Musician, producer, DJ, director, and author Questlove has released season 2 of his Shorty Award-winning YouTube series 'Quest for Craft', where he talks to creatives about their creative process and the way they’ve honed their craft. In the new season, he talks to ballet dancer Misty Copeland, author Fran Lebowitz, and Kenan Thompson. In episode 5 he talks to producer Mark Ronson about finding your voice as a craftsperson and an artist, as well as composer and musician Kris Bowers about expressing emotions.

Dan Runcie talks to New York Times music reporter Joe Coscarelli about his new book, 'Rap Capital', in the latest Trapital's podcast. The key, Coscarelli believes, is Atlanta rappers' adoption of modern tech: “I love to see when art lines up with the technology of the moment. These Atlanta rappers were in the perfect place at the perfect time to take advantage of that explosion". Also, the reporter sees broader liberties: “Artists have found freedom…your audience is going to find you. You can still have as much of a footprint but not in the same everybody-knows-the-same-10-people way. It’s almost healthier for some of these artists to say ‘I’ve seen what happens on the fame side and I don’t want that part. I just want to make my music and play for my fans.’ That’s become more and more of a possibility without having to play the game with the gatekeepers”.

Party and drugs specialist Michelle Lhooq discusses the changing landscape of drugs in the New Models podcast - from legalization grifts to “spectrum sobriety”, They also discuss nü party paradigms, emergent synthetics, and the gentrification of club drugs like K, MDMA, and 3-MMC. Additionally, Lil Internet fills in some context with fascinating explainers on Berlin’s Telegram drug delivery services. Listen to the podcast - https://ravenewworld.substack.com/p/techno-disneyland.

Country superstar Kane Brown's manager Martha Earls shares some interesting thoughts in an MBW interview about signing musicians based on their viral TikTok videos. "People are signing moments – 15 seconds of a song being popular — without a plan to develop a long-term career for the artist they’re signing. That’s troublesome to me because that implies these artists are disposable people. ‘Oh, you had a hit, we’ll sign you. You don’t have another one? Whatever, we’ve moved on.’ Are you really giving them everything they need to have the most successful career possible? I do have some concerns with that".

An interesting interview by The New Cue with Paul Heaton from The Beautiful South and The Housemartins, on several topics, including money: "I have seen that the more money you make, the more it controls you. They move to bigger houses, with bigger fences and bigger gates. The higher the gate, the more safe they feel, but I always think that’s really unsafe. I live in plain sight. I live on an ordinary street. You come up to the door and I answer. There’s no barrier between me and other people, because I think if there is it promotes a them-and-us thing. If I have someone stalking me I know straight away. I’m not a curtain twitcher but I know everybody on our street. So if someone tried stalking me, they’d be stalked back".

How music is being used and its effect on people is the topic of the Anne Helen interview with musicologist Lily E. Hirsch. "The discussion came up among music scholars of whether music used as torture even is music. Can music actually be torture? At first, I was caught up in the discussion, but immediately I started to think, This is not the point. The torture is the point. What this is doing to people is the point, not whether or not it’s music." Hirsch has also written a book about the issue.

"Be uncompromising in what you’re doing with your music. If you really feel it, then go with that" - Pete ‘Sonic Boom’ Kember shared his career advice with The New Cue. Also, he believes you can't really plan to have a career in music: "Just do what you want to do and maybe later on in the rearview mirror you’ll see it as a career". Kember also says he doesn't really plan to reform Spacemen 3: "There is no reason why every band should reform just because people have gotten into them 30 years later. Careful what you wish for as well. I remember going to see The Velvet Underground when they reformed and I left halfway through. I’m a massive fan but I was just like, ‘Naaaa, I don’t think I need to do this to their memory'".

The Mars Volta have reunited and announced a new album with single 'Blacklight Shine', 'Graveyard Loce' and 'Vigil'. Many fans weren't happy with its latin-rock/yacht-rock sound. But the MV's main two boys don't really mind, as they say in the Guardian interview. “I’m not bound by genre. The only thing that matters is if music makes you feel something” - says Omar Rodríguez-López, and adds: “Losing ‘fans’ is baked into what we do. I don’t know a greater happiness than losing ‘fans’. A true fan is someone interested in what’s happening now, and then there’s everyone else trying to control what you do or project on to it. I have an aversion to that. That sounds like school. That sounds like the government. That sounds like the police. And unfortunately that’s what a lot of people who think they’re fans end up thinking like”. His bandmate Cedric Bixler-Zavala goes back to the perspective of the band: "Omar said the Mars Volta can be whatever we

Some really interesting thoughts by singer-songwriter Julia Jacklin in The New Cue about how songs come to life and how they change: "I feel like this record in particular, when we finished it, it was just like, ‘oh, OK, this is what I made, cool’. It wasn’t exactly what I imagined but also I was just very open to the journey and for it to be what it needed to be, which is a relaxing way to be sometimes... Sometimes I think crowd responses informs me what the song is and how it should be played, I think they can really transform on the road".

Roxy Music's guitarist Phil Manzanera talked to The Telegraph about how much he makes from music: "Luckily, Roxy have continued to be popular, so it’s like having a pension. I don’t have any other pensions... I was also lucky to have my guitar riff from my 1978 second solo album 'K-Scope' sampled in 2011 by Jay-Z and Kanye West, who built a whole song around it. The track, 'No Church in the Wild' on the 'Watch the Throne' album, won a Grammy and was hugely successful and used in films and lots of ads. It was like winning the lottery out of the blue. I get more than they get for it: a six-figure sum over 10 years. And they continue to pay me multiples of six figures because they’re so successful and I partly own my share. It’s prob­ably more than I ever earned in Roxy: we had all the gold albums but no gold!".