Tag: interview (Page 6 of 7)

Interview: David Penn of Hit Songs Deconstructed

December 7, 2012 / aftertheshow

David Penn is the founder and editor-in-chief of Hit Songs Deconstructed, which gives in-depth analysis and commentary of hit songs and trends in pop music.

After The Show: How did you decide to start Hit Songs Deconstructed? 

David Penn: The idea came about while I was attending a music conference in Los Angeles. During one of the panels, the moderator asked “how many of you study the hits that are currently topping the charts?” No one, including myself, raised their hands. It then occurred to me that if I really wanted to get to the root of what makes hit songs successful, I should start analyzing them to their core to see what makes them tick.

As soon as I began “deconstructing” the songs, I started to see immediate results with my own songwriting. I was learning things that I never would have realized without doing the exercise. Equally as important, it was keeping me current with what was going on in the mainstream. It was then that I realized that this could be a really valuable tool for other songwriters and producers. Soon after, we officially launched Hit Songs Deconstructed.

How do you compile the research that goes into your reports? 

I developed a methodology for evaluating hit songs which allows us to track “like” elements and see how hit songwriting may be changing over time and across various genres. It’s all done manually, centered on LOTS of listening!

Are there noticeable cultural differences that change what kinds of songs are popular in different countries? On a micro-level within each song, are there commonalities between a hit song in Korea vs. Mexico vs. Australia, for example? 

Culture does play a role in what types of songs are most popular in different countries. For example, lots of the songs that top the charts in Brazil have a distinctive native Brazilian vibe and are performed by Brazilian artists. In Japan, the charts are currently dominated by native boy bands and girl groups like AKB48 and Kis-My-F12, all of which have a sound and vibe that’s distinctly J-Pop. In both these cases the native artists and songs don’t really translate into other cultures (markets).

That being said, many songs do cross over and top the charts outside of their native countries. This is especially the case with “phenomenons” such as “We Found Love,” “Gangnam Style” and “Somebody That I Used To Know,” for example.

On a micro level there are hit songwriting commonalities that traverse all cultures throughout the world. The songs might be sung in a different language, utilize different instrumentation and possess a unique vibe that’s indigenous to a specific country, but at their core they all utilize the same effective craft fundamentals that enables them to connect with the largest possible audience and resonate. This includes lyrical themes (i.e. love/relationships), simplicity, repetition, short intros, choruses hitting early within the song, amongst many others.

How do you account for the inexplicable element in something as creative and emotional as music? Does applying mathematical, rational criteria to a song’s components sometimes not fully explain why listeners connect viscerally to a song?

Both craft and the “inexplicable element” are equally important. The craft is the vehicle for delivering the “soul” of a song so that it connects and resonates on the deepest level possible. There needs to be a perfect balance between the two.

Has the importance of hit songs changed over the last few decades? Are they less valuable to artists now since major labels are putting less resources into an artist’s career longevity, just pursuing the latest hit? Rebecca Black’s “Friday” was a hit song, but that story ended so quickly. 

Rebecca Black’s “Friday” was a “hit” for all the wrong reasons, and her 15 minutes of fame came and went in a blink of an eye because there was no substance behind it. Remember, people love to see train wrecks and much as they love amazing talent. It’s all about the entertainment value.

I would say that hit songs are even MORE important now than ever before. Why? First and foremost it’s a singles driven business. The song can’t rely on an album to carry it – it needs to stand on its own.

Additionally, if you want any chance of getting a deal with a publisher or a label and securing longevity for yourself, you need to be writing songs that are undeniable hits – the best of the best – pure and simple. If you’re delivering, and they’re selling, publishers and labels would be more than happy to keep you in their ranks. That’s for sure.

It’s interesting that most hits today have some synth incorporated into other instrumentation. What’s your view on the staying power of EDM? 

All “fads” come and go. Disco, 80’s New Wave, Hair Metal and Grunge all had their day, but they never fully disappear. It will be the same with EDM. Electronic Dance Music is always going to be around in one manifestation or another, but it’s prominence in the mainstream will vary with the times.

What’s the role of individual, subjective musical taste in what makes a song a hit song? How important is timing and context (what other songs are on the charts at any given moment)? 

Musical taste is 100% subjective. The listener either connects with a song or they don’t – it’s that black and white. As for timing, it obviously helps. For example, if the Pop scene was completely being dominated by songs possessing an Electro Pop, Hip Hop/Rap influence, and that’s what was being pushed and marketed, then songs of that ilk will definitely have the best chance to succeed at that point in time.

Another good example is the grunge scene in the 90’s. Every label was scrambling to sign grunge bands. The ones that were the best (and most commercial) hit it big. But #1’s are a different kind on animal. They might be in-line with what’s going on within a particular scene, or they might go against the grain (i.e. Adele, Gotye, Fun, PSY). It usually comes down to the combination of the song plus external factors such as the video and dance associated with “Gangnam Style.” Or Fun’s “We Are Young” being featured on Glee and in a Super Bowl commercial.

Can it impede an artist’s natural creative process if labels, publishers, or managers tell artists and producers what kind of song to compose, based on your reports/what’s popular right now?

