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The new rules of music licensing
Richard Melville Hall, a.k.a. Moby, is one of the most important dance music figures of the early '90s, helping bring the music to a mainstream audience both in England and in America.
Born in Harlem, New York in 1965, and raised in Darien, CT, he played in a hardcore punk band called the Vatican Commandos as a teenager before moving to New York City, where he began DJing in dance clubs. During the late '80s, he released a number of singles and EPs before, in 1991, he set the theme from David Lynch's television series Twin Peaks to an insistent, house-derived rhythm and titled the result "Go." The single became a surprise British hit single, climbing into the Top Ten, and was named one of Rolling Stone's top 200 records of all time. Moby, his first full-length album, appeared in 1992. Since then, Moby has recorded eleven studio albums, including his multi-platinum breakthrough Play (1999), 18 (2002), Hotel (2005), Go: The Very Best of Moby (2006) and Last Night (2008).
In addition to his musical endeavors, Moby is the proprietor of teany cafe and teas. He is also a well-known advocate for a variety of progressive causes, working with MoveOn.org and PETA, among others. He actively engages in nonpartisan activism.
Topic: The News Rules of Music Licensing
Moby: If I were a smart musician, I would have done what the other smart musicians did, which is only license your music in places where they don’t speak English. I mean, all the credible musicians, I don’t want to name names, but they don’t license their music in the UK or the States, they license it in Portugal, or they license it in South Korea or Japan, and that way the tastemakers, you know, the music journalists never hear about it. But it is a strange phenomenon because, I mean, I have been criticized for licensing my music to commercials, but it is odd for a few reasons. One, that most of the journalists who criticize me, write for publications that are wholly funded by ad revenues, so there will be an article criticizing me for liscensing my music to commercials, and on the next page, an ad for Ford or Budweiser or what have you, and the same journalists or people who criticize me for licensing my music, actually buy the products that are being advertised. And I don’t know, I maybe feel the punk rocker in me, I always thought it was cooler to take money from a big corporation than to give money to a big corporation. So I have regrets that I did too much licensing, and I should have, as I said, been smart and done what everyone else does, only license in South Korea and Japan.
when “Play” came out, at first it didn’t have any success, you know, the reviews were not very good, it didn’t sell very well, and then it sort of picked up momentum and became a successful record. So at first the only way I had to make people aware of the music was by licensing to movies, TV shows, advertisements, so we did a lot of it. In hindsight, I think I did too much of it. There is another ironic aspect of it which is that at the time people in the music business, be they musicians or record executives, keep scoring on me for doing this, and now those same record executives are all working at licensing companies or they are working at record labels where they are desperate to license anything. And a lot of the musicians who also criticized me are now bending over backwards and prostrating themselves trying to get their music licensed. So I think that, unfortunately, I don’t mean this in a positive way, I was sort of the avant-garde of licensing, you know, I was like the shock troop of licensing, so as a result I got killed first. So now everyone does it and no one is really criticized for it. But, yes, in hindsight, I definitely did way too much of it.
the only reason I got involved in the music business was because I love music and I want to make music, and selfishly, I would like people to hear the music that I make. I’m not too concerned with the commercial ramifications of producing music and putting it out into the world. If people want to buy my music, fine; if they don’t want to, that’s fine with me, too. Again, my only interest in the commercial side of the music business is to try and get people to hear the music that I have made. So I don’t look at the music business and think how can I make a lot of money from it; I look at it and I think how can I strategically try and get people to hear the music that I have made. So when I look at the fact that the record companies are falling apart and revenue streams are drying up, and royalties are a tenth what they used to be for a lot of people, it doesn’t concern me from some sort of fiduciary perspective, it only concerns me from a musician’s perspective, where I just hope that in the future I am able to make music that people will be willing to listen to.
Recorded on: 6/16/08
Moby regrets not licensing his music to the non-English world.
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Gender and sexual minority populations are experiencing rising anxiety and depression rates during the pandemic.
- Anxiety and depression rates are spiking in the LGBTQ+ community, and especially in individuals who hadn't struggled with those issues in the past.
- Overall, depression increased by an average PHQ-9 score of 1.21 and anxiety increased by an average GAD-7 score of 3.11.
- The researchers recommended that health care providers check in with LGBTQ+ patients about stress and screen for mood and anxiety disorders—even among those with no prior history of anxiety or depression.
