@into_the_tide said:

@FunkDog said:

Disappointed that my question is not answered. I also would like to know what is going to be done about the system?

Do the strategies and skills for responding to racism and white fragility in live music environments differ from those in other scenarios? In other words, do concerts present unique challenges? If so, how? And how do we overcome them?

DB: These dynamics are systemic, show up everywhere, and any distinctions of how they show up in different scenarios, are at some level, academic. The personal work and skills for responding to racism showing up are also fundamentally the same.

So many tickets, especially the best seats for significant shows of a tour, are purchased through a lottery system. The people that purchase tickets in this manner are overwhelmingly white. This can be independently verified by looking at who is in the best seats of these shows. What can be done to bring racial equity to the lottery purchase system for Phish concerts? Do any of the three white people, or one asian person have any insight towards an answer for this?

Lol the best seats are obtained through the lottery? Is that a joke? You’ve drawn a conclusion from a faulty premise and cratered your own argument in the process. As anyone who has been paying attention can tell you, the vast majority of the “best seats” are reserved for “platinum” sale or some other variation of the aftermarket (above face). Only those with means have the ability to purchase these seats in the aftermarket. As you said, if all you see is white faces in those seats then congratulations, you just unintentionally made a point about privilege.

Ok, valid point, the platinum seats and aftermarket go for big bucks. Can any interaction with a corporation called “TicketMaster” be anything other than evil?