MILAN — Italian police fired tear gas and a water cannon at dozens of protesters who threw firecrackers and tried to access a highway near a Winter Olympics venue Saturday.
The brief confrontation came at the end of a peaceful march by thousands highlighting the environmental impact of the Games and the presence of U.S. Immigration and Customs Enforcement agents in Italy.
Police held off the demonstrators, who appeared to be trying to reach the Santagiulia Olympic ice hockey rink. By then, the larger peaceful protest, including students and families with small children, had dispersed.
Earlier, a group of masked protesters had set off smoke bombs and firecrackers on a bridge overlooking a construction site about half a mile from the Olympic Village that’s housing about 1,500 athletes.
Police vans behind a temporary metal fence secured the road to the athletes’ village, but the protest veered away, continuing on a trajectory toward the Santagiulia venue. A heavy police presence guarded the entire route.
There was no indication that the protest and resulting road closure interfered with athletes’ transfers to their events, all on the outskirts of Milan.
The demonstration coincided with U.S. Vice President JD Vance’s visit to Milan as head of the American delegation that attended the opening ceremony Friday, during which Vance was booed.
He and his family visited Leonardo da Vinci’s “The Last Supper” closer to the city center, far from the protest that denounced the deployment of ICE agents to provide security for the U.S. delegation. ICE has drawn international condemnation for its role in the Trump administration’s aggressive immigration crackdown in U.S. cities, including the fatal shooting of two people in Minneapolis last month by ICE and U.S. Border Patrol agents.
U.S. Homeland Security Investigations, an ICE unit that focuses on cross-border crimes, frequently sends its officers to overseas events like the Olympics to assist with security. The ICE arm at the forefront of the immigration crackdown in the U.S. is known as Enforcement and Removal Operations, and there is no indication its officers are being sent to Italy.
At the larger, peaceful demonstration, which police said numbered 10,000, people carried cardboard cutouts to represent trees felled to build the new bobsled run in Cortina d’Ampezzo. A group of dancers performed to beating drums. Music blasted from a truck leading the march, one a profanity-laced anti-ICE anthem.
“Let’s take back the cities and free the mountains,” read a banner by a group calling itself the Unsustainable Olympic Committee. Another group called the Assn. of Proletariat Excursionists organized the cutout trees.
“They bypassed the laws that usually are needed for major infrastructure projects, citing urgency for the Games,” said protester Guido Maffioli, who expressed concern that the private entity organizing the Games would eventually pass on debt to Italian taxpayers.
Homemade signs read “Get out of the Games: Genocide States, Fascist Police and Polluting Sponsors,” the final one a reference to fossil fuel companies that are sponsors of the Games. One woman carried an artificial tree on her back decorated with the sign: “Infernal Olympics.”
The demonstration followed another recently at which hundreds protested the deployment of ICE agents.
Like that protest, demonstrators Saturday said they were opposed to ICE agents’ presence, despite official statements that a small number of agents from an investigative arm would be present in U.S. diplomatic territory, and not operational on the streets.
Santagiulia is due to host many of the biggest ice hockey fixtures at the Games, including the men’s and women’s gold medal matches.
The first match is due to be held there on Thursday, 5 February, when hosts Italy face France in their first game of the women’s competition.
However, the stadium, less than a week before that game, is far from ready to host matches.
The stadium has been the centre of concerns throughout the build-up to the Games, including resulting in a boycott warning from the National Hockey League (NHL).
The rink in Milan, approved by the International Ice Hockey Federation, is shorter than the minimum requirement in the NHL, leading to suggestions there could be an increase in high-speed collisions. The quality of the ice has also been questioned.
“Obviously, if the players feel that the ice is unsafe, we’re not going to play,” NHL deputy commissioner Bill Daly said in November. “It’s as simple as that.”
The NHL said it was “pleased” with the test event at the arena in January, although that did not pass without incident. During the event there was a short delay while a small hole in the ice had to be repaired.
