Snapshots Music & Arts Foundation: Mission Statement: "Our Foundation is committed to preserving the history and performances of today’s great artists. To help realize our goal of making great music timeless, we are collaborating with the Library of Congress to archive our media at its Packard Campus for Audio Visual Conservation. We are developing a true collaboration to preserve the voices of artists for generations to come. Press release."
It was my honor to be interviewed by the Snapshots Music & Arts Foundation. As you can read above in their mision statement, their objective of presenting & preserving music through technology is a noble and critically important one.
In the Q&A, we discuss the past, present, and future states of music, and the many complex ways the media discusses, dissects and disemminates information. Vanessa Daou: Future States of Music
Bio: Gifted with a unique combination of poetic lyricism and a sensuous voice, singer and songwriter Vanessa Daou has defined the sound of New York's progressive jazz infused electronica and downtempo music since the early 1990's. Today Vanessa is releasing her 7th solo recording, is Music Editor at aRUDE magazine, and writes about music and the arts on her blog and website.
Q: Vanessa, you came from a period of success in music of the 1990's. How would you describe the fallout from 2000 on, and how could we have ended up in a healthier state today?
V: I think in many ways, the Music Business has lost sight of its core values. Discovering great talent used to be about the development of a noble idea: to leave a legacy of great and meaningful music, to put something out into the world that would truly resonate. Although there has always been greed as a motivation, the impetus was always to make lasting, timeless music. Where there used to be a cluster of truly visionary A&R executives who drove things creatively, the top tier music executives of today are governed by a kind of ‘herd instinct’, a ROI mentality whereby they move en masse with one purpose, toward the money.
Signing an act used to be a highly intuitive and selective process, necessitating not only skill, but those intangibles like vision and instinct. There was a nobility and elegance to the process, embracing a kind of ‘Queen Bee’ economics, where the artist was at the top of the hierarchy, treated with the ultimate respect. Ths approach "paid off" in the end, but it took time, patience and commitment.
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