Dance artist Moby on the destructive force of fame – and why he’s content being that ‘weird old guy’
He is the man behind the biggest-selling electronica record of all time, but the success of Moby’s album Play came with some unwanted side effects.
His fifth record, the album charted at 33 upon its release in the UK in May 1999, and fell out of the Top 40 after just a week. But despite the lacklustre initial response, Play started to pick up steam, slowly climbing the chart until it reached number one in April 2000.
It stayed there for five weeks and remained in the Top 40 until March 2001, re-entering the Top 100 several times over the next few years.
While Moby had experienced success with Go, the breakthrough 1991 single from his self-titled debut album, Play was next level. Even if you don’t know the album, you’ll know at least some of the songs – Porcelain, Why Does My Heart Feel So Bad?, Honey, and Natural Blues. The record was ubiquitous and fame hard to escape.
Pic: Adam Warzawa/EPA/Shutterstock
“I think fame and fortune are, probably, empirically two of the most destructive forces on the planet,” he says, speaking from his home in Los Angeles. “I mean, if fame and fortune fixed things, Kurt Cobain and Amy Winehouse would still be making records.
“I guess it’s a very easy system to buy into, especially in a place like… in New York, in Los Angeles, in these big cities that are driven by ostentation and consumption and the need for external validation. It’s hard to resist those temptations. But then… you look at the consequences of that.
“I’d rather try and live a rational life and not necessarily let other people’s concerns dictate what my concerns should be.”
Now sober and with a few years between him and those heady days of peak fame, in recent years Moby has been doing something few established stars in his position would do – giving his compositions away for free.
“I have a house, I have a car, I have some hoodies, I have food in the fridge, I don’t really need anything more,” he insists. “To live and work in a way where I’m not driven by money, why not use that as an opportunity?”
Selfless selfishness or selfish selflessness
Pic: Wael Hamzeh/EPA/Shutterstock
Over a decade ago, the musician came up with the quietly radical idea of making a free music licensing platform, MobyGratis. The idea was simple and rather exciting, he admits – to allow anyone unrestricted access to hundreds of his compositions to use them however they wish. From film scores to remixes, whatever.
“It’s either selfless selfishness or selfish selflessness, meaning I’m giving these things away but the benefit to me is I get to see what people do with it,” he says.
“There are a lot of things about the current digital media climate that are terrifying and baffling and confusing, but one of the things I love is the egalitarian nature of it.”
The idea of giving his music away for free runs somewhat contrary to the AI copyright battle many artists are currently speaking out over, with the likes of Ed Sheeran and Damon Albarn calling for greater protections in law to prevent artificial intelligence software from scraping their work to learn from it.
Remix culture and creative processes
“I completely appreciate and respect the concerns that other people have,” says Moby. “I think they’re incredibly valid… but for me personally, I don’t know. Maybe it’s naive and stupid of me, but I kind of just ignore it.
“I put this music out there and you sort of hope for the best, which probably is completely dim-witted of me. Part of remix culture is seeing how people reinterpret your work; sometimes it’s mediocre, sometimes it is bad, but sometimes it is so inspired, and I can actually learn a lot from other creative processes.”
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The dance artist also takes issue with how the act of giving and compassion more generally has come to be seen, and references Elon Musk‘s comments on Joe Rogan’s podcast in April, when the billionaire said: “We’ve got civilizational suicidal empathy going on.”
Moby says that while “we live in this world of fear, selfishness, desperation and viciousness”, he supports “anything that is a rejection of the manosphere… anything that rejects Elon and the idea that empathy is a weakness and reminds people that life can be simple and decent.”
He jokes: “I’m definitely becoming like the weird old guy that you’ll see in the mountains, sort of like not making eye contact and mumbling about chemtrails or something.”
This is a man who is aware his approach to fame, fortune and giving stuff away is somewhat out-of-keeping with the times we’re living in – but the thing is, Moby doesn’t seem to care.
Entertainment
Gregg Wallace: Over half of allegations against MasterChef presenter substantiated, including one of unwanted physical contact
An investigation into Gregg Wallace’s “inappropriate behaviour” on MasterChef has found that more than half of the allegations against him have been substantiated, including one of “unwanted physical contact”.
MasterChef’s production company Banijay UK shared a summary of its report into historical allegations of misconduct against the 60-year-old presenter, carried out by independent law firm Lewis Silkin over seven months.
The report also said the number of sustained allegations made Wallace’s return to MasterChef “untenable”.
The investigation heard evidence from 78 witnesses, including 41 complainants.
There were 83 allegations against Wallace, and 45 of them were substantiated. All were related to MasterChef.
While the majority of the substantiated allegations related to inappropriate sexual language and humour, a smaller number of allegations of other inappropriate language and being in a state of undress were also substantiated.
One allegation of unwanted physical contact was substantiated.
Nearly all the allegations against Wallace were related to behaviour which is said to have occurred between 2005 and 2018, with just one substantiated allegation taking place post-2018.
Wallace and Anne-Marie Sterpini in 2014
Ahead of the publication of the summary, Wallace had said he had been “cleared of the most serious and sensational accusations” made against him.
Additionally, the report summary found that there were also 10 standalone allegations about other people between 2012 and 2018/2019, two of which were substantiated. Those people were not named in the summary.
The investigation found that complaints had previously been raised with the production company between 2005 and 2024.
Gregg Wallace on MasterChef. Pic: BBC/ Shine TV 2024
While the report flagged inadequate reporting procedures prior to 2016, when Endemol merged with Shine ahead of Banijay acquiring Endemol Shine in 2020, it said there were significant improvements to HR processes and training after 2016.
While the investigation said some formal action was taken by the BBC in 2017, it also noted the corporation held no information regarding concerns raised over Wallace centrally, resulting in issues being addressed as a first offence.
Sky News has tried to contact Gregg Wallace for contact today.
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