher Francisco Avila, whose extensive 4,439-acre land grant covered much of Beverly Hills and the Miracle Mile district. Built of tar from the La Brea Tar Pits , clay from the LA River and wood from the riverbank, this adobe structure is located near the Zanja Madre (in English, "mother ditch"), the original aqueduct that brought water to the LA River for El Pueblo de Nuestra Senora La Reina de Los Angeles (the original name of our fair city). Though visitors only see about half of the original house, it’s well-preserved with an interesting mix of Spanish, Mission and ranchero influences.

Frank Gehry House

• Santa Monica

The neighbors love to hate it, carloads of architecture students drop by to gawk at it: This unexpected intersection of chicken wire, plywood, corrugated metal and traditional Santa Monica house is famed architect Frank Gehry’s actual place of residence. This year the AIA gave it the Twenty-Five Year Award, for a building that has stood the test of time for 25 to 35 years. Rumor has it that when Gehry had a party for his firm here, design enthusiast Brad Pitt knocked on the door and invited himself in. You probably shouldn’t do the same, but you can take it in from the outside. There are no official visiting hours or tickets, but the house is very easy to view from the street.

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American Institute of Architects San Francisco

Festival Home Tours | Case Study House #26

Take an archiectural tour of the historic Case Study House #26 built in San Rafael in 1962 designed by Beverley (David) Thorne (1924 – 2017)

Architect: Beverley (David) Thorne | 1924-2017 Location: San Rafael Building Size/Acres:  1,955 SF / 0.9 acre Completion Year:  1962 Photographer:  Rob Jordan, Alfonso Cordon

VIP Tickets       Tour Only

About the Home

Take this exclusive home tour experience and learn about the historic Case Study House #26 built in San Rafael in 1962 designed by Beverley (David) Thorne (1924 – 2017) who liked the challenge to design houses for hillsides, typically shunned by regular developers. This home was part of the influential Case Study House program, which ran from 1945 to 1966 and defined the image of modern California architecture.

Intended as the representative residence of Bethlehem Steel CEO Harrison Fuller, after his death, a TWA pilot/flight attendant couple lived in this home until it was sold in 2015. The structurally expressive design has been kept mostly in its original condition by past and current owners. The rational floorplan separates private from social spaces, of which the latter are accentuated by a double-height space, whose dramatic roof follows the slope of the lot.

About the Architecture + the City Festival (September 10-30)

Presented by the  Center for Architecture + Design  in collaboration with the  American Institute of Architects, San Francisco Chapter (AIASF) , the  18th annual Architecture + the City Festival continues to offer behind-the-scenes programs, walking tours, literature, live presentations, and more that provide an excellent opportunity for all communities to experience architecture and design in a myriad of ways throughout the city. Every September, the festival reveals the many facets and layers of San Francisco, and how ­architecture and design play a key role in this ever-changing urban landscape.

For more info visit: www.archandcity.org

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• ARE Prep Class: PPD7 + PDD7, Building Systems, Materials & Assemblies; Integration of Building Materials & Systems »

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• Historic Places of Los Angeles
• Important Issues
• Events Calendar

Case Study Houses

The Case Study Houses served as a blueprint and inspiration for Mid-Century homes in Southern California.

In 2013, ten Case Study House program residences were added to the National Register of Historic Places.

Relevant Places

Bass House (Case Study House #20B)

Case Study House #1

Case Study House #10

Case Study House #16

Case Study House #28

Entenza House (Case Study House #9)

Stahl House (Case Study House #22)

Triad (Case Study House #23A)

Triad (Case Study House #23C)

West House (Case Study House #18)

Launched in 1945 by John Entenza’s  Arts + Architecture  magazine, the Case Study House program commissioned architects to study, plan, design, and ultimately construct houses in anticipation of renewed building in the postwar years.

While the Case Study House program did not achieve its initial goals for mass production and affordability, it was responsible for some of Los Angeles’ most iconic and internationally recognized modern residences, such as the  Eames House (Case Study House #8)  by Charles and Ray Eames and the Pierre Koenig-designed  Stahl House (Case Study House #22) , famously photographed by Julius Shulman.

After a decade-long effort, L.A. Conservancy’s Modern Committee succeeded in listing ten Case Study residences on the National Register of Historic Places.

About This Issue

With an emphasis on experimentation, and a goal of promoting good, modern, affordable design for single-family homes, the program helped to disseminate the midcentury modern aesthetic through its thirty-five published plans. Of these, twenty-five houses and one apartment building were built in California and Arizona.

The program offered an unparalleled opportunity for commissions and publicity for established architects including Richard Neutra, J. R. Davidson, Sumner Spaulding, and William Wurster. It helped raise the profile of then-lesser-known designers including Craig Ellwood, A. Quincy Jones, Edward Killingsworth, Ralph Rapson, Eero Saarinen, and Raphael Soriano.

