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ANOTHER LIFE LOST TO THE MUSIC INDUSTRY: WHEN ENOUGH IS ENOUGH

 
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ANOTHER LIFE LOST TO THE MUSIC INDUSTRY: WHEN ENOUGH IS ENOUGH

WEDNESDAY // MAY 3, 2018

Last week the live entertainment industry lost yet another young, talented artist far too soon. Tim Bergling, better known as the Swedish DJ Avicii, had been pronounced dead in his hotel room in Oman at age 28. With recent news of Bergling passing by suicide, the topic of mental health once again takes center stage.

On Tuesday, TMZ reported details far too private surrounding the tragic passing of Bergling. Furthermore, TMZ's language of "committing suicide" focuses the entire blame on Bergling himself - something that immensely contributes to the stigma surrounding mental health. In turn, this stigma fuels even more tragedies when individuals are afraid to get the help they truly need and deserve. Instead, we recognize that Bergling died by suicide - something we must keep saying in the fight for mental health. 

Though the actual details are and should remain private within his family and loved ones, the news of a clear suicide waves another blatant red flag in the face of our industry - one we should never ignore. 

Bergling’s family had first released a statement thanking his loved ones and beloved fans for the public gatherings, church bells celebrating his music and the several Coachella tributes the first day of weekend 2, April 20 - the day news of his death occurred.

Three days later, the family released a second statement, alluding to Bergling’s death had possibly been caused by suicide. The open letter read:

Stockholm, 26 April 2018

Our beloved Tim was a seeker, a fragile artistic soul searching for answers to existential questions.

An over-achieving perfectionist who travelled and worked hard at a pace that led to extreme stress.

When he stopped touring, he wanted to find a balance in life to be happy and be able to do what he loved most – music.

He really struggled with thoughts about Meaning, Life, Happiness.

He could not go on any longer.

He wanted to find peace.

Tim was not made for the business machine he found himself in; he was a sensitive guy who loved his fans but shunned the spotlight.

Tim, you will forever be loved and sadly missed.

The person you were and your music will keep your memory alive. We love you,

Your family

How many beloved individuals within our industry will leave us far too soon for us to position mental health on the same level as importance of physical health?

Bergling’s fans have taken to social media sites to express outrage toward the DJ's management, accusing them as far as working him to death.

The backstory? Bergling had suffered from acute pancreatitis and a number of other serious health conditions, CBS News reported. And in 2014, Bergling had his gallbladder and appendix removed, cancelled shows to recover, and even retired from touring in 2016.  

Signs from his documentary Avicii: True Stories, released six months prior to his death, show fans his struggle to keep up with his strenuous career. More specifically, there is a video clip fans are talking about most - see the clip below.

 

In response to the resurfaced clip, fans expressed their anger in Tweets such as:

 
 

To put all blame on management or any one person isn’t exactly the way to go about the aftermath of such tragedy. In the end it’s mental health we must tackle head on and recognize when enough is enough - before it’s too late.

Looking at Bergling’s circumstances and examining just how well he was treated does spark concern for the lack of mental health care he received - if he received any at all.

One article in Digital Music News, touched on the machine Tim Bergling created: the Avicii Machine, basically “Avicii, Inc.” To elaborate, slowing down Bergling - slowing down the machine - means less income for the several people involved in his team.

Just how much money was this machine making? After “Levels” put him into the spotlight in 2011, Bergling’s 2013 hit “Wake Me Up” marked Spotify’s most streamed song ever. At the peak of Bergling’s success in 2014, he made $28 million in one year. Looking at his career as a whole, between 2012 and 2016, Bergling made almost $90 million from his music, QZ reported.

To slow the machine down while it rapidly picked up would mean slowing down the incredible income Bergling was earning - for everybody involved.

Bergling played 320 shows in one year, up until March 2016 when he decided to retire, Daily Mail reported. His documentary revealed many disagreements between him and his manager, Arash ‘Ash’ Pournouri had about keeping the machine going.

In one scene Bergling reveals to his friends about these conversations saying, ‘I have said, like, I’m going to die. I have said it so many times. And so I don’t want to hear that I should ever entertain the thought of doing another gig. And I know Arash knows this, which is why I feel extra hurt - because he has said that [I should play more gigs] when it suits him,’ cited Daily Mail.  

