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𝑇ℎ𝑎𝑛𝑘𝑠𝑡𝑜 𝐴𝐼, 𝑒𝑐𝑜𝑛𝑜𝑚𝑖𝑠𝑡𝑠𝑓𝑟𝑜𝑚 𝑀𝐼𝑇, 𝐻𝑎𝑟𝑣𝑎𝑟𝑑, 𝑎𝑛𝑑 𝐵𝑜𝑠𝑡𝑜𝑛 𝐶𝑜𝑙𝑙𝑒𝑔𝑒 𝑏𝑒𝑙𝑖𝑒𝑣𝑒 𝑡ℎ𝑎𝑡 𝑤𝑒 𝑎𝑟𝑒 𝑎𝑏𝑜𝑢𝑡 𝑡𝑜 𝑤𝑖𝑡𝑛𝑒𝑠𝑠𝑡ℎ𝑒 𝑒𝑥𝑝𝑙𝑜𝑠𝑖𝑜𝑛 𝑜𝑓 𝑡ℎ𝑒 𝑏𝑖𝑔𝑔𝑒𝑠𝑡 𝑤𝑒𝑎𝑙𝑡ℎ 𝑔𝑎𝑝 𝑤𝑒’𝑣𝑒 𝑒𝑣𝑒𝑟 𝑠𝑒𝑒𝑛 𝑏𝑒𝑓𝑜𝑟𝑒 𝑖𝑛 ℎ𝑖𝑠𝑡𝑜𝑟𝑦 . [Mobile logo MES](   [MES main logo](     Thanks to AI, economists from MIT, Harvard, and Boston College believe that we are about to witness the explosion of [the biggest wealth gap we’ve ever seen before in history]( . And with what AI can do, who can disagree with them? Starting today… - A college student can type a sentence in a box and do the combined work of several coding engineers at once — endangering thousands of careers. - One AI lawyer can now service an average of 253 clients every single day — replacing entire law firms in a single moment… - Even doctors are now at risk as Health IT analytics reports: An AI doctor just passed the U.S. Medical Licensing Exam without any doctor input! Point is, the writing is on the wall. AI is here and it’s going to be pandemonium. But fortunately for retirees, there is a way to profit from all of it. [To see how, simply click here now to see why over 100 million people are racing into the most powerful tech in history…]( Jason Bodner Quantitative Investing Expert, TradeSmith Ryuichi Sakamoto (Japanese: 坂本 龍一[a], Hepburn: Sakamoto RyÅ«ichi, January 17, 1952 – March 28, 2023) was a Japanese composer, record producer, and actor who pursued a diverse range of styles as a solo artist and as a member of Yellow Magic Orchestra (YMO). With his bandmates Haruomi Hosono and Yukihiro Takahashi, Sakamoto influenced and pioneered a number of electronic music genres.[1] Sakamoto began his career while at university in the 1970s as a session musician, producer, and arranger. His first major success came in 1978 as co-founder of YMO. He concurrently pursued a solo career, releasing the experimental electronic fusion album Thousand Knives in 1978. Two years later, he released the album B-2 Unit. It included the track "Riot in Lagos", which was significant in the development of electro and hip hop music.[2][3][4] He went on to produce more solo records, and collaborate with many international artists, David Sylvian, Carsten Nicolai, Youssou N'Dour, and Fennesz among them. Sakamoto composed music for the opening ceremony of the 1992 Barcelona Olympics,[5] and his composition "Energy Flow" (1999) was the first instrumental number-one single in Japan's Oricon charts history.[6] As a film-score composer, Sakamoto won an Oscar, a BAFTA, a Grammy, and two Golden Globe Awards.[7] Merry Christmas, Mr. Lawrence (1983) marked his debut as both an actor and a film-score composer; its main theme was adapted into the single "Forbidden Colours" which became an international hit. His most successful work as a film composer was The Last Emperor (1987),[8] after which he continued earning accolades composing for films such as The Sheltering Sky (1990), Little Buddha (1993), and The Revenant (2015). On occasion, Sakamoto also worked as a composer and a scenario writer on anime and video games. He was awarded the Ordre des Arts et des Lettres from the Ministry of Culture of France in 2009 for his contributions to music.[9] Career 1970s Sakamoto entered the Tokyo National University of Fine Arts and Music in 1970,[10] earning a B.A. in music composition and an M.A. with special emphasis on both electronic and ethnic music. He studied ethnomusicology there with the intention of becoming a researcher in the field, due to his interest in various world music traditions, particularly the Japanese, Okinawan, Indian, and African musical traditions.[11] He was also trained in classical music and began experimenting with the electronic music equipment available at the university, including synthesizers such as the Buchla, Moog, and ARP.[10] One of Sakamoto's classical influences was Claude Debussy, who he described as his "hero" and stated that "Asian music heavily influenced Debussy, and Debussy heavily influenced me. So, the music goes around the world and comes full circle."[12] In 1975, Sakamoto collaborated with percussionist Tsuchitori Toshiyuki to release Disappointment-Hateruma.[13] After working as a session musician with Haruomi Hosono and Yukihiro Takahashi in 1977,[14] the trio formed the internationally successful electronic music band Yellow Magic Orchestra (YMO) in 1978. Known for their seminal influence on electronic music, the group helped pioneer electronic genres such as electropop/technopop,[15][16] synthpop, cyberpunk music,[17] ambient house,[15] and electronica.