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The One-Man Band by the Quick Lunch Stand: Modeling Audience Response to Street Performance

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  • Roland Kushner
  • Arthur Brooks

Abstract

This paper considers street performance, or busking,focusing on differences between performance in thisenvironment compared with the standard concertsetting. First, in contrast with a set, known ticketprice, the price of street performance isendogenously determined. Second, busking generallyinvolves a joint product: music and charity, wherecharity is produced internally by the audience andhas as its principal input the price paid for music.We show that these facts call into question somegeneral conclusions of conventional public financemodels, which suggest that the major efficiency problemwith busking is its inability to preventfreeriding behavior, and that freeriding, while efficient at the individuallevel, is inefficient at the societal level. In contrast, we argue in thispaper that busking, with freeriding and all, is not unambiguously inferior toconcert hall performance in terms of efficiency. Copyright Kluwer Academic Publishers 2000

Suggested Citation

  • Roland Kushner & Arthur Brooks, 2000. "The One-Man Band by the Quick Lunch Stand: Modeling Audience Response to Street Performance," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 24(1), pages 65-77, February.
    • Handle: RePEc:kap:jculte:v:24:y:2000:i:1:p:65-77
    DOI: 10.1023/A:1007585518269
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    References listed on IDEAS

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    1. Andreasen, Alan R & Belk, Russell W, 1980. "Predictors of Attendance at the Performing Arts," Journal of Consumer Research, Journal of Consumer Research Inc., vol. 7(2), pages 112-120, Se.
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    Cited by:

    1. Yi Li & Liangru Yu, 2020. "Factors Influencing Social Media Users’ Continued Intent to Donate," Sustainability, MDPI, vol. 12(3), pages 1-13, January.
    2. Meg Elkins & Tim R. L. Fry, 2022. "Beyond the realm of cash: street performers and payments in the online world," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 46(2), pages 231-248, June.

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