#julesbrave

[futuremusicmoguls]

Hasta Luego, Amigos. #Farewell

I can’t believe our journeys at Future Music Moguls have come to an end. I am going to miss all of you guys SO much. I’ve learned SO much about the music industry, and music production, but more importantly, I’ve learned so much about myself creatively; I can’t thank you all enough! All of you are so intelligent and talented and I learned so much from being around such hungry, multi-faceted people. I am going to especially miss jamming out on the 3rd floor, talking about our week with Marat at the beginning of each class, and being in the studio with Team MERCER. I want to thank Marat for always being so enthusiastic and engaging so early in the morning and teaching us so much information that we will carry with us forever. Thank you to Abhita for always lending us a helping hand with mixing and teaching us the tricks of Logic; you’re the mixing master! Thank you SO much to the TAs for also helping us in the studio and just being awesome, and to all of you for making my Saturdays spectacular. I am going to MISS THIS so much, but I can’t WAIT for the showcase in July, and to hopefully perform alongside all of you! Hasta luego. Keep on Julesing, everyone. 

Peace out,

Yung Julez

[futuremusicmoguls]

"Settle Down" by The 1975

http://youtu.be/BsYE078RQCI

Song Structure: Intro, Verse 1, Verse 2, Chorus, Verse 3, Verse 4, Chorus, Bridge (Musical Interlude), Quiet Verse 1, Verse 2, Chorus, Outro

Credits: Matthew Healy - vocals & guitar, Adam Hann - guitar, George Daniel - drums, Ross MacDonald - bass, Mike Crossey - producing & mixing, Mike Spink & Jonathan Gilmore - engineering, Robin Schmidt - mastering

Arrangement Notes/Opinion: From the start of the song, the rhythmic interaction between the guitars and the drums is almost like a call and response; the chord being played on the 'and of two' while the drum hits on the '3'. In the first and second verse, the guitarists begin to play the main riff of the song in cohesive guitarmony, while Healy's voice is also stacked with backup vocals; this song feels full because of not just the vocal arrangement, but the interaction between what Healy and Hann are playing. The 1975 also adds in shouts of "hey!" numerous times to more sufficiently define the complex structure of the song. In the first chorus, the groove begins to grow when synths are added; complimenting the consistency of the guitars and drums. After the first chorus, there is a measure break where the synths play on to build-up and anticipate the return to verses. Since the chorus is very highly produced, the third verse strips the guitarmony aspect, and focuses more on adding bass slaps and vocal riffs. In the fourth verse, the guitars' synergy returns and the dynamics continue to intensify. The drums now highlight syncopation on the high-hats, adding to the shoulder-popping infectious aspect of the song. MacDonald alone plays a two-note descend just to come right back in strongly with the band in the chorus. The bridge or musical interlude introduces a much more intricate guitar part, while a catchy whistling motif is what people are singing to. A tranquil verse one is then reprised; using just synths and limited vocal harmonies. A bass slide then brings in a repeat of verse 2, the chorus, and to the outro which imitates the bridge, and the synths ring out and fade out. 

Lyrical Notes/Opinion: Matthew Healy based "Settle Down" on a reoccurring dream he used to have in his adolescence. Where he lived in Northern England certainly affected who he is today, saying on record that it has "contained the history and the soul of [his] family". He used to fantasize about love not just romantically, but platonically through two boys. The song ultimately expresses the need to be with someone because of the feeling that this person could complete you and be your other half. Matt Healy has also expressed that he welcomes interpretation and the meaning is subjective. I appreciate the message of this song because everyone desires and wishes to find somebody to love. I also respect that the song can be perceived in multiple ways; romance, friendship, or familial relationships. 

Key Production Moves: The constant groove and melodic motifs of this pop/rock song are what makes it well-written. 

Key Songwriting Success: The desperate plea to "Settle Down" set to upbeat and dance-worthy music. 

[futuremusicmoguls]

You're NOT Fancy.

