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.
Image: 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
Image: 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.”
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.
Police will take no further action over alleged chants at a Bob Vylan concert in London.
Met Police had launched an investigation after allegations the singer, real name Pascal Robinson-Foster, was heard in footage saying “death to the IDF (Israel Defence League)”.
The footage was filmed at a performance supporting Iggy Pop, 78, at Alexandra Palace in May.
In a video, Mr Robinson-Foster is also alleged to have said: “Death to every single IDF soldier out there as an agent of terror for Israel.”
But the Met Police confirmed they are closing the investigation following advice from the Crown Prosecution Service (CPS).
Image: The Glastonbury performance led to a police investigation. Pic: PA
‘No further action will be taken’
A spokesperson for the force said: “On Wednesday 2 July, officers became aware of footage that appeared to have been filmed at Alexandra Palace in London on 28 May. An investigation was launched into the language used in the footage.
“Early investigative advice was sought from the Crown Prosecution Service who considered a number of potential offences but determined that, based on the information and material available, there would likely be insufficient evidence to take the case forward.
“As a result, officers have decided that no further action will be taken. We recognise the concerns that the footage caused, particularly among many in London’s Jewish communities.
“It emerged during a period where we have seen a concerning rise in antisemitic hate crime.
“We continue to work closely with community representatives to understand those concerns, to ensure the safety and security of Jewish Londoners and to provide reassurance moving forward.”
It followed footage of Mr Robinson-Foster allegedly leading a chant of “death, death to the IDF” during a BBC live-streamed performance at Glastonbury Festival, in June earlier this year, leading to an investigation from Avon and Somerset Police.
A man, in his 30s, understood to be Mr Robinson-Foster, had voluntarily attended an interview on Monday in relation to the band’s Glastonbury performance, the force said.
Police added the individual was not arrested but an investigation is ongoing.
After the Glastonbury appearance, the group were dropped from a number of festivals.
Actor and director Samantha Morton has said councils who fail to prevent the deaths of children in care should face manslaughter charges.
Warning: This story contains references to suicide.
In a powerful interview with Sky News, the Oscar-nominated, BAFTA-winning actor and director, who grew up in care, said Britain’s care system needs to be “completely rethought”.
It comes after a Sky News documentary, A Girl Called Nonita, told the story of 18-year-old Nonita Grabovskyte, who died in the care of the state following a catalogue of failures by those responsible for her care.
Nonita took her own life on railway tracks in December 2023, just two weeks after her birthday. She had previously told doctors and social workers that she intended to kill herself as soon as she turned 18. But nothing was done to prevent her death.
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44:43
Unseen: A girl called Nonita
“I was a child of the state, just like Nonita,” Morton told Sky News.
“I was put in care at birth until I got the letter to say I was no longer the council’s responsibility. I was kicked out at 16 and put into a homeless hostel.”
After spells of homelessness, she found a local TV actors’ workshop and managed to secure roles that would eventually lead to Hollywood.
But she says she has never forgotten her childhood, which saw her in and out of children’s homes and foster families.
“The lack of care historically is shocking,” she said. “But the lack of care today is worse. Back then, it felt like there was at least some comeuppance.
“The system now is not fit for purpose. It needs root and branch reform. It needs to be completely rethought.”
The young people who grew up in care who have died in England since 2020
2020: 40
2021: 30
2022: 60
2023: 90
2024: 80
Source: Department for Education
The data shows a sharp rise in deaths among care leavers – young adults who have aged out of the care system and are expected to live independently, often with little or no support.
The Department for Education only began collecting data for care leavers aged 22 to 25 in 2023, meaning the true scale of deaths over the past decade is likely to be far higher.
Morton says councils should be held more accountable for the deaths of children in their care, especially if local authority failings contributed to deaths.
Image: Pic: Invision/AP
‘State manslaughter’
“A failure to care has massive consequences,” she told Sky News. “And the consequences are that people like Nonita die. I believe that that is a kind of state manslaughter.
“And individuals who fail to do their job properly should be in a dock.”
Education Secretary Bridget Phillipson has told Sky News that deaths of care-experienced young people should “shame us all”.
All deaths of children in the care of the state must be reported to the government via the Child Safeguarding Incident Notification Scheme.
But there are doubts as to whether all deaths are being reported.
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Phillipson: ‘Nonita was failed on so many levels’
‘Shames us as a country’
Ms Phillipson told Sky News she has asked officials to urgently review the process to check for underreporting.
“I’m concerned about serious incident notifications – about making sure we’re receiving all notifications of such incidents taking place,” she said.
“Because it’s only if we know what’s happening, if we fully understand what’s going on in the lives of children, that we as a government, as a country, can provide the support they need.”
Ms Phillipson added: “It shames us all as a country that we so badly fail many of the most vulnerable children who’ve experienced such appalling trauma and abuse in their early lives.
“I read every single notification personally – and it always stays with you. Every case is a child or young person who deserved better.”
If you have been affected by any of the issues raised in this story, help, and support is available. You can call Samaritans free on 116 123 anytime day or night. You can also email jo@samaritans.org or visit www.samaritans.org to find support online.
Sally Kirkland, a former model and Oscar nominated actress known for her roles in films such as Anna, The Sting and JFK has died aged 84.
Her representative, Michael Greene, said Kirkland died on Tuesday morning at a Palm Springs hospice.
Kirkland had been unwell and struggling to cover medical bills after she fractured six bones last year and developed two life-threatening infections. She had also been diagnosed with dementia.
A GoFundMePage that was set up by her friends to help pay for her ongoing treatment had raised over £45,000 ($60,000).
Image: Michael Douglas, left, and Sally Kirkland appear with their best actor Golden Globes for Wall Street and Anna. Pic: AP
Her biggest role was in the 1987 film Anna, as a fading Czech movie star remaking her life in the United States and mentoring a younger actor.
Kirkland won a Golden Globe and earned an Oscar nomination alongside Cher in Moonstruck, Glenn Close in Fatal Attraction, Holly Hunter in Broadcast News and Meryl Streep in Ironweed.
Born in New York City, Kirkland was encouraged to start modelling at age five by her mother, who was a fashion editor at Vogue and Life magazines. Kirkland went on to graduate from the American Academy of Dramatic Arts in 1961.
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An early breakout for the star was appearing in Andy Warhol’s 13 Most Beautiful Women in 1964.
Image: Sally Kirkland in 2015. Pic: Reuters
Some of her earliest roles were playing Shakespeare parts, including Helena in A Midsummer Night’s Dream and Miranda in an off-Broadway production of The Tempest.
She once told the Los Angeles Times: “I don’t think any actor can really call him or herself an actor unless he or she puts in time with Shakespeare.”
Kirkland was also infamous for her nude scenes, often disrobing in films and for social causes. In particular, Kirkland volunteered and advocated for people with AIDS, the homeless and prisoners.