The film also captures Pournouri stating Bergling ‘doesn’t understand the value of money. And he doesn’t understand how his decisions affects other people very negatively’ after Bergling decided to put the state of his well being first before touring.

Bergling’s career took off in 2008 when he was only 17 and Pournouri, 26. At that young age with little experience, an artist may not know of their limits, Pournouri actually said of Bergling at Sydney’s Electronic Music Conference in 2012, Junkee reported.  

And his limits were pushed very much so. There are many instances the documentary captures with the pressure put on Bergling to continue forward, despite the mental and physical problems he suffered with on a daily basis. The documentary also revealed how alcohol battled his anxiety and stress, being a self-proclaimed introvert. The documentary painstakingly captured Bergling’s experienced anxiety and panic attacks.    

In terms of his passing, we cannot play the blame game. Of course, we can say his management put indescribable pressure on Bergling. Of course, we can suggest the dynamics within his team communication and overwhelming scheduling triggered his poor mental health and alcoholism.

But as we have discussed in multiple mental health articles before, we must apply the same to Bergling’s passing: in the end, the only one responsible for saving your mental health, is you. You must be in control of your own mental well being.

Did the years of untreated poor mental health and physical health become too much for Bergling to bear? Yes. This is where we must tackle the issue to prevent the number of fatal outcomes to mental health from growing within our industry. On the surface level, it’s easy to blame Bergling himself - for the alcoholism, for the alleged self-inflicted wound causing his death.

But - Mental health is not a surface level topic! Nor should anyone ever treat it as such.

What we do know is individuals struggling with mental health commonly abuse a number of substances in order to cope. In wake of his 2016 retirement, Bergling had expressed his personal struggles and need for help to his fans through a since deleted letter on his site regarding his retirement.  

In the end Bergling decided to keep pushing himself during his most troubling times. Clearly, Bergling had retired too late - after much of the mental and physical damage had already been done.

We have to continue to change the culture. We really have to show how much we care about the people surrounding us by continuing to check in on their lives.  

Bergling’s management should have grasped the importance of wellness over money and success. It could be safe to say if your team fails to acknowledge your overall well being first, you should reconsider the team completely. Surround yourself with others who support your mental and physical health. No precious life is worth a temporary income - no matter how large that income may be.

Instead of adding Bergling’s name on the list of a young, talented musicians tragic ending, we have to act. We must educate everyone from management, to fans to promoters to clubs to investors about the real result of untreated mental health. Everyone is talking, but when will everyone start doing?  

Remedy State: IMS Ibiza holistic program

Mixmag believes the EDM industry - but perhaps the whole music industry as a whole - needs to implement policies of their own. Create mandatory breaks from touring. Create more accessible events for touring artists such as Remedy State: IMS Ibiza holistic program featuring mindfulness, exercise, physical therapy, medical evaluation and nutrition.

This retreat is so tailored for the constant touring artist - it is founded by IMS’ Ben Turner and OWSLA co-owner Blaise James DeAngelo. The practices taking place at the program are a direct response to the touring lifestyle.

The website addresses the irony within the music industry. If music is meant to heal the mind, body and soul, why does the lifestyle support the opposite effect?

This is just the beginning. We need to establish more industry-specific retreats such as these. What if there was one day dedicated to mental health within our industry? Bell Let’s Talk Day occurs in Canada every year. But what if this day prevented any shows from occurring? What if work stopped for just one day to focus on the lives of touring artists?

It’s not that far fetched. Although religious driven, Nyepi Day in Bali, Indonesia, better known as the Bali Day of Silence, occurs every year on March 17. Literally everything on the island shuts down. Lights are shut off. No vehicles are allowed on the streets. All travel is shut down. Most tourists avoid this day altogether.

Just what if there was a day like this for touring artists? What if, for one day out of the 365 days of the year, our industry put mental health on the spotlight and silenced our loud speakers to reflect on ourselves and our loved ones?

What if, for those 24 hours we positioned self-care before money and fame? What if we recognized ourselves as human - not a machine?
 

