As anyone who, at last month’s EFG London Jazz Festival experienced the thoughtful and candid, often filmic soundscapes of London-based band Glasshopper will testify, this 6-year-old band’s debut album Fortune Rules has been worth the wait.
“For me, there is a strong connection between music and images.” – DeLaurentis
In this episode of MFM Speaks Out, Dawoud Kringle interviews Cecile DeLaurentis, commonly known as DeLaurentis. DeLaurentis is a French innovative electronic musician and producer. She studied music at the Perpignan Conservatory and Jazz Musicology at the University of Mirail in Toulouse. Her work has been described as electro-cinematic music and stands out from most other electronic music artists as having an emotional and beautiful quality. She developed a unique style and technique for performance and voice manipulation with innovative use of Ableton software and hardware.
The topics discussed included her early training and interest in electronic music, her upcoming album, UNICA, her approach songwriting and production, her use of Ableton Push as a MIDI controller, her approach to music video production, her personal theories on the relationship between organic and synthetic music, the inclusion of AI in the music creation process, her interpretations of the works of Satie, Ravel, and Saint-Saëns, her approach to the business side of music as a self-contained artist, the music scene in Paris and how the COVID-19 pandemic affected the music scene in Paris and the rest of Europe, and her thoughts about the upsurge in music activism and musicians fighting for their rights.
“It’s quite impossible to listen to this music with any preconceived ideas of what music should be.” – Dawoud Kringle
Review by Dawoud Kringle
“Now is the time to organize…[in the face of the pandemic] as inequality and workers issues get put on the table more, artists need to make sure they are not left out of the conversation.” – William Deresiewicz
In this episode of the MFM Speaks Out, Adam Reifsteck interviews William Deresiewicz, a leading critic of the arts and contemporary culture and New York Times bestselling author about his new book, The Death of the Artist: How Creators Are Struggling to Survive in the Age of Billionaires and Big Tech – specifically, what he learned from artists that are managing to make a living today in this digital era, how exploitation and instant gratification have changed our perceptions of art, and the importance of coming together as a community to stop the exploitation of musicians and creatives by Silicon Valley.
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Daniel Ek, Spotify…Daniel Ek, Spotify…Daniel Ek, Spotify? Ek owns nearly 9% of the Spotify shares, but has 37% of voting control?!
An Editorial by Dawoud Kringle
Daniel Ek was born February 21st, 1983 in Stockholm, Sweden. He graduated high school from IT-Gymnasiet in Sundbyberg in 2002, and subsequently studied engineering at the KTH Royal Institute of Technology before dropping out to focus on his IT career. At age 13 he started a business making websites for clients from his home. This was successful; he went from charging $100 to $5,000 per website. Ek soon recruited students from his class to work on the websites from the school computer lab (he was reputed to have bribed them with video games). His earnings eventually reached $50,000 per month and by age 18 he was managing a team of 25.