Our Position

On November 21, 2013, the  Los Angeles Conservancy Modern Committee was awarded a Governor’s Historic Preservation Award to recognize its work in nominating eleven Case Study Houses to the National Register of Historic Places.

Through the efforts of the Los Angeles Conservancy Modern Committee, eleven Case Study House residences in Los Angeles, San Diego, and Ventura counties are now recognized as nationally historic. Ten are officially listed in the National Register of Historic Places, and an eleventh was deemed eligible for listing.

Few of the Case Study Houses currently have preservation protections, and some have been demolished or significantly altered. This proactive step recognizes the eleven nominated homes and raises greater awareness about the Case Study House program while providing a historic context for future designation of the remaining eligible properties.

On May 1, 2013, the State Historical Resources Commission voted to recommend listing of ten Case Study Houses in the National Register of Historic Places.  These ten residences with certifying recommendations were submitted to the National Park Service for final review and listing by the Keeper of the National Trust.  They were formally listed on July 24, 2013.

An eleventh nominated residence, Case Study House #23A, was not formally listed because of owner objection, but it received a determination of eligibility for listing in the National Register. All eleven residences will be considered historic resources and will enjoy the same protections under the California Environmental Quality Act (CEQA).

Several Case Study Houses were not included in the nomination — if they’ve been altered or demolished, or for other reasons — but with this platform in place, it will be easier for other CSH homes to be nominated in the future.

Likewise, a few CSH houses, such as the  Eames House  (CSH #8), weren’t included because they’re already individually listed.

Case Study House residences included in nomination:

Los Angeles County

• Case Study House #1 , 10152 Toluca Lake Ave., Los Angeles
• Case Study House #9 , 205 Chautauqua Blvd., Los Angeles
• Case Study House #10 , 711 S. San Rafael Ave., Pasadena
• Case Study House #16 , 1811 Bel Air Rd., Los Angeles
• Case Study House #18 , 199 Chautauqua Blvd., Los Angeles
• Case Study House #20 , 2275 N. Santa Rosa Ave., Altadena
• Case Study House #21 , 9038 Wonderland Park Ave., Los Angeles
• Case Study House #22 , 1635 Woods Dr., Los Angeles

San Diego County 

• Case Study House #23A , 2342 Rue de Anne, La Jolla, San Diego (determined eligible)
• Case Study House #23C , 2339 Rue de Anne, La Jolla, San Diego

Ventura County

• Case Study House #28 , 91 Inverness Rd., Thousand Oaks

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Alexander Zverev faces an ongoing trial in Germany during the French Open. Here’s what to know

Germany’s Alexander Zverev runs to play a shot against Australia’s Alex De Minaur during their quarterfinal match of the French Open tennis tournament at the Roland Garros stadium in Paris, Wednesday, June 5, 2024. (AP Photo/Jean-Francois Badias)

Germany’s Alexander Zverev serves against Australia’s Alex De Minaur during their quarterfinal match of the French Open tennis tournament at the Roland Garros stadium in Paris, Wednesday, June 5, 2024. (AP Photo/Aurelien Morissard)

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BERLIN (AP) — As tennis pro Alexander Zverev competes for a Grand Slam title at the French Open in Paris, he is also involved in a court case at home in Germany connected to his former partner’s accusation he caused her bodily harm.

The fact that Zverev has continued to play one of tennis’ biggest events — he will play Norway’s Casper Ruud in the semifinals on Friday after winning his quarterfinal match against Australia’s Alex de Minaur on Wednesday night — while facing such serious allegations has highlighted the sport’s lack of a clear policy on domestic violence.

Here’s a look at the allegations Zverev is facing, the status of the trial in Berlin and wider reaction:

WHAT IS ZVEREV ACCUSED OF?

Zverev is facing a charge of causing bodily harm to his then-partner during an argument in Berlin in May 2020. The prosecution alleges he pushed her against a wall and choked her, German news agency dpa reported Friday from the trial.

The trial comes after Zverev contested an earlier penalty order issued Oct. 2, including a requirement for Zverev to pay fines amounting to 450,000 euros ($488,000). Penalty orders are used in Germany as a means of resolving some criminal cases without going to trial, if the suspect does not contest the order.

HOW HAS HE RESPONDED?

Zverev has denied wrongdoing and indicated ahead of the French Open that he was confident he would be cleared.

“At the end of the day, I do believe in the German system. I do believe in the truth, as well. I have to be certain that I do know what I did, I do know what I didn’t do,” he said. “That’s, at the end of the day, what’s going to come out, and I have to trust in that. You know, everything else is out of my hands. Not out of my hands, but I do believe that I’m not going to lose (in court). There’s absolutely no chance I am.”

