The Screening Process (New Yorker)
You spend a great deal of time staring at variously sized screens, so you’ve
got little reason to welcome the idea that live music is more likely than ever
to involve a screen. The incursion of television into restaurants, for
instance, seems like nothing but loss; what should be the least assaultive
moment of the day becomes another grab for sensory real estate. (What exactly
can you taste when insurance commercials are testing your peripheral vision?)
But screens are occasionally useful additions, even when artists are
unwillingly saddled with them.
For those paying customers seated nowhere near the stage, sports arenas use
jumbotrons and big LED screens to turn small, mobile dots into visible human
performers. Functionally, that percentage of the audience is close to ninety
per cent since after about twenty or thirty rows, a ticket holder can see
dance moves but few facial expressions. When a ticket costs around $225–
common for sections of Jay-Z and Kanye West’s “Watch The Throne” tickets–epic
visuals help you feel like you are seeing the show you paid for (and may help
you forget the vacation you are forgoing).
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