VENUES RIGHTS MATTER: Los Angeles Small Music Venue Roundup

VENUES RIGHTS MATTER: Los Angeles Small Music Venue Roundup

Monday // October 16, 2017

On the surface, we connect with the beat, the melody, the vocals. Surely there are more reasons individuals willingly gather in one place and break all personal space barriers in hopes of getting closer to the stage.

Recall the best concert experience that tops all the rest. Besides the music sounding top-notch, what else contributed to the unforgettable night?

Perhaps it was singing and dancing with best friends. Maybe it was an intimate connection with your significant other. The artist touched your hand, or you swore they held eye contact with you. Right. Or, maybe it’s the night you fell in love.

The gist of it is, live music connects humans in countless ways. But this can’t be done without a space. Venues are the museum to a work of art, the restaurant to a promising chef’s curated cuisine, the showroom to a designer’s new fashion line. Without them, it’s impossible to showcase the creative expression that ultimately makes our home unique.       

Not only do music venues hold a special place in the hearts of musicians, music lovers and venue owners themselves, but they stand as a historical pieces of treasure that reflect the city’s pop culture. The thought of our music venues being stripped from the local history is unfathomable to many.

Tomorrow on October 17, 2017 marks the UK’s Music Venue Trust (MVT) Venues Day at the Ministry of Sound in London. Unfortunately, London alone has lost 35 percent of its small venues between 2007 and 2015 due to tough licensing scrutiny, planning, rising rent cost and other grievances.

On the website, MVT’s stated goal of Venue’s Day is to raise awareness of venues’ rights, with this year focusing on the “synergy between artists and grassroots music venues.”  

Toronto has seen seven venues disappear only three months into 2017, according to The National Post. Similar to London, Canada’s live music industry created Music Canada Live to build awareness of the country's venues closing.

Besides property development, one point may be that millennial fans may not share the same passion for seeing small, one-act concerts. With the rapid growth of music festivals, attendees literally create lists upon lists of the acts they wish to see all in one weekend. These festivals are so popular, that according to the 2016 Nielsen’s Audience Insights Report on Music Festivals, 32 million people attend at least one music festival each year.

This audience also frequently uses Spotify or other streaming services to browse new artists rather than check out a band they’ve never heard about play in a small venue. Live music discovery for them often occurs at these music festivals, such as San Francisco’s indie Noise Pop festival.

When independent artists receive this opportunity, they get one chance to wow an already-present audience, potentially gain exposure and a fanbase. In turn, this makes it very hard for those smaller, independent venues to survive.

According to The Rolling Stone 2010 piece “Summer Festivals Force Bands to Skip Local Venues,” the Artist Exclusivity Clause in America dictates where festival acts can or cannot play in relation to the festival’s location.

For example, if Twenty One Pilots are set to perform at Coachella this year, the band can’t play anywhere near the Polo Fields during a 7-month time frame before the festival.

LA’s Spaceland and The Echo talent buyer Elizabeth Garo told The Rolling Stone that April is the toughest month to book bands since the artists are committed to playing at Coachella or are waiting to hear back from them.

So do we blame the millennials? Music festivals? Property developers? Streaming music services? Whatever the reason may be, large and small local venues alike need to stay on top of any threats, major or minor, that could impose on venue survival. You can read more about these steps in "How the Music Venue Business Needs to Change in 2017" on Event Brite.

One of them is building awareness, like MVT actively accomplishes in the UK. Here is a roundup of some of Los Angeles’ best small music venues, that we as citizens and a city, hold the responsibility of ensuring the survival of our live music culture.

We must remind individuals of their best concert ever, or unforgettable night they saw the Rolling Stones or Foo Fighters before making it big. So, we will do just that. Here is a roundup of LA’s small music venues we believe are worth mentioning:


The Smell

  • Capacity: 130
  • Ages: All ages
  • Location: 247 S Main St., Los Angeles
  • Upcoming events: The Red Pears/Jurassic Shark/Kicked Off The Streets/The Ok Shack (10/20), No Parents/FEELS/DUMB F**** (10/21)

