Thanks to the Hannah Montana hysteria, ticket brokers have come under fire in recent weeks. Just last night, NBC10 in Philadelphia had their Investigator team “get to the bottom of it”. It’s funny how the media is trying to spin this whole ticket shortage as a result of ticket brokers, when the simple fact is that there just wasn’t enough supply to meet the demand of the public. RMG Technologies gave a VERY SMALL PERCENTAGE of brokers an unfair advantage over the general public, but in cases like this report, they weren’t even part of the issue.

Here are the facts: RMG’s software was only used to manipulate Ticketmaster. The tickets for the Philadelphia Hannah Montana show were sold through ComcastTix. So there was no way for brokers to manipulate the supply of tickets. Furthermore, there were residency restrictions, as well as ticket purchase limit. Given those facts, you’ve now narrowed the field to local brokers, who each could at most purchase 4 tickets (out of an available pool of roughly 16,000 tickets). Hardly the numbers that would control a market.

In Philadelphia, the real blame lies with ComcastTix - Their systems were so grossly overloaded, that if you didn’t already have an existing account prior to the onsale, there was no way you could checkout within the 8 minute window they gave you. And instead of adding servers to their cluster, they just threw you in a virtual waiting room once they hit capacity. If you weren’t in immediately, you were doomed from the start.

I wish more reporters would take the time to get all the facts straight before going to air. But then it wouldn’t make for good television..

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During its second week in stores, the 24th edition of the highly successful “NOW That’s What I Call Music!” hits-compilation series moves up one notch to top the US album chart.

Fans snapped up 213,000 copies “NOW 24″ last week, enough to knock Tim McGraw’s “Let it Go”–which sold 177,000 units and debuted at No. 1 a week ago–down to the No. 2 slot, according to Billboard, which bases its album chart on Nielsen SoundScan retail data.

Martina McBride’s “Waking Up Laughing” makes its debut at No. 3, with 144,000 copies sold, and Hilary Duff’s “Dignity” moved 140,000 copies to debut at No. 4 on The Billboard 200 chart.

Timbaland’s “Timbaland Presents Shock Value” sold 138,000 copies during its first week out, and debuts at No. 5, according to Billboard.

Rounding out the Top 10 are Beyonce’s “B’Day” (which was re-issued last week as a double-disc with six new songs), Daughtry’s self-titled debut, Paul Wall’s “Get Money, Stay True,” Akon’s “Konvicted” and Alison Krauss’ “A Hundred Miles or More: A Collection.”

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