Anastasia Tsioulcas

Anastasia Tsioulcas is a correspondent on NPR’s Culture desk. She is intensely interested in the arts at the intersection of culture, politics, economics and identity, and primarily reports on music. Recently, she has extensively covered gender issues and #MeToo in the music industry, including the trial and conviction of former R&B superstar R. Kelly; backstage tumult and alleged secret deals in the wake of sexual misconduct allegations against megastar singer Plácido Domingo; and gender inequity issues at the Grammy Awards. On happier days, Tsioulcas has celebrated the life of the late Aretha Franklin, traveled to Havana to profile musicians and dancers, revealed the hidden artistry of an Indian virtuoso who spent 60 years in her apartment and brought listeners into the creative process of composers Steve Reich and Terry Riley. Tsioulcas was formerly a reporter and producer for NPR Music, where she covered breaking news in the music industry as well as a wide range of musical genres and artists. She has also produced episodes for NPR Music’s much-lauded Tiny Desk concert series and has hosted live concerts from venues like the Metropolitan Museum of Art and New York’s (Le) Poisson Rouge. She also commissioned and produced several world premieres on behalf of NPR Music, including a live event that brought together 350 musicians to debut a new work together. As a video producer, she created high-profile video shorts for NPR Music, including performances by cellist Yo-Yo Ma in a Brooklyn theatrical props warehouse and pianist Yuja Wang in an icy-cold Steinway & Sons piano factory. Tsioulcas has also reported from north and west Africa, south Asia, and across Europe for NPR and other outlets. Prior to joining NPR in 2011, she was widely published as a writer and critic on both classical and world music, and was the North America editor for Gramophone Magazine and the classical music columnist for Billboard. Born in Boston and based in New York, Tsioulcas is a lapsed classical violinist and violist (shoutout to all the overlooked violists!). She graduated from Barnard College, Columbia University with a B.A. in comparative religion.

96%

The Daily's Verdict

This author is known for its high journalistic standards. The author strives to maintain neutrality and transparency in its reporting, and avoids conflicts of interest. The author has a reputation for accuracy and rarely gets contradicted on major discrepancies in its reporting.

Bias

88%

Examples:

  • According to Thursday’s filing, Live Nation Entertainment currently owns or controls over 250 concert venues across North America, and controls around 60 percent of concert promotions at major concert venues across the U.S.

Conflicts of Interest

100%

Examples:

  • To us, that’s a little bit of a red herring,” the official continued, referring to Live Nation’s previous argument. “How is the system set up? How is Live Nation’s control at all levels of the system allowing for a process that’s distorted in part by Live Nation’s power?

Contradictions

85%

Examples:

  • Live Nation currently owns or controls over 250 concert venues across North America and controls around 60 percent of concert promotions at major concert venues in the U.S.
  • Live Nation denies violating antitrust laws and argues that most service fees go to venues, while outside competition has steadily eroded Ticketmaster’s market share.

Deceptions

100%

Examples:

No current examples available.

Recent Articles

Justice Department Sues Ticketmaster and Live Nation for Alleged Monopoly in Live Events Industry: Impact on Consumers, Artists, and Competition

Justice Department Sues Ticketmaster and Live Nation for Alleged Monopoly in Live Events Industry: Impact on Consumers, Artists, and Competition

Broke On: Thursday, 23 May 2024 The Justice Department has sued Ticketmaster and its parent company Live Nation Entertainment for running an illegal monopoly in the U.S. live events industry, with approximately 70% of major concert tickets sold through Ticketmaster. The lawsuit alleges that this monopoly power has hurt consumers by limiting competition and driving up ticket prices, as well as retaliating against rivals.