With a capacity of 130, this tiny venue means a whole lot to its regular rock/punk fans with only one sole purpose in mind: the music. This venue holds true to DIY principles. It’s an all-ages, alcohol-free, and the cover charge is a mere $5. In June 2016, the owner received a demolition notice from the building’s landlord, the L&R Group of Companies, the LA Times reported last year. Young fans and artists actually gathered for a benefit where 36 bands performed to help save The Smell, bringing in $15,000, and after an online-benefit, raised a total of $24,000. The support the venue received a year ago just goes on to show how much the independent music scene means for up-and-coming artists. In fact, indie pop duo Matt & Kim played at The Smell when the duo first started out. In the Daily Bruin, Matt Johnson of the duo described his closeness with the city of Los Angeles and recalled The Smell having a warehouse vibe, not being nice, but a great venue nonetheless.

 

The Mint

  • Capacity: 165
  • Ages: Mostly 21+
  • Location: 6010 West Pico Blvd., Los Angeles
  • Upcoming Events: Banda Magda/Nasi Nassiri/Yolanda Johnson/WOLF CAT (10/20), The Withers/FOE/Modern Haze/Trade Heroes (10/21)

This local landmark was established in 1937 known to many breakout musicians including Stevie Wonder, Willie Dixon, Natalie Cole, Ray Charles and more. Its homey vibe includes Johnny Cash paintings, display cases of Hollywood history, and a ceiling covered with vinyl records. Other notable artists who have graced this stage before reaching fame include the Wallflowers, Ben Harper and Lady Antebellum. Aside from live music, The Mint offers tapas style food and a full bar.

 

Hotel Cafe

  • Capacity:165
  • Ages: 21+
  • Location: 1623 N Cahuenga Blvd., Los Angeles
  • Upcoming Events: Loren North/Western Scene/The Teskey Brothers (10/17), King Leg/Njomza/Jillette Johnson/Dylan Gardner (10/18)

Hotel Cafe opened in 2000 as a space for young artists moving into the spotlight. Such acts include Katy Perry, Mumford & Suns, Sia, Ed Sheeran and Lana Del Rey, according to the LA Times. Sonicbids says Hotel Cafe is a singer-songwriter’s dream venue, and perhaps this is because widely known acts such as John Mayer and Chris Martin continue to play and share the stage with rising artists within an intimate space.

 

The Satellite

  • Capacity: 260
  • Ages: 21+
  • Location: 1717 Silver Lake Blvd., Los Angeles
  • Upcoming Events: Babe Parade Love and a .38 Lanterns (10/16 FREE show), Benyaro/The Flusters/Bradford Hunter Wrap/Your Future Lovers (10/17)

If you’re looking to hear the next up-and-coming rock/indie band without breaking the bank, look no further. This hipster music venue sits in the heart of Silver Lake and features new rock bands every night of the week. Formerly known as Spaceland, this venue is the home to many famous artists who were just starting out, including the Foo Fighters, Foster the People, Local Natives, Silversun Pickups and Beck. Besides rock, the venue experiments with other creative live music sets, such as indie-electronic groups perfect for the dance floor. On Mondays, The Satellite offers no cover charge, so make sure to show up early to score a table for the night.

 

Echoplex

  • Capacity: 350
  • Ages: 18+
  • Location: 1822 Sunset Blvd., Los Angeles
  • Upcoming Events: The Babe Rainbow (10/17), Dub Club (10/18), Nick Hakim (10/19), Tei Shi (10/20), & Wolves In The Throne (10/21)

In 2006, Spaceland Presents began operating The Echoplex, home to Echo Park neighborhood. The Echoplex sits below The Echo, and  is only accessible through an alley and down a flight of stairs. Like The Satellite, this venue aims to give up-and-coming artists exposure. Both the Echo and Echoplex have launched independent artists in the spotlight such as The Airborne Toxic Event and War Paint. In addition, the Rolling Stones, Nine Inch Nails, Green Day , Incubus, LCD Systems, Kendrick Lamar and several more notable artists have played here.      

