8Sided Blog

a zine about sound, culture, and the punk rock dream

Commodifying Coziness and the Rise of Chill-Out Capitalism

· Leave a Comment

In the article Why Are So Many Brands Pivoting To Coziness?, Vox’s Rebecca Jennings reveals a curious marketing trend: brands displaying promises of comfort to attract millennials and Gen Z’ers. In youth-oriented magazine advertisements, we’re used to photos of adventurous consumers climbing mountains or traversing an exotic, unfamiliar city. Now you’re as likely to see a picture of someone sitting at home seated on a couch or maybe even — gasp! — reading a book. Combined with emerging products like weighted blankets and CBD shampoo, it’s evident that chill is ‘in.’

Media theorists point out that horror movies are popular during times of unease and distrust in society. Jennings has a similar reason for the rise of coziness: “Things are bad, and people are anxious about whatever ongoing horrors are metabolizing in geopolitics, the environment, and capitalism.” However, there’s an always-online twist to this movement. “The selling point is that this product will make you feel calm and safe, but the experience of using it is still supposed to look good enough for other people to see.”

Ambient music isn’t exactly mainstream, but it’s more in vogue — and pervasive — than it’s ever been. The flavors are varied, from dark drones to nature noises, from New Age throwbacks to chill-hop YouTube streams. If we’re defining ambient music as music that sits in the ambiance, politely ignored as we go about our lives, then all of those styles qualify. And, like brand-marketed coziness, the music is often pushed as an antidote for a hectic life. There’s something spacey and unobtrusive playing in the background as that person sits on the couch reading his book.

Streaming has enabled an even more utilitarian strain of ambient music, something that The Baffler’s Liz Pelly refers to as “emotional wallpaper” and “music that strategically requires no attention at all.” This music is made to fall into playlists that play on repeat as we study, or meditate, or slowly fall asleep. The primary purpose isn’t to calm our brains but to rack up Spotify plays as the playlists churn in repetition. Ambient music is perfect for this — we can only listen to the same pop hook so many times. An ambient drone might as well be endless.

Of course, music has always had calming and self-healing properties. That’s ancient history. And it’s untrue to say that ‘western’ music ignored this aspect, with blues and — of course — gospel as examples of genres containing elements of spiritual remedy. But the connection came as a surprise to many of ambient music’s forerunners. Take John Cage, whose life and direction changed after a conversation with Indian composer Gita Sarabhai in the 1940s. She pointed out that it’s okay for music to be meaningless, to exist solely to “sober and quiet the mind.” It makes sense to us. But this was a revelation for Cage, a stone thrown in the pond with ripples continuing outward.

What’s new is our era’s odd commoditization of relaxation music. Sure, the New Age genre was a small phenomenon in the late ’80s — those Windham Hill CDs flew off the shelves at the Camelot Music I worked at as a teenager. But playlists targeted to sleeping ‘listeners’ for money-making purposes is a bizarre twist. Consider the Sony-affiliated Sleep & Mindfulness Thunderstorms playlist, featuring 990 one-minute tracks containing sounds of rainstorms. Why a single minute each in length? Because Spotify will deliver a micropayment to a track that plays for at least 30 seconds.

But let’s get something straight. Personally, I love ambient music. I work to it. I relax to it. I sometimes sleep to it. And, if you can’t tell, I’m fascinated by it. That presents a quandary as I’m using the music in the same way as those studying to ChilledCow’s YouTube channel. What makes my cozy space so sacred?

Simon Reynolds’ recent Resident Advisor long-read about the state of ambient music is worth a look. He grapples with chill-out capitalism in his article, stating:

Still, there is something unnerving about the idea of ambient and New Age music uncoupled from any higher purposes and applied to the task of self-repair. Like power yoga or microdosing, it is taking an agent of change that was originally part of a culture of liberation and discovery, and putting it in service of the status quo. As David Toop, author of ambient bible Ocean Of Sound, wrote recently, “if ambient music only serves as an app to incentivise or a backdrop to productivity, networking and self-realisation, then it has no story of its own, no story worth hearing.”

Are we adding too much baggage to ambient music? Perhaps it’s just meant to be, like a soothing wallpaper hue or the bird sounds outside my window. Burdening this music with a special purpose or the responsibility of solace might be self-defeating. But, true enough, so is placing a profit incentive on our coziness.

This post was adapted from Ringo Dreams of Lawn Care, a weekly newsletter loosely about music-making, music-listening, and how technology changes the culture around those things. Click here to check out the latest issue and subscribe.

Making the Case for Blogging

· 2 Comments

I’ve had a few friends ask about blogging this week. They have the same questions: is blogging worthwhile in an age of social media? What if no one reads? Which platform is the best? Isn’t WordPress complicated? Well, I have opinions and answers and a desire to help out. This post might be a long one — hold on tight.

