The reading’s final section delves into the emergence of artists with art school backgrounds into the pop music scene. The author cites PJ Harvey, Pulp, Sade, and M.I.A as examples of musicians who have pursued art studies and have subsequently contributed to pushing boundaries in pop music. This observation resonated strongly with me as I closely follow pop music and admire artists who embrace a DIY ethos, striving for creative control over all aspects of their work. One example that came to mind is the pop duo Magdalena Bay, who not only write, produce, mix, and master all their music but also undertake the filming, directing, and editing of their music videos. Their output of over 51 music videos to date, created solely by two individuals working from their bedroom, showcases the power of self-sufficiency in today’s music landscape.

In the past, I was also drawn to artists like Grimes for the same reason. I believe this culture of autodidacticism, coupled with the increasing accessibility of creative tools, has led to a decentralization of the arts scene and the music industry. Musicians now have the opportunity to explore multidisciplinary approaches and exert creative control over various aspects beyond just the music itself. As access to creative tools continues to expand, I anticipate this trend of musicians embracing a diverse skill set and expanding their creative endeavors to only grow further in the future.