 

Troubadour

  • Capacity: 500
  • Ages: All ages
  • Location: 9081 Santa Monica Blvd., Los Angeles
  • Upcoming Events: Sarah Jarosz (10/17), Pigeons Playing Ping Pong (10/21)

This gem opened in 1957 as a folk club before a rock venue, and contains many defining moments in music history. Several iconic artists began at this intimate venue, including Elton John, The Eagles, Joni Mitchell, Love, Cheech and Chong, Buffalo Springfield, Billy Joel, The Byrds and more. A common word used to describe small venues is intimate. Pair that with the most excellent sound system and you'll get Troubadour. 

 

Whiskey a Go Go

  • Capacity: 500
  • Ages: All ages
  • Location: 8901 Sunset Blvd., West Hollywood
  • Upcoming Events: Social Repose/Hotel Books/Funeral Portrait (10/16), Ultimate Jam Night (10/17), Tony Macalpine + Felix Martin/Incipience/Power Tribe (10/18)

Another notable rock club on the Sunset Strip opened in 1964 and has also launched world renowned artists into the limelight such as Johnny Rivers, the Doors, and more. According to LA Weekly, the venue nowadays books new bands as well as largely known artists from time to time. Although Whisky A Go Go may not boast its go-go dancing cages from older times, the venue consists of a dance floor, balcony, two full bars and most importantly, an impressive PA.

 

The Roxy Theatre

  • Capacity: 500
  • Ages: All ages
  • Location: 9009 West Sunset Blvd., West Hollywood
  • Upcoming Events: My American Heart (10/19), Private Island (10/20), Shed Seven/Lil Xan (10/21)

The Roxy Theatre is another independently operated venue with Goldenvoice in charge of booking shows. In 1973, Lou Adler, Elmer Valentine and original partners David Geffen, Elliot Roberts and Peter Ashen opened the theatre in response to venue mistreatment of artists. In hopes to make artists feel comfortable, Starting out as venue showing mostly comedians, The Roxy has grown into both a place for aspiring and well-known artists alike. Notable artists who are connected to this venue include John Lennon, Alice Cooper, Neil Young, and the Ramone’s first California gig occurred here in 1976. A venue with history, high quality sound and intimacy, guests should arrive early to secure a good spot.     

 

El Rey Theatre

  • Capacity: 771
  • Ages: All ages
  • Location: 5515 Wilshire Blvd., Los Angeles
  • Upcoming Events: Aquilo (10/16), JR JR (10/19), YehMe2 (10/20), & Moses Sumney (10/21)

Another theatre operated by Goldenvoice, El Rey Theatre opened in 1936 as a movie house until it became a live music venue in 1994. According to its website, the El Rey is a registered Historic-Cultural Monument with its magnificent staircases, art deco lobby, facade, VIP balcony lounge and stage positioned in the grand ballroom.

The Fonda Theatre

  • Capacity: 1,200
  • Ages: All ages
  • Location: 6126 Hollywood Blvd., Los Angeles
  • Upcoming Events: Tash Sultana (10/20), Dinosaur Jr. (10/21), Mitski (10/22), Sheryl Crow (10/23), & Yeah Yeah Yeahs (10/25)

The Fonda was originally built as a 1920’s venue called Carter De Haven’s Music Box, and was known as The Henry Fonda Theatre and The Music Box. Reopened in 2012 and currently operated by Goldenvoice, this classic venue contains a theatrical performance room and a projection screen on the rooftop bar.

 

The Wiltern

  • Capacity: 1,850
  • Ages: 5+ ; 18+ for Insomniac events
  • Location: 3790 Wilshire Blvd., Los Angeles
  • Upcoming Events: In This Moment (10/18), Snakehips (10/20), CRYSTAL CASTLES (10/21), & HIM (10/24)

Live Nation operates The Wiltern, designed in 1931 as the Warner Brothers Western Theater boasting its original, elegant design including murals stretching to its ceilings and intricate tile work, true to its time. On two separate occasions, locals rescued demolition notices in the late 1970s, and creating a first victory for the Los Angeles Conservancy in protecting architectural monuments.

TOP ANTICIPATED TOURS OF 2017

TOP ANTICIPATED TOURS OF 2017

Summer is officially here and what better way to fill up your social calendar than with the top anticipated concerts and tours of the season. Some big names are getting back on the road after being on a hiatus, while other artists are dropping new music with a scheduled tour on the way. Regardless of what your music tastes are, there’s a live show for everyone.