I’m hardly an expert at blogging, though I’ve been doing it in stops-and-starts and in various places since the early 2000s. I didn’t have a lot of help and learned as I went along. I stumbled a lot. And I’m still stumbling. It’s from this student perspective that I offer some advice.

Why blog? As I wrote here previously, blogging is “an exercise to notice more, to observe the day with intention, to create firmer opinions and ideas, and to cope with the fears of uncertainty and of time passing.” It doesn’t matter if no one is reading — the act of putting your thoughts down in a public arena is medicine for gathering ideas and inspiring confidence. Bonus: it will make you a better communicator, too.

Social media is a tempting place for posting your thoughts. But don’t give in to convenience. The content you post on, say, Facebook not only becomes corporate property, but you’re enhancing the social media product to appeal to its real audience: potential advertisers. When you post to Facebook, you become part of a product designed to collect advertising dollars and please shareholders. I find that troublesome.

Even more troublesome is how these social media companies operate and the damage they inflict in pursuit of profit. And they actively imply their necessity, giving rise to questions like, “Why should I blog outside of Facebook?” It’s the commercialization of our thought-space and precious attention, something Jenny Odell talks about extensively in her terrific book How To Do Nothing. Odell says, “I will participate, but not as asked,” framing the refusal to contribute to the corporate product as a form of #resistance. “I want this not only for artists and writers but for any person who perceives life to be more than instrument and therefore something that cannot be optimized.”

The other problem with a social media platform is that you lose control over what you’ve written. This dilemma is real in a legal sense — read those terms of service agreements — in that the platform can exploit what you post without your permission. But it also means that if you decide to move your content to another platform or even archive it for safe-keeping, you’re out of luck. Social media platforms make it nearly impossible to collect or move your content.

Here’s a confession: in the mid-2000s, I used MySpace as a blogging platform. Some of my favorite things I’d written were posted there, including diary-like tales of travel and the DJ life. When MySpace’s future looked shaky, I fruitlessly searched for a way to export the posts. And then I discovered older posts were deleted already. Now all of that writing is lost forever. Who’s to say something similar won’t happen with Facebook?

Now I use WordPress. I was hesitant at first, as I assumed there was a steep learning curve. I used the platform in the very early 2000s and found it frustrating at the time. But a couple of years back I decided to charge in head-first and was pleased with the improvements made to WordPress. It is now a cinch to set up, and the back-end is a breeze to navigate. I’m also a fan of the Gutenberg editor recently added to WordPress — posting and editing is as fun as it is on Squarespace.

I did use Squarespace for a while. It’s a good platform. After a few years, I found myself outgrowing its limitations, so I moved to the much more flexible WordPress. I was also taken aback by an announcement that CSS editing would soon only be allowed at a higher price level. Squarespace backed down on that, but it made me realize the platform could change its features and fees at any time. And, though you can export your content from Squarespace, it’s done in a way that’s not easy to move to other platforms. When I did this export a little over a year ago, images were not included, which was disappointing.

I enthusiastically recommend blogging, and I recommend WordPress. You’ll get a lot out of the writing practice — I honestly think it makes life better — and WordPress ensures the content is yours to keep. As for social media, the key is posting links to your blog posts (and you may have found this post via social media link). Sending people to your blog is like welcoming them to your home, rather than having them meet you in a rented hotel room.

Here are a few tips and recommendations about setting up a blog on WordPress:

  • Grab your domain/URL. Finding something unique and sticky isn’t as hard as you think. Be creative. I use Namecheap for my domains, and I’ve heard that Hover is good, too. A domain is around $10 a year. Before purchasing a domain, search for the company name (like “Namecheap”) and “coupon code.” These companies are always running promotions.
  • Next, find a hosting company. You could use the same company as your domain, but I think it’s good to keep the hosting separate. You could use wordpress.com for hosting, but explore other options for the best price and features. I use Hostinger and appreciate the customer service and bang-for-your-buck on the pricing, which is generally below $5 a month. Here’s a list of other recommended hosts.
  • Once you have all of that sorted, it’s super-easy to get WordPress active on your domain. All hosts will have instructions for how to do this — here’s Hostinger’s process to give an idea of how painless this is. If you’re still feeling gun-shy, many hosts will do this for you for a small fee or even no cost. But I recommend doing it yourself to learn a little about how WordPress works behind the curtain.
  • In my opinion, the toughest thing about WordPress is choosing a theme. There are so many out there. I’d suggest looking at other blogs and finding layouts you like. Then apply this tool, which will tell you what themes those blogs are using and where to find them.
  • There are many high-quality free themes out there (especially if you want a minimalist look), but you may find a paid theme has the best appearance and features. It’s often worth it to go for a paid theme for the support alone — most theme designers I’ve encountered are super-helpful with questions about setting up and customization. And, another good thing about any WordPress theme is if you grow tired of your current one, it’s easy to switch. For the most part, your content won’t be affected by a change in theme.