[16] The group's work has had a lasting influence across genres, ranging from hip hop[16] and techno[18] to acid house[1] and general melodic music. Sakamoto was the songwriter and composer for a number of the band's hit songs—including "Yellow Magic (Tong Poo)" (1978), "Technopolis" (1979), "Nice Age" (1980), "Ongaku" (1983), and "You've Got to Help Yourself" (1983)—while playing keyboards for many of their other songs, including international hits such as "Computer Game/Firecracker" (1978) and "Rydeen" (1979). He also sang on several songs, such as "Kimi ni Mune Kyun" (1983). Sakamoto's composition "Technopolis" (1979) was credited as a contribution to the development of techno music,[19] while the internationally successful "Behind the Mask" (1978)—a synthpop song in which he sang vocals through a vocoder—was later covered by a number of international artists, including Michael Jackson and Eric Clapton.[20] Sakamoto released his first solo album Thousand Knives of RyÅ«ichi Sakamoto in mid-1978 with the help of Hideki Matsutake—Hosono also contributed to the song "Thousand Knives". The album experimented with different styles, such as "Thousand Knives" and "The End of Asia"—in which electronic music was fused with traditional Japanese music—while "Grasshoppers" is a more minimalistic piano song. The album was recorded from April to July 1978 with a variety of electronic musical instruments, including various synthesizers, such as the KORG PS-3100, a polyphonic synthesizer; the Oberheim Eight-Voice; the Moog III-C; the Polymoog, the Minimoog; the Micromoog; the Korg VC-10, which is a vocoder; the KORG SQ-10, which is an analog sequencer; the Syn-Drums, an electronic drum kit; and the microprocessor-based Roland MC-8 Microcomposer, which is a music sequencer that was programmed by Matsutake and played by Sakamoto.[21][22] A version of the song "Thousand Knives" was released on the Yellow Magic Orchestra's 1981 album BGM.[23] This version was one of the earliest uses of the Roland TR-808 drum machine, for YMO's live performance of "1000 Knives" in 1980 and their BGM album release in 1981.[24] 1980s In 1980, Sakamoto released the solo album B-2 Unit, which has been referred to as his "edgiest" record[25] and is known for the electronic song "Riot in Lagos",[25] which is considered an early example of electro music (electro-funk),[2][3] as Sakamoto anticipated the beats and sounds of electro.[4] Early electro and hip hop artists, such as Afrika Bambaataa[4] and Kurtis Mantronik, were influenced by the album—especially "Riot in Lagos"—with Mantronik citing the work as a major influence on his electro hip hop group Mantronix.[3] "Riot in Lagos" was later included in Playgroup's compilation album Kings of Electro (2007), alongside other significant electro compositions, such as Hashim's "Al-Naafyish" (1983).[26] According to Dusted Magazine, Sakamoto's use of squelching bounce sounds and mechanical beats was later incorporated in early electro and hip hop music productions, such as “Message II (Survival)” (1982), by Melle Mel and Duke Bootee; “Magic's Wand” (1982), by Whodini and Thomas Dolby; Twilight 22's “Electric Kingdom” (1983); and Kurt Mantronik's Mantronix: The Album (1985).[27] The 1980 release of "Riot in Lagos" was listed by The Guardian in 2011 as one of the 50 key events in the history of dance music.[28] One of the tracks on B-2 Unit, "Differencia" has, according to Fact, "relentless tumbling beats and a stabbing bass synth that foreshadows jungle by nearly a decade". Some tracks on the album also foreshadow genres such as IDM, broken beat, and industrial techno, and the work of producers such as Actress and Oneohtrix Point Never. For several tracks on the album, Sakamoto worked with UK reggae producer Dennis Bovell, incorporating elements of afrobeat and dub music.[29] Also in 1980, Sakamoto released the single "War Head/Lexington Queen", an experimental synthpop and electro record,[30] and began a long-standing collaboration with David Sylvian, when he co-wrote and performed on the Japan track "Taking Islands In Africa". In the following year, Sakamoto collaborated with Talking Heads and King Crimson guitarist Adrian Belew and Robin Scott for an album titled Left-Handed Dream. Following Japan's dissolution, Sakamoto worked on another collaboration with Sylvian, a single entitled "Bamboo Houses/Bamboo Music" in 1982. Sakamoto's 1980 collaboration with Kiyoshiro Imawano, "Ikenai Rouge Magic", topped the Oricon singles chart.