Zverev said after his quarterfinal match Wednesday that “everything is going OK from my side and from my point of view.”

WHAT HAS HAPPENED SO FAR IN THE TRIAL?

The trial bega n Friday at the court in central Berlin but much of what has taken place so far has been closed to the media and the public.

The district court has planned for 10 days of hearings in total on non-consecutive days through to July 19, according to dpa. That would stretch through the entire span of the French Open and Wimbledon and into the build-up for the Olympic tennis tournament, which Zverev won in 2021 .

It is not yet clear how many, if any, of those days Zverev may be required to attend.

WHAT IS ZVEREV’S STATUS ON TOUR?

The ATP Tour and Grand Slam tournaments, like the French Open, do not have a policy that would bar players accused of domestic abuse and there are no restrictions on which events Zverev can play.

Tournament director Amelie Mauresmo said keeping Zverev out of the field while his case was pending was not an option.

“As long as the trial isn’t finished, and there isn’t a decision, he’s considered innocent, and so that’s why he’s allowed to be part of the draw,” Mauresmo said last week. “As far as the tournament is concerned, we are not going to comment on anything, because the trial is happening.”

Zverev was elected by other players in January to serve a two-year term on the ATP Player Advisory Council, which offers policy recommendations to the ATP’s management and board of directors.

This week, a tour spokesperson referred back to an ATP statement issued in January: “We are aware of the upcoming legal trial involving Alexander Zverev, and will not be commenting until that process is complete.”

Asked following his quarterfinal match Wednesday whether he had considered that he might be prevented from playing the French Open by anyone in tennis, he said: “No. Why? There’s no reason.”

HOW HAS GERMANY REACTED?

Zverev, who was born in Hamburg to Russian parents, is by far Germany’s highest-ranked player in men’s or women’s tennis and one of the country’s best-known sports competitors.

The trial so far not been front-page news in Germany, where legal proceedings are not televised and there is typically less detailed day-by-day reporting from trials than in some other countries such as the United States. German-language news stories about Zverev’s recent matches in Paris often do not mention the trial.

In sports news, Germany is focused on hosting the upcoming European Championship in men’s soccer, arguably taking some of the attention away from Zverev’s run at the French Open.

AP tennis: https://apnews.com/hub/tennis

Lemmen feels right at home at Visma | Lease a Bike: "Similar way of working as in the army"

T he bad luck seems far from over for Visma | Lease a Bike. The Dutch team was already plagued by several cases of injuries (due to nasty falls) in the first quarter of 2024, and the Critérium du Dauphiné brought more of the same. During the horrific crash on day five, killer bees Dylan van Baarle and Steven Kruijswijk hit the asphalt so hard they were taken to the hospital. Adding insult to injury, these were two Tour de France hopefuls...

The story is by now well-known: Wout van Aert and Jonas Vingegaard, two potential frontrunners in La Grande Boucle , had to undergo a substantial recovery process and it remains uncertain whether they will be fit enough in time for the three-week stage race (performance coach Mathieu Heijboer previously elaborated on this in an interview with IDLProCycling.com ). Add to that lots of additional uncertainty and you better believe the yellow-black team is having a tough time. With Van Baarle and Kruijswijk out, the team is truly in a dire situation. Time to search for potential replacements. Bart Lemmen, currently in his first WorldTour year, might not have seen it coming, but could now suddenly find himself on the Tour de France longlist (or is it already a shortlist?).

After joining Visma | Lease a Bike through fast track, where is Lemmen's limit?

It might seem like he pulled off quite the stunt, but it's actually not so crazy to consider sending Lemmen to the Tour. Even before all the Dauphiné troubles occurred, this website spoke with the former military man, who is in good form this year. He finished fifth overall in the Santos Tour Down Under in January, and last month he even finished second in the Tour of Norway. "My form is definitely good, I can't deny that. Of course, I would have preferred to win the Tour of Norway. If I had made a few different tactical choices, I could have won. I think I really had the legs to win it. But I didn't, which is always a shame," the 28-year-old Dutchman said.

"But hey, I can't complain, because it's my first pro podium. You always have to be satisfied with that. And when a race like that is over, you quickly realize that was pretty cool," Lemmen continued. "At some point, I just wanted to pull through that second place at all costs. All in all, I rode well. I'm happy with that, especially considering I haven't been back on the bike that long after breaking my collarbone," he said, referring to his fracture and DNF in the opening stage of the Tour of Catalonia.