And here are a few things I’ve learned about blogging in general:

  • Don’t worry if your traffic is slow or non-existent. That’s not why you’re here. If you’re consistent and honest in your writing, you’ll gain an audience, especially as organic SEO kicks in after a few months. And regarding SEO, read my post on the subject from a few weeks ago.
  • For inspiration, carry around a small notebook and write down cues to remind you of thoughts that come up, things you see, conversations you have, and what you’re watching or listening to. Consult the notebook when you sit down to write. These cues will spawn writing topics.
  • Another way I get inspiration is to look at other blogs. I have a bookmark folder of blogs to look at if I lack motivation or am doubting the practice of blogging. Seeing others doing it well, and having fun with writing always sparks my motivation. A few of my ‘inspiration blogs’ belong to Austin Kleon, Warren Ellis, and John Gruber. These three blogs are entirely different from each other — which is the point — but all spot-on in approach. It’s inspiring to see how different bloggers individually tackle their platforms and make fine-tuned magic happen for their readers.

Let’s talk about Medium for a minute. I do like Medium — it’s a sharp and simple blogging platform with a strong sense of community. Though one of those pesky corporations (it was founded by Ev Williams, former CEO of Twitter), Medium doesn’t have a corporate vibe and lacks the vitriol and manipulation of the social networks. Its heart seems in the right place, as writers can get voluntarily paid through its partner program. It’s easy to export your content, too — you can download your articles as HTML documents collected in a ZIP file.

But it’s still someone else’s platform, with the impression that you’re writing for (and building) Medium rather than your own identity. Josh Pigford of Baremetrics summed it up nicely in his article Why We Transitioned from Medium Back to Our Own Blog:

I realized Medium is really great about surfacing content, but it removes the face of it. It neutralizes all content to basically be author-agnostic. It’s like Walmart or Amazon in that you can buy from thousands of different brands, but you rarely actually know what brand you’re buying…you just know “I got it from Amazon.”

Same with content on Medium. Sure, you can see who the author is or what publication it’s on, but ultimately your takeaway is “I read this article on Medium”, and that’s not what I wanted.

But I do use Medium. I crosspost the longer, more evergreen articles after posting on this blog. I use Medium’s import tool, which makes this seamless and also removes any SEO conflicts caused by identical articles. I do this because I’m reaching a different audience through Medium, one that might be interested in discovering and reading my blog.1The overwhelming majority of my post views are still directly on my blog, not on Medium. I’m also in the partner program, and a couple of articles have gone mildly viral, paying out about $50 each. Why not, right? But this blog is the focus, and I wouldn’t create exclusive content for Medium.

So there it is. I hope this post is helpful. Nothing would make me happier than inspiring you to start a blog. Seriously, give it a go. Write about what’s precious in your life, your obsessions, and what you’re trying to do better. It might be frustrating at first, but once you get in the writing rhythm, wonderful things will happen. Be consistent, be honest, have fun, and, to paraphrase Timothy Leary, “Let the others find you.”

Update: As I was writing this, I kept recalling an outstanding piece from a few months ago also on the subject of blogging. After racking my brain I finally remembered and located it. So if you’re still on the fence you should immediately read this post by Disquiet’s Marc Weidenbaum. Here’s an excerpt:

And don’t concern yourself with whether or not you “write.” Don’t leave writing to writers. Don’t delegate your area of interest and knowledge to people with stronger rhetorical resources. You’ll find your voice as you make your way. There is, however, one thing to learn from writers that non-writers don’t always understand. Most writers don’t write to express what they think. They write to figure out what they think. Writing is a process of discovery. Blogging is an essential tool toward meditating over an extended period of time on a subject you consider to be important.

Red Bull Music Academy’s Closing and the Mirror Universe

· 2 Comments

Marc Schneider in Billboard:

Energy drink maker Red Bull is ending its partnership with consultancy company Yadastar, which oversaw the Red Bull Music Academy and its associated entities, including a radio station, event and festival series and online publication. As a result, RBMA and Red Bull Radio will cease operations in their current forms as of late October, Yadastar announced on Wednesday. […] Whether that means the ultimate end for Red Bull’s foray into radio and other types of music-focused projects Yadastar oversaw remains to be seen. A Red Bull spokesperson did not immediately respond to requests for comment.

