Sadie Dupuis of Speedy Ortiz, on the eve of releasing Haunted Painting, her second album under the SAD13 moniker, discusses her life in music, words, and math. Math? Yes, math!
Drive-in concerts are the latest salve for the live music industry during the pandemic. As a handful are scheduled for the remaining warm months in the US, is it worth it to experience live music this way?
Martha Reeves reflects on the timeless appeal of “Dancing in the Street,” how the social movements of the 1960s compare to today’s Black Lives Matter movement, as well as her storied career with Motown.
Behind the scenes with four Berklee Online Film Scoring grad students, who recently got to serve as music directors while an orchestra in Budapest performed scores the students had written.
Janet Billig Rich on Management (Nirvana, Hole) and Music Supervision (‘Rock of Ages,’ ‘Moulin Rouge’), and More
Janet Billig Rich discusses her long career in the music business, which started in merch sales, grew to an internship at Caroline (where she signed Hole), led to a career in management (where she managed acts like Nirvana and Dinosaur Jr.) and now has settled into music supervision.
Vanessa Carlton engages in a candid discussion about the seedy underbelly of the music industry, why followups to “A Thousand Miles” were more successful than some of the men on her team wanted her to believe, and why “Love Is An Art” marks a new beginning for her.
Eddy Grant began his career in the 1960s with the Equals, and 20 years later he made some of the biggest hits of his life, like “Electric Avenue” and “I Don’t Wanna Dance,” by fusing rock, reggae, and elements of electronic music. He continues to pioneer new sounds like soca and ringbang.
Lisa Loeb discusses three decades in the music business, and how she was able to turn her initial success into a dozen different endeavors.
Matt Ward shares how a Beatles songbook and a closeted $25 guitar helped define his path as a musician, a journey which has led to create the poignant new M. Ward album, ‘Migration Stories.’