2022: Continental (VolkerWessels). 2023: ProTour (Human Powered Health). 2024: Visma | Lease a Bike (WorldTour). To say Lemmen's career is progressing rapidly, would be an understatement. However, he emphasized that he does not want to think too much about his potential limit. "Honestly, I have no idea where my limit is. And I'm not really concerned about that. I've obviously been asked that question before, at the beginning of this year and even last year, when it was announced that I was turning pro. You have to look at it this way: I didn't necessarily expect to be competing for the win in Norway. And I didn't necessarily expect to be starting here in the Dauphiné. Nor that I would already have two top ten placements in WorldTour races. But here we are. Everything so far is already a great bonus."

Continue reading below the photo!

Lemmen as potential replacement for the Tour de France?

Lemmen went on to say that he finds it especially important that he enjoys himself at Visma | LaB. "When I look at how the team works and how everything is structured, that really fits me well. It's kind of the same way of working as when I was in the army. And I really liked that approach. That's how I wanted to run my team there. I can definitely say that the culture within Visma | Lease a Bike suits me well. And that's what I find most important. As for results, I'll see where we land," he stated.

And of course, the misfortune surrounding Van Aert and Vingegaard also came up in the interview with Lemmen. "I do get some of it, of course. I certainly hope from the bottom of my heart that Wout and Jonas are ready for the Tour. That would be the best for the team. But there's nothing I can do about that. I just have to make sure I'm always at my best. So it's not like I'm preoccupied with that every day, definitely not," he stated realistically.

When we asked our follow-up question – ''which races are you riding after the Dauphiné?' – Lemmen answered: "After this Dauphiné, I have the Dutch national championships. Both the road race and the time trial. Beyond that, not much is known about my program. I can't say much more about that." With what we know now, that might (just) result in a Tour participation, especially since he is certainly in good form.

Van Baarle enjoyed his year in his national jersey

IDLProCycling.com also had a brief conversation with the unfortunate Van Baarle during the Dauphiné, about 24 hours before his terrible crash, shortly after he crossed the finish line in the individual time trial. "I haven't really had much contact with Wout, nor with the other guys in Tignes," the Dutchman said. "We're have a group chat with the guys in the high-altitude training camp, so I know who gets on the bike when. That's interesting to know. What it's like over there, that I don't know. I haven't had much contact with them otherwise."

Normally, Van Baarle would have joined the other Dauphiné men in Tignes after the French race. He was normally going to skip the Dutch national championship due to his busy schedule (Tour de France, Olympic Games, Vuelta a España) and hence the Dauphiné was his last race in red, white and blue. "It's been a very nice year getting to wear this jersey. The fact that you get to wear it at all is already very special. I'm happy about that. I would have liked to defend it, but with my busy schedule, it would be too difficult. That's why we decided to skip the Dutch national championship and focus fully on the other goals." Unfortunately, as it turned out a day later, it wasn't meant to be for Van Baarle. Get well soon, Dylan!

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The Government Takes On Ticketmaster

Explaining a case that could reshape the multibillion-dollar live entertainment industry..

This transcript was created using speech recognition software. While it has been reviewed by human transcribers, it may contain errors. Please review the episode audio before quoting from this transcript and email [email protected] with any questions.

Hi, everybody, it’s Sabrina. Before we start today, we wanted to invite you to something special. The Tribeca Festival is starting a brand new annual gala to celebrate excellence in audio. For this, the inaugural year, they’ve chosen to celebrate “The Daily.” We know you, our incredible audience, live all over the world, but we’d like to invite you to join us.

The gala is in New York, on June 9, at 5:00 pm. You can get all the details and buy tickets at tribecafil.com/thedaily. That’s tribecafilm.com/thedaily. I’ll be there, Michael too, along with a bunch of us from the show. Mo Rocca is going to host it. So if you’re in the area or you’re visiting, we’d love to see you there. OK, on with today’s show. From “The New York Times,” I’m Sabrina Tavernise. And this is “The Daily.”

I have got a bone to pick, as usual, with Ticketmaster.

The biggest problem that I have right now is not getting tickets to the Era Tour.

Loading, loading, loading. Want them so bad. Want them so bad. Want them so bad. Nope.

I looked at my account and the tickets are gone.

Over the past few years, few companies have provoked as much anger —

I cannot afford $1,500 tickets.

— among music fans.

Oh, my god.

— as Ticketmaster.

I literally hate Ticketmaster. Like, there is no company I think I hate more than Ticketmaster.

Ticketmaster ought to look in the mirror and say, I’m the problem. It’s me.

Last week, the Department of Justice announced it was taking the company to court. Today, my colleague David McCabe, on how the government’s case could reshape America’s multi-billion dollar live music industry.

It’s Thursday, May 30.

So, David, good to have you back. You have become a beloved guest at “The Daily,” because the government keeps bringing these huge antitrust cases and we keep turning to you to explain them.

Well, it’s a pleasure to be back. And today I have a question for you, which is, what was the first concert you ever went to?