Santagiulia is one of two ice hockey venues for the Games, with the Milano Rho Arena staging some group-stage matches.
The Rho Arena, a temporary venue constructed in the Fiera Milano exhibition centre, has a capacity of 5,800 – 6,000 fewer than Santagiulia.
BBC Sport visited all four venues in the Milan Cluster which will host events during the Games, which officially run between 6 and 22 February.
As well as the ice hockey venues, speed skating will take place at a temporary venue in Fiera Milano to the west of the city, while short track and figure skating are at Unipol Forum on the southern outskirts.
The International Olympic Committee (IOC) has been contacted for comment.
A year ago, Colorado firefighters Rick Balentine and Tim Cottrell were driving trucks carrying donations from Aspen to Los Angeles for victims of the Eaton and Palisades fires.
As they headed west, they planned to stop in Las Vegas and, while there, made a spontaneous decision to see the Eagles’ residency at the Sphere. Balentine and Cottrell bought resale tickets on StubHub for around $400 each. Cottrell used his credit card and received a confirmation email. But once they arrived to the venue, they weren’t allowed in. The seller failed to send the tickets.
All Cottrell could find was an email that said his tickets had been canceled, moments before the concert was to start. Other than getting their money back, there was no further explanation.
“We knew they were aftermarket tickets,” Balentine said, “but never in a million years did I think that tickets could get canceled.”
“I was very disappointed. There needs to be more protection out there, both for consumers and for artists, so people aren’t getting ripped off all the time.”
The rising demand for tickets has spurred a growing marketplace for all kinds of high-profile live events, including music tours and sports series like the upcoming World Cup. Whenever fans are unable to secure tickets on the primary market, through sellers like Ticketmaster or AXS, many will turn to the secondary market for resale tickets. Those tickets are typically sold through platforms like StubHub, SeatGeek and Vivid Seats. Customers who bought their passes directly from Ticketmaster can also resell them on that platform.
The majority of secondary-market transactions can be easy, leaving both the reseller and the customer satisfied. But with the rise of speculative or fake tickets, like the ones Balentine and Cottrell bought, securing valid tickets from the resale market has become more challenging.
What are speculative tickets?
Speculative tickets are offered by resellers who list concert passes they don’t yet have in their possession, with the intention that they will ultimately acquire the tickets and deliver them to the buyer. According to 2025 data from Live Nation, one in three Americans has fallen victim to a ticketing scam. But under California’s bill, AB 1349, selling speculative tickets could be banned on all resale platforms in the state. On Monday, the bill passed in an assembly vote and is headed to the state Senate for review.
Thousands of fans enjoy Shakira’s performance at SoFi Stadium in August.
(Jason Armond/Los Angeles Times)
Speculative tickets usually pop up as soon as a major artist announces a tour. Most recently, K-pop boy band BTS announced a world tour that includes four stops at SoFi Stadium. Before the general sale began Jan. 24, some sellers on Vivid Seats had already started listing tickets for over $6,000. Listings like these usually create a greater sense of scarcity, which can drive up ticket prices even more.
If enacted, the proposed legislation in California would require sellers to have event tickets in their possession before offering them for sale. The listing must include the location of the seat and specific refund rights. It prohibits a person from using software that automatically purchases more tickets than the specified limit, and it would raise the maximum civil penalty for each violation from $2,500 to $10,000.
The live music industry is a vital part of the state’s economy, contributing over $51 billion to California’s GDP and supporting over 460,000 jobs, according to the database 50 States of Music.
Ticketing fraud tends to affect more than just the consumer. Whenever an unknowing fan shows up to a venue with a fake ticket, it often falls on the venue and its staff to deal with the situation. Stephen Parker, the executive director of the National Independent Venue Association, said that if speculative tickets are banned in California, venues could save up to $50,000 in staffing expenses.
Los Angeles’ SoFi Stadium, where many concerts and ticketed live events are held.