Iggy Azalea's release of her chart-topping single, "Fancy" and her Best Rap Album Grammy nomination for "The New Classic" has created musical and cultural controversy; people are debating whether or not the white rapper deserves to be acknowledged in the hip-hop community. Because Iggy Azalea is white and uses aspects of hip-hop and rap in her music, the black community argues that Iggy is stealing what rightfully belongs to them. 

Azealia Banks, a black rapper, singer and songwriter, claims in a HOT 97 interview that Iggy is "culturally smudging" and uses Azalea's appropriation of Azealia's name as an example. Iggy also raps about being a "slave-master" in her song, "D.R.U.G.S"; suggesting to white-masses that it is acceptable to make abominable, derogatory, and racial remarks. Iggy also attempts to emulate a stereotypical black tone of voice, which also encourages prejudices and predetermined assumptions. 

Iggy Azalea is not using her influence in rap and hip-hop to embrace equality of all races in all genres, but is being the complete opposite of a role model. If Iggy Azalea were to be a white hip-hop and rap artist who used her music to better social injustices, Iggy would be praised. Music is supposed to be universal and felt between all people no matter what shape, size or color. African-Americans inspired genres such as blues, r&b, hip-hop, and rap. Black culture is what paved the way for you, Iggy. C'mon and show some respect!

[futuremusicmoguls]

"Smith" of the Year?

The 57th Annual Grammy Awards were mediocre at best. All of the performances were sub-par; lacking "oomph" and exciting, history-making musical moments. In past years, Jennifer Hudson paid homage to the late Whitney Houston only a day after her passing; singing Houston's signature ballad, "I Will Always Love You", flawlessly and effortlessly. P!nk soared high (vocally and literally), belting out "Glitter In The Air" while doing an acrobatic aerial performance. Lady Gaga and Elton John played Gaga's "Speechless" and John's "Our Song" on a conjoined piano. All of these performances were legendary to say the least, and it is clear that the 2015 Grammys' performances did not reach the high bar that many had set. Enough about the disappointing performances, and onto the disheartening nominees. 

"Stay with Me" by Sam Smith is undoubtedly a desperate love song that touches the hearts of anyone who has been dumped, but it is certainly not deserving of the Song of the Year award. A recent lawsuit has been issued because of the song's similarity to "I Won't Back Down" by Tom Petty; resulting in Petty and his co-writer Lynne to now have writing credit on Smith's hit. As a musical composition, "Stay With Me" lacks originality and uniqueness. "Stay With Me" has become such a success because of Smith's vocal quality and the emotion that he conveyed within the song. Because Record of the Year highlights the artist's accomplishments within the song, that award was much more representative of the song's influence. 

As for Song of the Year, "Shake it Off" by Taylor Swift was a more rightful candidate. Swift's big-band pop anthem is much more thoughtfully penned with its witty lyrics and catchy melodies. "Shake it Off" is any against-the-current hipster's most guilty pleasure. Musically, Swift's first single from her debut pop album "1989" includes a rap bridge, more vocal hooks and horn motifs, yet has a sense of consistency with the chords; Am, C, G. The groove is also constant, but we never get sick of it because of the song's progression and dynamic changes. Taylor, you deserved it. 

[futuremusicmoguls]

Hi Everyone!

Hola! I'm Julia Braverman and I'm SO excited to be a part of the Future Music Moguls program! I am from Demarest, New Jersey, and I go to the Dwight-Englewood School where I am a part of the Jazz and Rock ensembles. I play piano, bass guitar, and I sing, and my dream is to be a songwriter and producer. My absolute favorite artists/bands are Paramore, Young the Giant, Janelle Monáe, Stevie Wonder and John Mayer; alternative, indie-rock, r&b and soul are the genres that I most often listen to. People who know me describe me as an "idea maker" because I love to conceptualize musical and visual ideas and be creative in any way that I can. I love to learn from others and get better at my craft, so I can't wait to get to know you all! Here is a video of me singing "Electric Feel" by MGMT with the School of Rock Tenafly :)