Oh, my gosh. The first concert I ever went to? Oh, my god, I think it was Van Halen in the 1980s, which maybe is before you were born.

You know, no comment, but that’s a pretty good first concert.

And the case that we’re here to talk about today is actually all about shows like a Van Halen concert in 1980.

OK, I’m ready. So let’s get into it. This case, as you and I both know, is about Ticketmaster. So tell us about this case.

So anyone who attends concerts regularly or even irregularly probably knows about Ticketmaster. It’s kind of the ubiquitous digital box office. And those people are probably also familiar with the ubiquitous fan complaints about Ticketmaster — that the company puts high fees that they don’t entirely explain onto tickets, that tickets will sell out really fast during these sort of frantic pre-sales for tours, and that the website doesn’t always work very well.

And probably the most infamous Ticketmaster incident in recent memory was a couple of years ago when the pre-sale began for Taylor Swift’s massive Eras Tour. And fans got locked out, couldn’t get tickets and were absolutely furious. And it really put in the spotlight the power of this company over the ability to buy a ticket to a live music event.

So the DOJ is pointing the finger at this company for all this consumer angst at Ticketmaster.

Well, and when you say this company, it’s not just Ticketmaster. It’s the company that owns Ticketmaster, a company called Live Nation Entertainment. We’ll say Live Nation for short. And it’s a giant company. And to think about just how gigantic and how expansive Live Nation is, I think it’s helpful to think about the fan experience of going to a concert.

[MUSIC PLAYING]

It starts with buying a ticket. And maybe you buy a group of tickets for you and your friends. And then one of your friends can’t make it. They’ve got other plans. You resell their tickets so you can make your money back. And then the day of the show you go, it’s this big production. It’s at a venue. Someone has booked the artist to appear. You go, you buy a beer, you have a good time.

Live Nation is involved in many parts of that process, and that starts with being a major concert promoter. They’re the one putting it on, arranging the event. They’re also selling the tickets through Ticketmaster. Sometimes they’re also involved in reselling the tickets when your friend can’t make it.

And not only that, they actually sometimes manage the artists. And they own or operate the venues where the show is happening. So even down to that beer you’re drinking to enjoy with the show, they might be involved in picking the person who sells that beer to you.

So, basically, they’re everywhere.

They’re everywhere. And the Justice Department says that’s a big part of the problem, that its power is bad for fans.

Good morning. Earlier today, the Department of Justice —

And we really heard that come through at the press conference last week that the Justice Department held to announce this case —

People always remember the first time that they were transformed by live music.

— where Merrick Garland, the Attorney General, really personalized this issue.

I still remember, as a senior in college, going to a Bonnie Raitt concert and seeing a —

He told this story about going to a Bonnie Raitt concert in college.

Merrick Garland did?

Yeah, Merrick Garland did.

I don’t think of Merrick Garland and Bonnie Raitt together in the same sentence.

Well, apparently, in college he attended a Bonnie Raitt show. And the thing he highlighted was that the opener was a young Bruce Springsteen.

We all knew that we had just seen the future of rock and roll.

And in that story, the attorney general seems to be getting at two important threads of this case. The first is that concerts are formative for the people who attend them. And the second is that concerts are an important way that artists reach their fans. That young Bruce Springsteen went on to now be one of the biggest touring artists in the world.

The Justice Department filed this lawsuit on behalf of fans who should be able to go to concerts without a monopoly standing in their way. We have filed this lawsuit on behalf of artists who should be able —

And so the Justice Department is responding here to a feeling that Live Nation, this giant company, has become a gatekeeper for both artists and fans. And that has allowed it to pay artists less sometimes, but also charge fans those fees that they’re so mad about.

It is time for fans and artists to stop paying the price for Live Nation’s monopoly. Thank you.

So help us understand how things have gotten to this point, where Live Nation is so powerful that the DOJ feels the need to sue them.

Well, this company has a long history of tangling with the Justice Department. And that really starts in 2009, when Live Nation and Ticketmaster announced that they were going to merge. And this merger, this big corporate deal, will marry Live Nation’s concert promotion business, the business of putting on shows, with Ticketmaster’s experience as an online ticketing platform.

And the Justice Department — a big part of its job is looking at corporate mergers to figure out if they will substantially lessen competition in the economy. So the Justice Department reviews this merger, and in 2010 decides we will let this merger go through. But we do have some concerns that it might reduce competition in the industry of ticketing. And so we’re going to reach a legal settlement with Live Nation and Ticketmaster that puts conditions on the deal, that requires the company to sell some assets to kind of lessen its footprint. And so the merger goes through. And that creates the sort of modern day Live Nation, Ticketmaster combination.

So the government ultimately actually just lets it happen.

