Hello!  It’s great to be talking with you and in answer to your question, yes!!  With music/composing I think it happens all the time. The mass public, partly through humans being humans and partly through mainstream media and music industry manipulation, seem to be terrifyingly easily tricked into assuming certain music could or should come from a particular type of person/background/persona… So for example when I’m performing or composing pop music for a client, they might sometimes be confused to know the day before I might have been producing drill or rap music. Or another client who I’m composing some hip hop or heavy rock music for might be confused that the following week I’m composing some classical or cinematic soundtrack style music/emotional uplifting melodic trance. Essentially, just because someone hasn’t grown their hair down to their shoulders and covered themselves in tattoos, piercings, act a certain way or cover themselves in metal and spit lyrics about their conquests doesn’t mean they don’t naturally dream up/compose/perform music in styles predominantly associated with that image; and vice versa, if someone looks/acts like that in person, it doesn’t mean they’re not spending their time composing a classical symphony. In fact, if the general public look closer – more often than not – they’ll find their ‘idol’ is for example quite possibly bouncing around behind DJ decks with little idea how to create the very music the public idolise them for and that they’re not even using the decks for real let alone performing or writing the music properly, or alternatively they’ll find their idol is prancing around on stage doing a dramatic music solo in a song that they largely didn’t or couldn’t write without the help or complete involvement of a composer/musician such as myself!  I’d initially assumed it obvious to people that a very musical/creative person (whatever their background) will likely be able to compose and perform different types of music without the need for them as an artist (or a manufactured ‘proxy artist’ who uses their tracks) to have a ‘background’ / ‘culture’ image that’s presented to the watching public alongside the music tracks themselves, but most of the public seem to auto-assume otherwise; many seemingly only giving respect to or noticing someone as a musician/composer unless somebody is also ‘dressed for/acts the part’ and sadly more often than not when someone’s ‘dressed for/acts the part’ but couldn’t/didn’t even write the actual music.  Don’t get me wrong, I’m not ignoring or disrespecting that several styles of music/sound have emerged from certain cultures and circumstances; I’m saying that once such styles are in existence it’s a ridiculous notion to auto assume someone needs to have come from or be a certain way to be the person to compose or perform new creative tracks in that style well, or indeed that they can’t create new styles of their own whether or not the new music styles represent struggles of sectors of society or politics and such like.

So as a kid, I was involved in most things alongside school – sports, performing, and the arts – but the music was definitely something I felt a magnetism to. I’ve memories of playing in my parents’ back garden with a head full of melodies but not really sure where they came from, so when Santa Claus gave me a keyboard for Christmas one year (with all the flashing lights and buttons a young boy could dream of) it was something of a match made in heaven. The peripatetic cello lessons at school couldn’t really compete, though I suppose they possibly later helped me learn guitar!

In my teens, I completed all my formal music and production training across the spectrum of performance, theory, technical/sound engineering, composition, etc, and pretty much rinsed the world of pieces to play and improvise, especially with having had a lot of fun and adventures with my band and performing concerts. As such a stronger and stronger desire to compose/perform my own material in various styles emerged with that being more open-ended.

Getting in the way of all of this was my academic, business, and sports progress: For example, I was a top prize winner of Part III of the Mathematical Tripos at Cambridge University, the world’s hardest maths degree; so I had to somehow balance being the British Empire’s real-life Good Will Hunting and all the shizzle of business/career expectations that come with that with my burning desire to keep up the momentum of my music record label.  Thankfully, after qualifying professionally as a Fellow of the Institute of Actuaries/Chartered Actuary, I was able to develop my own professional consultancy and various other businesses, which has given me the time flexibility to continue with my commercial music production/performance and music services company.

The core activity of my music production company Electrocademy is a music production service for any individual or business/organization that needs freshly composed original music in any style they wish, tailored to any purpose they need. These can be businesses that need music for their marketing campaigns and media or events, movie production companies, through to individual artists/DJs who need ghost production or songs written for them or visual content creators.

As well as myself/Electrocademy musicians, I’ve close links with a wide network of exceptional musicians and performers and I’m a member of alumni groups of top music schools and institutions. Therefore there’s not really any bound on the size and scale and level of creativity or musical style of any piece of music that Electrocademy may be asked to provide. I’ve harnessed technology and structured Electrocademy administratively to have almost no overheads so Electrocademy offers remarkable value for money to clients for the quality of music provided (which hopefully speaks for itself!). Therefore, any enquiries from anybody regarding the music production service – no matter what the purpose – are welcome, and value for money prices can be negotiated.

Electrocademy is nimble as a business, so as well as the music production service, we work with other artists in their promotion, marketing, commercial releases, management, and admin, release commercial music tracks and music videos of our own and with other artists, live performances and workshops, run interviews with national touring pop stars, write music industry articles and create entertaining musical media of interest. So, if prospective clients have an idea in mind that they feel Electrocademy can help with, it’s always worth dropping us a line for a friendly chat! :)

Following from your question about creatives being misunderstood, people should look at bit closer and be a bit more discerning about who and what they’re impressed by and follow…. I get it, someone’s working day will have been busy and stressful; there’s generally just time to listen to whatever the streaming app/social media algorithm throws up or whatever and whoever is on the television/radio. But most of that’s window dressed and manufactured; there’s entire teams of people behind what many mainstream artists are ””playing”” (if at all)/singing, they probably didn’t write the song (certainly far from single-handedly), it’s typically whatever the songwriting teams working for their puppet-masters handed them or changed their initial idea to. Their singing was autotuned with the best editing software applied to it and the music. But with a little bit of effort, people could find and follow independent creative artists and smaller record companies with significantly more natural creative talent and performing ability and by instead dedicating attention to them (and with less emphasis on whatever pseudo-persona or virtue signalling/political agenda artists might have) the trickle down effect of the redirected attention and subsequent financial reward will find its way to the more deserving creatives relative to the manufactured or ‘fake/hollow’ ones, creating a positive feedback loop that leads to a much greater amount of much higher quality music created for society as a whole, together with raw talent across all backgrounds and cultures being more fairly rewarded as a natural by-product (compared to the outcome of society’s use of artificial quotas that are ironically often ultimately unsuccessful and damaging to all talented artists whatever their background or culture in the longer term) – win win for everyone.

I love the concept. It’s a bumpy ride out there in the electronic and crypto world with everything from brilliant new innovations through to scandals and scams. All of that will need to be sorted in time with suitable oversight and appropriate regulations that ensure things are fair and secure and things function properly while not being too intrusive and controlling. But if we can arrive at a situation that allows fans and supporters of creative artists to more directly provide resources to the creatives without them going to the middle men and simultaneously helps avoid overreliance on the mainstream anything as a source of content or services or entertainment, that can only be good. I like the flexibility of NFTs in what an artist can use them for in providing unique experiences for fans; for example in music novel stem tracks from songs or shows, ways of buying tickets for shows that also give proof they were there in an artist’s early years, sources of revenue for both buyers of the NFTs as well as the artist, even in the second hand market. The main current challenge of course will be educating a fanbase on their advantages and how to go about actually using and buying/selling them, given they’re still very new to most people.