This year’s Coachella lineup was underwhelming from the start, so much so that I didn’t plan on going until a pass fell in my lap about a week before the festival. It wasn’t necessarily the bands in the lineup that I thought was weak, it was the lack of originality and dynamics that I’ve come to expect from a Coachella. No Rolling Stones or David Bowie. No Replacments. Hardly any hip-hop, punk or imaginative electronic music. Too many wimpy “punch-me-in-the-face” bands like Phoenix, The xx, Postal Service… Basically, i feared Coachella had lost its edge. As much as the environment and experience was always more than fulfilling to me, I wasn’t ready to shell out $500 in support of a lineup that seemed staged for taking a big nap on the Polo Grounds.
In the end I had a blast — Coachella is one of those great experiences that triggers dopamine bursts just at the thought. The first heat of late spring under the desert sun, 100,000 people all out for good times, good music and big smiles. 6 stages (with this year’s introduction of the Yuma Tent) and all kinds of inebriating distractions.
I got a text from Brent yesterday: “Are you in a Cisco commercial?!” And I knew my fraction-of-a-second of fame had gone live, on nationwide basic cable (namely, CNN). It all came about the Sunday after I moved from Echo Park to Venice (in October). I was walking around Abbot Kinney Festival when a young woman with a Flip camera stopped me. It was election season and I was initially skeptical as dozens of people were roaming about with clipboards and Roseanne/Cindy Sheehan 2012 stickers. Then she explained that she was sent out to cast a specific role for a commercial and the director really liked working with regular, man-on-the-street types found at farmers markets and street festivals. I spoke to her casually on camera about how I had just moved to Venice from Echo Park that week and was looking forward to a nice change of pace on the west side.
The revolution will be live streamed. But as live streaming platforms and technology are break into the mainstream, how is the relationship between viewers and content producers evolving. What new revenue can live streaming bring to television and how can it benefit venues, artists and labels? Who is doing it right and what are the best practices going forward?