That’s right. They put conditions on the merger, but ultimately they let it go through. And the company continues to tangle with the Justice Department over the next 15 or so years. But mostly they keep getting bigger. They keep growing their footprint across this ecosystem that creates some of the biggest concert tours in the country.

So just how big has the company actually become? Give me some numbers.

Well, let’s start here. Every year, they sell about 600 million tickets.

600 million tickets? That’s more than the number of people in the United States of America.

Yeah. And that is a global number, but it’s a lot of tickets. Right? The Department of Justice estimates that in the United states, Live Nation controls about percent of ticketing to major venue concerts.

So that’s a big percentage. They also own or control, like, in excess of 250 venues, including a big percentage, the Justice Department says, of major amphitheaters, the kind of big outdoor concert venues that are ultimately kind of in between a nightclub and the size of a big football stadium. And they manage hundreds of artists. They have this direct relationship with artists. And so this company is wide and it is deep into this industry.

So ultimately, the Justice Department says that — and I’m going to quote here — it’s the, quote, “gatekeeper for delivery of nearly all live music in America today.”

OK, it’s big. But as we know from other DOJ cases — and this is something that you have taught me, David — the cases against Apple and Google, just being big is not in and of itself a problem.

That’s right. Where companies run afoul of the law is when they use their power as a monopoly against their competitors in order to stay powerful or get more powerful.

And the Justice Department says that Live Nation has built a complex machine to do just that.

We’ll be right back.

So what does the DOJ say that Live Nation is able to do because it is so big? How does it use its bigness?

So the most prominent allegation is that Live Nation uses its power as a concert promoter to entrench its power in ticketing. As a reminder, when you put together a concert, a promoter works with an artist to book the show. They book the show at a venue. And that venue, for all of its shows, has to choose a ticketing provider, a digital box office where people can buy their way into the shows.

And what the Justice Department is arguing here is that Live Nation is able to wield its big artists, the tours that it promotes, as a cudgel to force venues to use Ticketmaster, its ticketing service. So the Justice Department says that in an instance in which a venue switched away from using Ticketmaster, that Live Nation routed tours around that venue, which of course means less money for that venue and a problem for their business.

Interesting. So basically, Live Nation is saying, look, if you want Taylor Swift in your little amphitheater over there, you’re going to have to use Ticketmaster. It’s Ticketmaster or no Taylor Swift.

That is effectively the behavior the Justice Department is arguing has happened here. They’re saying that Live Nation does this in veiled ways and that, more importantly, it’s really understood by venues throughout the industry that if you don’t use Ticketmaster, that you really risk out on losing important Live Nation managed tours. And then once these venues do choose Ticketmaster, Live Nation locks them into these long, exclusive ticketing contracts, which can last for as long as 14 years.

14 years? That’s pretty long. What else is DOJ alleging that Live Nation has done?

Another thing the Justice Department says that Live Nation does is use its power as an owner of venues to get away with paying artists less money for their tours.

So how does that work?

Basically, the argument is that because Live Nation controls so many of certain types of venues, that there are instances in which an artist’s tour might largely be dominated by Live Nation owned venues. And the Justice Department is saying that Live Nation knows that artists don’t have a lot of other options for where to play their concerts and, as a result, is able to pay those artists less. Because there’s not competitive pressure when they’re booking those tours.

That seems pretty unfair to artists who would really benefit from other venues owned by other people competing for them.

And that’s exactly what the Justice Department is saying, that artists lose out, not just fans. And there’s a striking story in the complaint that I think crystallizes how the Justice Department sees these streams of power coming together.

And it concerns a concert, which the lawsuit doesn’t name, in 2021. My colleague Ben Sisario has reported that it was a Kanye West concert featuring Drake. It was a benefit show, and it was taking place at the LA Coliseum in Los Angeles.

One of the companies involved in putting on this show was a firm called TEG. They do promotion and ticketing of the kind that Live Nation does. And the government says that Live Nation saw this as a threat, that they saw this company TEG involved in this show, and they were worried about what it would mean for them, and that they then undertook steps to put pressure on TEG and make their life difficult in a couple of ways.

The first was that TEG had reached a deal to sell some tickets, according to the complaint, through StubHub. StubHub is a secondary resale market. You can buy tickets to shows when people aren’t going to use them.

Right, and competitor to Ticketmaster, right?

And competitor to Ticketmaster. And the Justice Department says that Live Nation found out about that and said, well, we have the exclusive ticketing contract for this venue. And so we will make sure that if you bought your ticket on StubHub, you won’t be allowed to come in to this show.

Really? Like, they couldn’t come into the concert?

Well, and ultimately, the complaint says that StubHub had to work with Ticketmaster to fulfill the tickets that had already been sold, that they stopped selling new tickets, and that hundreds of people who bought their tickets on StubHub didn’t get into the show.