[31] In 1983, Sakamoto starred alongside David Bowie in director Nagisa Oshima's Merry Christmas Mr. Lawrence. In addition to acting in the film, Sakamoto also composed the film's musical score and again collaborated with Sylvian on the film's main theme ("Forbidden Colours") – which became a minor hit.[32] In a 2016 interview, Sakamoto reflected on his time acting in the film, claiming that he "hung out" with Bowie every evening for a month while filming on location. He remembered Bowie as "straightforward" and "nice", while also lamenting the fact that he never mustered the courage to ask for Bowie's help while scoring the film's soundtrack as he believed Bowie was too "concentrated on acting".[33] Sakamoto broadened his musical range with a number of solo albums such Ongaku Zukan (1984), Neo Geo (1987), and Beauty (1989). These albums included collaborations with artists such as Thomas Dolby, Iggy Pop, Youssou N’Dour, and Brian Wilson. [34][35] 1990s Heartbeat (1991) and Sweet Revenge (1994) features Sakamoto's collaborations with a global range of artists such as Roddy Frame, Dee Dee Brave, Marco Prince, Arto Lindsay, Youssou N'Dour, David Sylvian, and Ingrid Chavez.[36][37] In 1995 Sakamoto released Smoochy, described by the Sound On Sound website as Sakamoto's "excursion into the land of easy-listening and Latin", followed by the 1996 album, which featured a number of previously released pieces arranged for solo piano, violin and cello.[38] During December 1996 Sakamoto, composed the entirety of an hour-long orchestral work entitled "Untitled 01" and released as the album Discord (1998).[38] The Sony Classical release of Discord was sold in a jewel case that was covered by a blue-colored slipcase made of foil, while the CD also contained a data video track. In 1998 the Ninja Tune record label released the Prayer/Salvation Remixes, for which prominent electronica artists such as Ashley Beedle and Andrea Parker remixed sections from the "Prayer" and "Salvation" parts of Discord.[39] Sakamoto collaborated primarily with guitarist David Torn and DJ Spooky—artist Laurie Anderson provides spoken word on the composition—and the recording was condensed from nine live performances of the work, recorded during a Japanese tour. Discord was divided into four parts: "Grief", "Anger", "Prayer" and "Salvation"; Sakamoto explained in 1998 that he was "not religious, but maybe spiritual" and "The Prayer is to anybody or anything you want to name." Sakamoto further explained: The themes of Prayer and Salvation came out of the feelings of sadness and frustration that I expressed in the first two movements, about the fact that people are starving in the world, and we are not able to help them. People are dying, and yet the political and economical and historical situations are too complicated and inert for us to do much about it. So I got really angry with myself. I asked myself what I could do, and since there's not a lot I can do on the practical level, all that's left for me is to pray. But it's not enough just to pray; I also had to think about actually saving those people, so the last movement is called Salvation. That's the journey of the piece.[38] In 1998, Italian ethnomusicologist Massimo Milano published Ryuichi Sakamoto. Conversazioni through the Padova, Arcana imprint. All three editions of the book were published in the Italian language.[40] Sakamoto's next album, BTTB (1999)—an acronym for "Back to the Basics"— comprised a series of original pieces on solo piano influenced by Debussy and Satie and included "Energy Flow" (a major hit in Japan) and an arrangement of the Yellow Magic Orchestra classic "Tong Poo".[41][42] Sakamoto's long-awaited "opera" LIFE (ja) was released in 1999, with visual direction by Shiro Takatani, artistic director of Dumb Type.[43] This ambitious multi-genre multi-media project featured contributions from Pina Bausch, Bernardo Bertolucci, Josep Carreras, the Dalai Lama and Salman Rushdie.[44] In 2007, they "deconstructed" all the visual images and the sound, to create an art installation.[45][46] 2000s Keigo Oyamada with Sakamoto in 2007. Sakamoto teamed with cellist Jaques Morelenbaum and Morelenbaum's wife, Paula, on a pair of albums celebrating the work of bossa nova pioneer Antonio Carlos Jobim. They recorded their first album, Casa (2001), mostly in Jobim's home studio in Rio de Janeiro, with Sakamoto performing on the late Jobim's grand piano.