Study findings<p>For the study, <a href="https://link.springer.com/article/10.1007/s11606-020-05970-4" target="_blank">published in the Journal of General Internal Medicine</a><em>, </em>Flentje and her team evaluated survey responses from nearly 2,300 individuals who identified as being in the lesbian, gay, bisexual, transgender, and queer (LGBTQ+) community. Most of the participants were white, while nearly 19 percent identified as a racial or ethnic minority. Multiple genders were represented with cisgender women (27.2 percent) and men (24.6 percent) making up a majority of the participants. Sixty-three percent had been assigned female at birth. For the most part, participants identified their sexual orientations as queer (40.3 percent), gay (36.5 percent), and bisexual (30.3 percent).</p><p>The JGIM study participants were recruited from the 18,000-participant <a href="https://pridestudy.org/" target="_blank">PRIDE Study</a> (Population Research in Identity and Disparities for Equality), which is the first large-scale, long-term national study focusing on American adults who identify as LGBTQ+. It conducts annual questionnaires to understand factors related to health and disease in this population. </p><p>Participants filled out an annual questionnaire (starting in June 2019) and a COVID-19 impact survey this past spring. Flentje noted that on an individual level, some people may not have experienced a big change in anxiety or depression levels, but for others there was. Overall, depression increased by a <a href="https://patient.info/doctor/patient-health-questionnaire-phq-9" target="_blank">PHQ-9 score</a> of 1.21, putting it at 8.31 on average. Anxiety went up by a <a href="https://www.mdcalc.com/gad-7-general-anxiety-disorder-7" target="_blank">GAD-7</a> score of 3.11 to an average of 8.89. Interestingly, the average PHQ-9 scores for those who screened positive for depression at the first 2019 survey decreased by 1.08. Those who screened negative for depression saw their PHQ-9 scores increase by 2.17 on average. As for anxiety, researchers detected no GAD-7 change among the study participants who screened positive for anxiety in the first survey, but did see an overall increase of 3.93 among those who had initially been evaluated as negative for the disorder. </p>
Risks among gender and sexual minorities<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="fc3fd1ae68b77bbbf58a6995638d6d65"><iframe type="lazy-iframe" data-runner-src="https://www.youtube.com/embed/EnUqDjCqg0A?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span><p>The LGBTQ+ community is a vulnerable population to mental health concerns because of their fear of stigmatization and previous discriminatory experiences.</p> <p>Previous research by the Human Rights Campaign has found "that LGBTQ Americans are more likely than the <a href="https://medicalxpress.com/tags/general+population/" target="_blank">general population</a> to live in poverty and lack access to adequate medical care, paid <a href="https://medicalxpress.com/tags/medical+leave/" target="_blank">medical leave</a>, and basic necessities during the pandemic," said researcher Tari Hanneman, director of the health and aging program at the campaign.</p> <p>"Therefore, it is not surprising to see this increase in anxiety and depression among this population," Hanneman said in the release. "This study highlights the need for <a href="https://medicalxpress.com/tags/health+care+professionals/" target="_blank">health care professionals</a> to support, affirm and provide <a href="https://medicalxpress.com/tags/critical+care/" target="_blank">critical care</a> for the LGBTQ community to manage and maintain their mental health, as well as their physical health, during this pandemic."</p>
What should health care providers do?<p>The authors of the study recommend that health care providers check in with LGBTQ+ patients about stress and screen for mood and anxiety disorders in members of that community—even among those with no prior history of anxiety or depression.</p><p>As cases of COVID-19 continue to mount, the sustained social distancing, potential isolation, economic precariousness, and personal illness, grief, and loss are bound to have increased and varied impacts on mental health. Effective treatments may include individual therapy and medications as well as more large-scale coronavirus support programs like peer-led groups and mindfulness practices. </p><p>"It will be important to find out what happens over time and to identify who is most at risk, so we can be sure to roll out public health interventions to support the mental health of our communities in the best and most effective ways," said Flentje.</p>
What we know about black holes is both fascinating and scary.
- When it comes to black holes, science simultaneously knows so much and so little, which is why they are so fascinating. Focusing on what we do know, this group of astronomers, educators, and physicists share some of the most incredible facts about the powerful and mysterious objects.
- A black hole is so massive that light (and anything else it swallows) can't escape, says Bill Nye. You can't see a black hole, theoretical physicists Michio Kaku and Christophe Galfard explain, because it is too dark. What you can see, however, is the distortion of light around it caused by its extreme gravity.
- Explaining one unsettling concept from astrophysics called spaghettification, astronomer Michelle Thaller says that "If you got close to a black hole there would be tides over your body that small that would rip you apart into basically a strand of spaghetti that would fall down the black hole."
The team caught a glimpse of a process that takes 18,000,000,000,000,000,000,000 years.
- In Italy, a team of scientists is using a highly sophisticated detector to hunt for dark matter.
- The team observed an ultra-rare particle interaction that reveals the half-life of a xenon-124 atom to be 18 sextillion years.
- The half-life of a process is how long it takes for half of the radioactive nuclei present in a sample to decay.
A new study looks at what would happen to human language on a long journey to other star systems.
- A new study proposes that language could change dramatically on long space voyages.
- Spacefaring people might lose the ability to understand the people of Earth.
- This scenario is of particular concern for potential "generation ships".