That seems very unfair. Like, they bought a ticket.

Well, and according to the Justice Department, it didn’t stop there, that Live Nation used its industry connections to pressure an investor in TEG, this company that it viewed as a threat, and that it pushed that investor to pull back from its relationship with TEG, which obviously would have weakened this potential competitor.

So these are very strong armed tactics. What is the DOJ saying is the result of all of this? What does all of this amount to?

It says that all of this adds up to higher fees for consumers and a worse product, a worse quality ticketing experience when fans go to buy. Because Live Nation doesn’t have to compete with anyone. It doesn’t have to innovate in response to competitors. So, among other things, the Justice Department wants to break this company up, at the very least by separating Ticketmaster, the ticketing unit, the box office unit, from the rest of Live Nation that does all these other things — promotes concerts, owns venues, et cetera.

So in other words, go back to the way it was in the beginning.

Yeah, or as much as you can.

And why does that fix the problem?

Well, the Justice Department doesn’t say a lot on this point. But it’s clear that what they want to do with this lawsuit is disrupt this cycle where Live Nation’s power reinforces itself again, and again, and again.

And what does Live Nation say in response? I imagine they disagree with all of this.

They do. They’ve said a lot. And they start out by saying something that will be familiar to you, because other companies that have been accused of antitrust violations say it as well, which is that they don’t fit the profile of a monopoly, that their overall profit margins are lower than those of companies like Meta, or Apple, or Google, and that even if you look at Ticketmaster specifically, they take a smaller percentage of every sale than a lot of other digital platforms. So they say basically the numbers show that we don’t have the kind of power you would normally associate with a monopoly.

And then they say, listen, we know that there are things that fans don’t like about the ticketing experience. There may be fixes to those. But largely, it’s not Live Nation’s fault, they say. They say that artists generally set the prices they want people to pay for tickets.

Really? So artists themselves do it.

Right, that artists sign off on how much a ticket will cost to their shows.

And they also say that demand sometimes drives ticket prices up. If there are more people who want to see a show than there are seats or standing room to see that show, the prices will be higher. And finally, they say that there’s this kind of pernicious outside force of scalpers, people who resell tickets, that use bots to hoover up way more tickets than they could possibly use and then resell them at a higher price. And so they say that all of these things may contribute to a fan experience that people don’t like, but that it’s not necessarily Live Nation’s fault.

I mean, to me, this makes certain sense. I guess if you think of a Taylor Swift show and lots of people trying to buy tickets, one reason why those tickets are expensive is not necessarily because there’s something nefarious going on, but because lots of people want to buy tickets. And there’s a market, and supply and demand has a role here.

Well, and a clear question here that I have, that other people have asked, is how much does the Justice Department think ticket prices have gone up because of this alleged Live Nation monopoly? And the Justice Department hasn’t answered that question.

They haven’t disentangled it with all of the other stuff that’s around — market forces, everything?

That’s right. And there’s another element of Live Nation’s response that we should mention, which is that the company basically says this lawsuit is politically motivated, that this administration, the Biden administration, is bringing lawsuits that don’t hold a lot of water but are anti-business. That’s what Live Nation is saying.

I mean, it does sort of ring true in some sense. Right? This has been the tilt of this administration toward cracking down on big companies. The DOJ has changed in this respect. They’re filing a lawsuit to break up a merger that a previous DOJ had actually approved.

Well, you’re right. This Department of Justice, this administration more broadly, has a different view about antitrust. They think that antitrust law can be a more expansive tool to address problems in the economy. And they’ve put that into practice. They’ve sued Google for violating anti-monopoly laws. They’ve sued Apple for violating anti-monopoly laws.

But I think ultimately what they believe is that they’re responding to a change in the economy, that these companies have gotten much bigger, that they have gotten more powerful. And they are responding to the way the companies broke the law on their way to becoming that big.

So, David, when you and I talked about Google and Apple — you referenced them here — you know, we talked about how there were broad repercussions for the future on American society. What would you say the implications are in this case?

This case ultimately, for the Justice Department, is about the market for culture and creativity. You know, a few years ago, the Justice Department successfully blocked Penguin Random House, a big publisher, from buying Simon and Schuster, another publisher. And they said that one problem with this merger was that it would reduce how much authors got paid, and that it would create a market where fewer books and fewer types of stories broke through.

This Justice Department is embracing an idea that the more concentrated the economy gets, the more it stifles creative expression, the ability of artists to make art and get it to the public and the ability of the public to consume it. And that, they say, is a central question of democracy. Because things like music are how we talk about big social issues or big political issues. So that is, they say, what’s at the heart of this case, that it is not just about the fees, it’s not just about how much an artist gets paid. But it’s about whether or not there is a fair marketplace for ideas, and whether or not consumers are able to access it.