[47] The album was well received, having been included in the list of The New York Times's top albums of 2002[48]. A live album, Live in Tokyo, and a second album, A Day in New York, soon followed. Sakamoto and the Morelenbaums would also collaborate on N.M.L. No More Landmine, an international effort to raise awareness for the removal of landmines. The trio would release the single "Zero Landmine", which also featured David Sylvian, Brian Eno, Kraftwerk, Cyndi Lauper, and Haruomi Hosono & Yukihiro Takahashi, the other two founding members of Yellow Magic Orchestra.[49][50][51] Sakamoto collaborated with Alva Noto (an alias of Carsten Nicolai) to release Vrioon, an album of Sakamoto's piano clusters treated by Nicolai's unique style of digital manipulation, involving the creation of "micro-loops" and minimal percussion. The two produced this work by passing the pieces back and forth until both were satisfied with the result. This debut, released on German label Raster-Noton, was voted record of the year 2004 in the electronica category by British magazine The Wire. They then released Insen (2005)—while produced in a similar manner to Vrioon, this album is somewhat more restrained and minimalist. After further collaboration, they released two more albums: utp_ (2008)[52] and Summvs (2011).[53] In 2005, Finnish mobile phone manufacturer Nokia hired Sakamoto to compose ring and alert tones for their high-end phone, the Nokia 8800. In 2006, Nokia offered the ringtones for free on their website.[54] Around this time, a reunion with YMO cofounders Hosono and Takahashi caused a stir in the Japanese press. They released a single "Rescue" in 2007 and a DVD "HAS/YMO" in 2008. In July 2009, Sakamoto was honored as Officier of Ordre des Arts et des Lettres at the French embassy in Tokyo.[55] 2010s–2023 Sakamoto performing in São Paulo, 2017 Throughout the latter part of the 2000s, Sakamoto collaborated on several projects with visual artist Shiro Takatani, including the installations LIFE - fluid, invisible, inaudible... (2007–2013), commissioned by YCAM, Yamaguchi, collapsed and silence spins at the Museum of Contemporary Art Tokyo in 2012 and 2013 Sharjah Biennial (U.A.E.), LIFE-WELL in 2013 and a special version for Park Hyatt Tokyo's 20th anniversary in 2014, and he did music for the joint performance LIFE-WELL featuring the actor Noh/Kyogen Mansai Nomura, and for Shiro Takatani's performance ST/LL in 2015.[56] In 2013, Sakamoto was a jury member at the 70th Venice International Film Festival. The jury viewed 20 films and was chaired by filmmaker Bernardo Bertolucci.[57] In 2014, Sakamoto became the first Guest Artistic Director of The Sapporo International Art Festival 2014 (SIAF2014). On July 10, Sakamoto released a statement indicating that he had been diagnosed with oropharyngeal cancer in late June of the same year. He announced a break from his work while he sought treatment and recovery.[58] On August 3, 2015, Sakamoto posted on his website that he was "in great shape ... I am thinking about returning to work" and announced that he would be providing music for Yoji Yamada's Haha to Kuraseba (Living with My Mother).[59] In 2015, Sakamoto also composed the score for the Alejandro González Iñárritu's film, The Revenant,[60] for which he received a Golden Globe nomination.[61] In January 2017 it was announced that Sakamoto would release a solo album in April 2017 through Milan Records;[62] the new album, titled async, was released on March 29, 2017, to critical acclaim. In February 2018, he was selected to be on the jury for the main competition section of the 68th Berlin International Film Festival.[63] On June 14, 2018, a documentary about the life and work of Sakamoto, entitled Coda, was released.[64] The film follows Sakamoto as he recovers from cancer and resumes creating music, protests nuclear power plants following the Fukushima Daiichi Nuclear Disaster, and creates field recordings in a variety of locales. Directed by Stephen Nomura Schible, the documentary was met with critical praise.[65][ Sometimes, colleagues of My Effective Strategies share special offers with us that we think our readers should be made aware of. Above is one such special opportunity that we believe deserves your attention.   [MES logotype footer]( Keep up to date with the world of investing and finance by [whitelist us](. Copyright © 2023 My Effective Strategies. 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