(Icon Sportswire/Icon Sportswire via Getty Images)
“They have to deal with fans who are crying, who are angry, who are upset because they thought they were going to go see their favorite artists that night, and they paid [over the] ticket’s face value only to not get a ticket that works or to not get a ticket at all,” said Parker.
Fighting ticket fraud and reining in a ticketing giant
There are currently dozens of legislative bills throughout the U.S. focused on event ticketing issues. Some states like Maryland, Minnesota and Maine have already passed restrictions on speculative tickets.
The action comes after both the Department of Justice and the Federal Trade Commission sued Ticketmaster and its parent company, Live Nation Entertainment, in 2024 and 2025. The DOJ’s lawsuit suggests breaking up the company, which it accuses of engaging in monopolistic practices. The complaint also alleges the company forces venues into exclusive ticketing contracts and influences artists to use only its services.
Founded in 1976, Ticketmaster has been the industry’s largest ticket distributor since 1995, with around 80% of live concerts sold through the site. The company merged with Live Nation in 2010.
Ticketmaster has also acquired a growing share of the resale market, under the platform Ticketmaster Resale. The site allows consumers to list, sell or find tickets to live events. The business functions similarly to other resale sites, but Ticketmaster does not allow speculative ticket sales on its platform.
The Federal Trade Commission is currently suing the company on accusations that it engaged in illegal ticket vendor practices for its resale business, like misleading artists and consumers with so-called “bait-and-switch pricing,” where advertised prices are lower than the actual total. Following the FTC’s complaint, the ticket seller made changes to its policies.
Additionally, Ticketmaster is no longer allowing users to have multiple accounts, which made it easier to purchase more tickets than the specified limit, and it is shutting down Trade Desk, the controversial software that helps resellers track and price tickets across several marketplaces.
Hundreds enjoy a performance by Banda Los Lagos during Jalisco Fest at the 2025 Santa Fe Springs Swap Meet.
(Genaro Molina/Los Angeles Times)
“The FTC case against us is very frustrating because we think they’re sort of blaming the victim here. We’re the ones that are dealing with millions and millions of bots attacking us every day,” said Dan Wall, Live Nation’s vice president of corporate and regulatory affairs. “We’re trying to convince the federal government and state governments to get on the same page of recognizing where the problem is, which is overwhelmingly in the resale industry, and trying to do something about it.”
“We’re a much more artist and consumer-focused company, and so we don’t engage in the different kinds of business practices that are sketchy and unfair to the fans. We try to be a much more honest, legitimate outlet for getting resale tickets,” said Wall.
Critics find that the surge of anti-speculative ticketing bills around the country is a way for Ticketmaster to divert attention from its own legal troubles and shift attention onto the resale market. Live Nation is a key supporter of the California bill. Diana Moss, the director of competition policy at the Progressive Policy Institute, called AB 1349 “overkill” when it comes to the provisions and restrictions it places on the secondary market.
Fans cheer Sexyy Red at the Rolling Loud concert at Hollywood Park in March.
(Michael Owen Baker/For The Times)
“A lot of these bills in the states are a vehicle to disable the resale markets and hinder how they operate. Resale markets are important to consumers,” said Moss. “If you disable the resale market, then fans have no place to go — but back to Ticketmaster. That’s the whole game, disable the resale markets with legislation and regulation, and then everybody has to go back and deal with Ticketmaster and pay their monopoly ticket fees.”
Provisions in AB 1349 deem a ticket a license. The question of whether a ticket is a right or a license is an ongoing controversy in the ticketing world. Opponents of the bill are fearful that this change would give more power to Live Nation, as they could impose restrictions on how the ticket can be used, such as whether you’re allowed to sell your ticket on other platforms or if you can transfer it at all. Meghan Callahan, from the Empower Fans Coalition, a group that opposes the bill, equates this licensing change to taking a lease out on the ticket.
