A Ten Year Anniversary:
A Look Back On The Shaping Of Duran's 1984 LA
Concert
by Marisol Segal
For the average pop fan, concerts seem very simple affairs. You read about them in the paper or learn about them from a friend. You stand in line to buy a ticket at the venue box office or the nearest TicketMaster outlet. The customer with a charge card may make this process even simpler by charging her tickets over the phone. The extent of any further preparations are the answers to the rhetorical questions Who am I going with and how are we getting there?
For the promoter, things are never that easy. That phone call is the genesis of a ten-week effort that concludes with the flawless staging of an event that draws enough people to populate a small city.
The agent has barely said good-bye before the promoter is calling the general manager of the venue, whose responsibility is to book events into the ever-busy venue. In addition, the promoter and general manager must accommodate dozens of other attractions as well. The contracts are drawn up, the deal is struck; step one, the hardest step, has been taken.
A number of key decisions must be made before at least two Duran Duran shows go on sale. The promoter must first construct his deal with the venues general manager. With those arrangements made, the promoters business team now shifts into overdrive. Its advertising agency contacts Duran's record company, as well as the bands personal management for suggestions as to how these reigning pop idols should be marketed. The ad agency must obtain an ad mat, advertising language for the standard verbal copy and picture used throughout the bands tour. The agency must also consider which radio stations might be asked to participate in the promotion of the concerts.
Complicating these judgments in Duran's corporate sponsorship deal with Coca-Cola. As is frequently the case in these times of spiraling expenses, Duran's 1984 slate of concerts is being partially underwritten by the giant soft drunk conglomerate, and Coca-Colas logo must be included in the ad mat, making the show a Promoter and Coca-Cola Presents production. Partially because of the Coca-Cola sponsorship, but also because Duran's widespread airplay to single radio stations is designated as a sponsoring or promotional outlet.
The promoter has to build a ticket pricing structure that maximizes the potential profit for both this firm and for Duran, while at the same time not offending the bands fans. Having done so, those figures are sent out to Duran's agency for approval.
The details worked out, a tentative sale date of January 9 is set. Throughout the weekend, Los Angeles best-rated rock and Top-40 radio stations have been advising their listeners of the sale date and time. The first show sells out in 90 minutes and by noon, both the box office and TicketMaster start selling tickets for the second show. Radio stations advise their listeners that the first show is a quick sell-out, and that Duran fans had better hurry if they want tickets for the second and final performance.
The second show sells out in just 90 additional minutes, about as fast as TicketMaster can print and disburse the tickets. The 30,000 precious tickets sell in three and one-half hours, the fastest sell-out since David Bowie in the summer of 1983. More than a thousand tickets have not been sold, however. These tickets are earmarked for Coca-Cola, the band, the record company and other industry clientele. For the promoter, there is little to do now but wait until the day of the show. His main concern is that Simon doesn't bread his arm falling in the shower or some other unforeseeable accident.
Duran Duran day dawns as fans begin hanging out at the Forum almost as early as the production manager and crew, who begin their day at 8:00 a.m. The equipment trucks are unloaded, riggers are set in place under the catwalk and the portable stages are assembled. The sound equipment is assembled and operable by 2:30, some two hours before Duran is scheduled for their sound check. Concurrently, the lights are put in their places and Duran's roadies arrange the bands personal equipment and stage setting. On this day, a few electrical problems are incurred, so it is 5:30 before the guys get a chance to do their 60-minute sound check and rehearsal. For much of the afternoon, the promoter sets up shop in their makeshift office, dealing with managers and agents, attempting to book shows, checking on sales for the ones already booked, and generally carrying on business as if they were in their own offices.
As the four doors are opened at 6:35 and the eager fans file in, the band returns to its dressing room, the promoter meets them, and sees to it that the members are pleased with the proceedings. The opening act and intermission conclude and Duran Duran takes the stage amid a deafening rear at 9:15. Another day at the office for the promoter, and an unforgettable experience for the screaming fans, is all but concluded. The promoter will be available if real problems crop up, but for the most part, the best thing they can do now is let this concert proceed like countless hundreds of other productions have, tolling along on a momentum all its own.
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