We’ve all heard about Coachella, billed and referred to as the seminal music event of the year in which flocks of indie music fans converge into the desert town of Indio for a few days to relax, hear music, see interesting art installations, and enjoy themselves.
Ideally, it sounds like an amazing event. But, alas, this is reality.
I used to spend a fair amount of time reading up on music and music news before I realized that most of the publications I was reading were mere ‘echo chambers.’ There’s a need in these high-flying media circles for these publications to remain the most ‘relevant’ and ‘hip,’ so that their readership will continue to tune in. But what is tagged as ‘relevant’ or ‘hip’ is contingent on two things: marketability, and press exposure.
Now, considering that there are tons and tons of blogs, magazines, music columns, etc; that all cover new and upcoming music, there is competition to compete over ‘mindshare,’ which can be expressed as an outlet’s ability to ‘influence’ its readers. After all, the more an outlet can mine this ‘mindshare,’ the better chance it has to convince that reader that what the outlet promotes is closer to what that individual holds to be true. Inevitably this has implications for an outlet’s ability to drive and retain its readership, establish itself as a predominant leader in music news, increase its revenue, and so on. So, how does a publication capture this ‘mindshare’?
‘Mindshare’ doesn’t become validated (or perceivably evident, for that matter) until it reaches the ‘echo chamber.’ This point acknowledges that there irrefutably exists a hierarchy of media outlets (i.e. on a large scale, more people will care more about what a juggernaut like Pitchfork says more so than what john darnielle’s blog says about music). The strength of ‘mindshare’ lies within a media outlets ability to reinforce its ‘message,’ having it reverberated by other media outlets (Pitchfork first covered Beirut, which was then picked up by Spin, Blender, etc.). It’s in this manner that the hierarchy is created–smaller publications give these larger publications credence by following their lead–and overtime, continually reinforce that lead.
So, how does Coachella fit into this?
Large festivals like Coachella take a substantial amount of investment. In 2004, The Pixies, Radiohead, The Cure, The Flaming Lips, Bright Eyes, and many other prominent acts fit the bill, each of which were most likely paid great sums of money. Think about it. Someone is investing that amount of money. So, who is investing this money?
AEG Worldwide is. And they appear to operate a whole lot other entertainment events. In fact, you might even say they’re in the “entertainment business.” Hmmmm…
An worldwide entertainment company, operating and executing an event like Coachella? It’s technically a business venture??? No! Say it isn’t so!
I know, I know, it may seem shocking, but it’s the truth.
Now, let’s take it a step further. Considering that there is a set of establishment media in place who already determine what is ‘relevant’ and ‘hip,’ who or what is an entertainment company like AEG going to turn to in order to create the list while at the same time ensure that they will break-even, perhaps even line their pockets with astronomical profits? That’s right! The Pitchforks, the Spins, the Blenders, and so on. Why? Because they own the ‘mindshare,’ and, in essence, propel these artists to ‘relevance’ and ‘hipness’ by lining their pages with glossy photos and (for the most part) glib interviews with them. In this aspect, ‘relevance’ and ‘hipness’ become manufactured.
Yes. It’s true. In this way, the concept of art and music themselves become commoditized, losing their cultural significance in a sea of marketing noise and business interests.
“But…but…wait, I thought Coachella was all about the music…the art…the culture…”
Maybe, maybe not. I don’t technically know the people who put such an event in place, nor do I know their specific intentions for throwing such a large festival. But I believe that I and/or anyone can make the claim that the objective with an event like Coachella is to, first and foremost, return a profit. So, to all you indie music fans, it’s not technically a total loss. Maybe there are people in AEG who actually give a shit or two about art, music, and culture. But, those very notions will always be precluded by AEG’s concern with return on investment. And, if there weren’t these top tier music publications around to push influence a la mass media, no one would dare take a risk in organizing an event based on what they considered to be great music.
So, next time you’re at Coachella, paying $10 for every small bottle of water because they allowed you not to take any food or water inside, just think about your good old friends at AEG who are making you pay exorbitant amounts of money to attend a festival that is typically scheduled during a very hot weekend in Indio (overhead?). Next time you consider making the long trek to Indio during that special weekend in April, just give a think or two about where your money is probably going to end up: towards the promotion of music, art, and culture? or simply to investors looking to make large bucks on an event that is marketed to hip youth circles as the premier music event of the year?
All I’m saying is, if you think Coachella is something that offers a place to promote art, music and culture, think again. Coachella only represents a very tiny sliver of what music, art, and culture has to offer. And there’s plenty of that stuff out there, most of which you don’t have to pay $100 per day for. So, before you consider Coachella to be the cultural epoch it is, just remember: it is a production designed for profitability through careful and precise orchestration by the overarching powers (i.e. entertainment companies investments in tandem with the media) that invariably guide it to its success.
Here’s to the continuing commoditization of the arts!