Corporate patronage is always tricky, even more so in the current age when ‘brand partnerships’ are how some artists are able to maintain careers freely. But Red Bull’s embrace and support of usually electronic, often uncommercial music didn’t come off like a brand alliance. You can either see that as a savvy success in sophisticated brand management or a resource-draining failure. I bet Red Bull’s attitude steadily shifted from the former to the latter over 21 years. All I know is I’m a huge fan of the music history journalism on Red Bull Academy Daily — check out this Simon Reynolds piece on the North American ‘60s acid rock electronic avant-garde! — and many of the programs on Red Bull Radio — holy cats, this entire archive of Kirk Degiorgio’s Sound Obsession show! But I don’t think I’ve popped the tab on a can of a Red Bull drink in at least a decade. I’m not alone, and I’m sure plenty in C-level management at the company have issues with Academy fans like me.

Ed Gillett in The Quietus:

… however gentle Red Bull’s advertising may have been on the surface, it’s self-evident that those holding the purse strings would have expected a meaningful return on such substantial investment. RBMA’s vast trove of learning and experience may have functioned as a public good, but it was not incorporated or owned as one – ultimately, if and when it no longer made financial sense to Red Bull’s owners for it to exist, then its importance to a wider community of artists and listeners could never have been enough to save it.

In this, RBMA reveals the uncomfortable truth that many of the most influential nodes in our collective network of globalised underground music, whether news sites subsidised by property developers or streaming platforms funded by venture capital, rely not only on the creative communities who provide their content and create their value, but also on the continued indulgence of wealthy benefactors, whose priorities can and will change. In Red Bull’s case, an expectation of the eternal good will of CEO and owner Dietrich Mateschitz might be viewed as optimistic, given his widely-publicised and noxiously reactionary political views.

Is a reliance on (or an optimistic holding-out for charity from) corporate patronage keeping grassroots artistic communities from forming? What will happen to the community around Red Bull Music Academy? Is it shattered? Will we all go home now that the money isn’t there? Or, more importantly, do we need that money to maintain an influential and productive community?

I look at dublab which has independently operated as an online radio station — and, yes, a community of artists — since 1999. Sure, they list RBMA as a ‘programming partner’ (I don’t think there’s any funding involved), but the organization is, for the most part, listener and event supported. There’s a culture based around dublab, very much tied to the Los Angeles underground. They don’t have the impact of a Red Bull Radio but imagine a dublab in every city with an underground music scene. Now imagine all those stations and communities networking and supporting each other. That’s powerful stuff, and a CEO’s supposed altruism isn’t required.

Let’s circle back to the high-quality content RBMA, and its contributors, have gifted us. In the paragraph above I mentioned two favorites: the Simon Reynolds article and Sound Obsession show archive. I hope you aren’t reading this after October, clicking those links, and finding dead web pages. That’s another worrying problem — art becomes ephemeral when it’s subject to and owned by a corporate patron. If Red Bull is ready to wash its hands of the expense of artistic charity, what further incentive is there to keep the content online?

Terry Matthew in 5 Magazine:

We like to think that information, which wants to be free, will also propagate on its own: that once released, a document or story will be replicated in so many places that you can never take it down again. The internet is forever, we think – but it’s not. According to a New Yorker story by Jill LePore about the Internet Archive, the average life of a web page is about a hundred days. […]

Carter Maness brought this up four years ago about the fate of thousands of blog posts he’d written while employed by AOL and other media companies. “We assume everything we publish online will be preserved,” he wrote. “But websites that pay for writing are businesses. They get sold, forgotten and broken. Eventually, someone flips the switch and pulls it all down. Hosting charges are eliminated, and domain names slip quietly back into the pool. What’s left behind once the cache clears? As I found with that pitch at the end of 2014, my writing resume is now oddly incomplete and unverifiable.” Maness published this story on The Awl, itself defunct and starting to show visual signs of code decay.

Of course, this isn’t solely a problem of corporate patronage. dublab could cease operations tomorrow, the entire site and archive vanishing into the digital ether. And it’s not just a digital feature either — there have been repeated stories of film history destroyed in warehouse fires. But things do get messier if RBMA claims ownership of its material and Simon Reynolds can’t re-post his article on his blog, or Kirk Degiorgio isn’t allowed to upload his Sound Obsession archive to another site. That’s where the subject of patronage matters the most — when reproduction is possible and warranted, but the dual roadblocks of sponsored ownership and digital obsolescence realize a mirror universe where the artwork never existed.

🔗→ Red Bull Music Academy, Red Bull Radio to Shut Down
🔗→ What Does Red Bull’s Corporate Exit Means For Underground Music?
🔗→ 404: The Internet Has A Memory Problem