“Ticketmaster’s goal is to create less competition. This bill imposes restrictions on everybody else but themselves,” said Callahan. “They are trying to use consumer-friendly concepts and sneak in these other provisions to embolden their monopoly.”
Wall at Ticketmaster said that nothing on the consumers’ end would change if this bill were to pass, adding that tickets are already licenses “from the venue for you to come on the property during the time of the show and sit in that seat.”
“Honesty doesn’t favor one person or another. That’s what this [bill] is about,” said Wall.
World-renowned composer Philip Glass abruptly canceled June’s world premiere of Symphony No. 15 “Lincoln” at the Kennedy Center, saying its message does not align with the vision for the venue under the Trump administration.
“Symphony No. 15 is a portrait of Abraham Lincoln, and the values of the Kennedy Center today are in direct conflict with the message of the Symphony. Therefore, I feel an obligation to withdraw this Symphony premiere from the Kennedy Center under its current leadership,” Glass wrote Tuesday in a letter to the board that was shared with The Times.
“We have no place for politics in the arts, and those calling for boycotts based on politics are making the wrong decision,” Roma Daravi, vice president of media relations at the Kennedy Center, said in response.
President Trump has served as board chair since early last year when he fired the existing board and appointed former ambassador to Germany, Richard Grenell, as president. The newly installed board promptly installed Trump in his current position. The president’s pursuit of a deeply conservative agenda for the arts unleashed unprecedented chaos at the nation’s premiere performing arts center, resulting in massive upheaval and wave after wave of prominent artist cancellations.
The news that Glass was calling off his appearance also caught off guard the National Symphony Orchestra. The NSO commissioned the symphony in 2022 for the Kennedy Center’s 50th anniversary, and Glass was late to deliver. The symphony was scheduled to be performed with the NSO on June 12 and 13.
“We have great admiration for Philip Glass and were surprised to learn about his decision at the same time as the press,” Jean Davidson, the orchestra’s executive director, said in an email.
The news comes amid a growing chorus of high-profile cancellations that have occurred since the center’s board voted last month to rename the venue the Trump-Kennedy Center, and quickly added the president’s name above that of Kennedy’s on the exterior of the building.
Jazz drummer Chuck Redd pulled out of a Christmas Eve show and the jazz group the Cookers canceled two New Year’s Eve performances. Banjo player Béla Fleck also stepped away from concerts with the NSO and “Wicked” composer Stephen Schwartz said he no longer plans to host a May 15 gala at the center.
The arts world was rocked by the news earlier this month that the Washington National Opera’s board approved a resolution to leave the venue it has occupied since 1971. Kennedy Center leadership, including Grenell, quickly shot back that it was the board that asked the WNO to depart.
“We have spent millions of dollars to support the Washington Opera’s exclusivity and yet they were still millions of dollars in the hole — and getting worse,” Grenell wrote on social media.
Most recently, the center’s website announced that soprano Renée Fleming would no longer perform in two scheduled shows. “A scheduling conflict” was the reason cited, but speculation about the opera star’s departure swirled as the center’s artistic losses mounted amid widely reported plummeting ticket sales.
During the recent upheaval, arts watchers have begun wondering about the future of the NSO, which, along with the recently departed WNO, represents the twin pillars of artistic programming at the center.
According to Daravi, the NSO isn’t pulling out of the venue.
“The relationship is strong, and we have a wonderful season here with Maestro [Gianandrea Noseda] in his 10th year leading the NSO,” Daravi wrote in an email last week, noting the “record-breaking success at the recent Gala benefiting the NSO which launched the new season. The event raised $3.45 million, marking an all-time fundraising record for the organization.”
On Monday Trump sought to boost his financial management of the venue in a Truth Social post that read, “People don’t realize that the Trump Kennedy Center suffered massive deficits for many years and, like everything else, I merely came in to save it, and, if possible, make it far better that ever before!”
The center’s calendar is looking increasingly sclerotic as big names continue to defect, with the NSO providing much-needed padding as it moves on in the face of unending change.