David, thank you.

Thank you. [MUSIC PLAYING]

Here’s what else you should know today. On Wednesday, Supreme Court Justice Samuel Alito declined to recuse himself from two cases arising from the January 6, 2021, attack on the Capitol after “The Times” reported that flags displayed outside his houses appeared to support the Stop the Steal movement. In letters to Democratic members of Congress who had demanded his recusal, Justice Alito said that the flags, at his home in Virginia and a beach house in New Jersey, were flown by his wife, Martha Ann, and that he had had nothing to do with it.

And a group of 12 New York jurors deliberated for more than four hours in the final stretch of the criminal trial of Donald Trump, in which the former president is accused of falsifying business records. The jurors asked for portions of the testimony from two witnesses to be read back to them, as well as the judge’s instructions. They were then dismissed for the day and will resume deliberations today.

Today’s episode was produced by Will Reid, Rob Szypko and Rachelle Bonja. It was edited by Michael Benoit and Brendan Klinkenberg, contains original music by Marion Lozano, Dan Powell, and Will Reid, and was engineered by Alyssa Moxley. Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly.

That’s it for “The Daily.” I’m Sabrina Tavernise. See you tomorrow.

• June 7, 2024   •   30:00 Real Teenagers, Fake Nudes: The Rise of Deepfakes in American Schools
• June 6, 2024   •   23:38 The Fight Over the Next Pandemic
• June 5, 2024   •   30:42 Biden’s Push to End the War in Gaza
• June 4, 2024   •   29:17 A Conversation With President Zelensky
• June 3, 2024   •   32:07 How Trump’s Conviction Could Reshape the Election
• May 31, 2024   •   31:29 Guilty
• May 30, 2024   •   25:21 The Government Takes On Ticketmaster
• May 29, 2024   •   29:46 The Closing Arguments in the Trump Trial
• May 28, 2024   •   25:56 The Alitos and Their Flags
• May 24, 2024   •   25:18 Whales Have an Alphabet
• May 23, 2024   •   34:24 I.C.C. Prosecutor Requests Warrants for Israeli and Hamas Leaders
• May 22, 2024   •   23:20 Biden’s Open War on Hidden Fees

Hosted by Sabrina Tavernise

Featuring David McCabe

Produced by Will Reid ,  Rob Szypko and Rachelle Bonja

Edited by Brendan Klinkenberg and Michael Benoist

Original music by Marion Lozano ,  Dan Powell and Will Reid

Engineered by Alyssa Moxley

Listen and follow The Daily Apple Podcasts | Spotify | Amazon Music | YouTube

Over recent years, few companies have provoked more anger among music fans than Ticketmaster. Last week, the Department of Justice announced it was taking the business to court.

David McCabe, who covers technology policy for The Times, explains how the case could reshape America’s multibillion-dollar live music industry.

On today’s episode

David McCabe , a technology policy correspondent for The New York Times.

Background reading

The government is accusing Ticketmaster’s corporate parent, Live Nation Entertainment, of violating antitrust laws .

Here’s a guide to the emails at the heart of the government’s case .

There are a lot of ways to listen to The Daily. Here’s how.

We aim to make transcripts available the next workday after an episode’s publication. You can find them at the top of the page.

The Daily is made by Rachel Quester, Lynsea Garrison, Clare Toeniskoetter, Paige Cowett, Michael Simon Johnson, Brad Fisher, Chris Wood, Jessica Cheung, Stella Tan, Alexandra Leigh Young, Lisa Chow, Eric Krupke, Marc Georges, Luke Vander Ploeg, M.J. Davis Lin, Dan Powell, Sydney Harper, Mike Benoist, Liz O. Baylen, Asthaa Chaturvedi, Rachelle Bonja, Diana Nguyen, Marion Lozano, Corey Schreppel, Rob Szypko, Elisheba Ittoop, Mooj Zadie, Patricia Willens, Rowan Niemisto, Jody Becker, Rikki Novetsky, John Ketchum, Nina Feldman, Will Reid, Carlos Prieto, Ben Calhoun, Susan Lee, Lexie Diao, Mary Wilson, Alex Stern, Sophia Lanman, Shannon Lin, Diane Wong, Devon Taylor, Alyssa Moxley, Summer Thomad, Olivia Natt, Daniel Ramirez and Brendan Klinkenberg.

Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly. Special thanks to Sam Dolnick, Paula Szuchman, Lisa Tobin, Larissa Anderson, Julia Simon, Sofia Milan, Mahima Chablani, Elizabeth Davis-Moorer, Jeffrey Miranda, Renan Borelli, Maddy Masiello, Isabella Anderson, Nina Lassam and Nick Pitman.

David McCabe covers tech policy. He joined The Times from Axios in 2019. More about David McCabe

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