All songwriting and inspiration is “unique and creative” at its core. However, in the mainstream, producers, labels, songwriting teams, artists and others all have input into WHAT types of songs should be recorded and HOW they should be written. Remember – these songs need to be methodically structured to succeed with their intended audience on a mass level. That being said, the songwriters involved will always bring their “unique creative process” to the table each and every time they write. Sometimes there’s flexibility to push the envelope, and sometimes there’s not.

Where’s the line between trying to stay ahead of the curve and just writing in search of the next hit?

It all depends on what you want to do as an artist. Are you looking for mainstream success in Pop? If so, you should be paying attention to what’s going on within your core genre and thinking about ways that you can push the envelope to stand out from the pack and get noticed. You want stay ahead of the curve BECAUSE you’re in search of the next hit. They work hand in hand.

You’ve rolled out auxiliary products like the Song & Artist Development program. What do you envision for the future of Hit Songs Deconstructed?

We have a lot of new and exciting things planned that will really benefit both songwriters and the industry alike. We’ll keep you posted!

Check out Hit Songs Deconstructed

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Interview: Drummer Nicole Childrey

September 24, 2012 / aftertheshow

Nicole “Nico” Childrey is a drummer (The Mynabirds) and writer (for publications like SPIN, CMJ, Rolling Stone, Billboard, USA Today, Modern Drummer, and Nylon).

After The Show: When and how did you know that you wanted to play drums professionally?

Nicole Childrey: I started drumming a little later than most, I think — around 18 or 19 — but I got drawn into playing music at 14. A friend had an old, out of tune acoustic guitar in her bedroom, and I picked it up and started poking around, eventually finding a melody. The thrill of creating music out of nothing — even just a weird bleating melody on a beat-up out-of-tune guitar — was all it took to keep me permanently stuck on it.

And I think you have to be that ridiculously, illogically glued to the pursuit of that feeling to keep doing it nowadays, when it’s certainly not getting any easier to keep doing it.

How do you balance drumming and writing? Is there enough down time on tour to write and run your website East Nashville, With Love?

For about five years, I kept a full-time writing job while I was touring, with a band called Cassino, then with Destry, then with The Mynabirds. I’m really appreciative that that’s even possible — I had a broadband aircard, and worked eight-hour days from the hotel, van, club, etc., and it made me able to pay my bills and still tour, even if we weren’t making much money.

My intent when I started East Nashville, With Love was to work from the road, too. I started the site while our singer, Laura, was touring as part of Bright Eyes, so we had a long stretch of downtime. But once we started touring heavily, things didn’t work out exactly as I planned, mostly just because of the cost of keeping an aircard. But I do freelance work from tour, usually just four or five assignments a tour, and I work late at night or on off days. I’m really thankful to be able to do it; having a second job that can be done from anywhere is pretty ideal, and it’s helping me be able to keep touring, which is all I’ve ever wanted to be doing.

Creating a website that focuses on a very specific locale seems like a reaction against the more peripatetic lifestyle of touring. Have your feelings about touring vs. staying in one place changed over the years?

I get really fidgety when I stay in one place for a while, which is probably part of why touring appeals to me as much as it does. I think most of what led me to creating East Nashville, With Love boils down to East Nashville itself — it’s a really unique community, with a really unique culture, and most folks who live here have a really unique sense of pride about it. People in Nashville kinda pick on how self-obsessed East Nashville is, which I’ll admit is true (and funny). But there’s this great focus on entrepreneurship, support of local mom-and-pop businesses, overall creativity and creative culture, and the community’s really diverse and devoted.

I never get bored in East Nashville, and when I get home from moving around so much, I’m really glad to have that. So starting a website about the neighborhood was largely just a response to that, and an opportunity to love on a place that’s really given me a lot.

You’ve played with The Mynabirds, Brendan Benson, Destry… Do you alter your setup when you tour with different musicians? How does your drum set-up differ for live shows versus recording in a studio?

I wouldn’t say I alter my set-up too much, but there’s definitely a different approach in general with different people. A lot of the early Destry stuff was Americana-based, so I was playing a lot of country-rooted stuff; Brendan has some incredible, explosive rock songs that come from a totally different angle. It’s really fun to get to play with different moods. And The Mynabirds I think has become really broad these days when it comes to mood — we play stuff that’s rhythmically rooted in soul, rock, hip-hop, dance music.

It makes things really challenging and interesting. I don’t change the set-up much between shows and studio, but the mental/emotional challenge of recording is definitely a different animal, for me. It’s the challenge of trying to be precise and controlled, but retaining the energy and looseness that comes through at shows.

What do you do to keep your playing fresh and continue to grow and challenge yourself as a drummer?

Playing for a lot of different people has been the most helpful and challenging for me — just learning songs, playing with rhythms that’ve come out of drummers who play completely different from me. It’s kind of … constantly being taken out of your comfort zone, and I think that resets you in a really good way.

Nashville’s also a great place to constantly get inspired by players. Some of my favorite current drummers live here, like Patrick Keeler, who has this incredibly inspiring fluidity, and Rollum Haas from the Features, who has this perfect balance of explosiveness, feel and precision. The person who gets me the most inspired about drumming, though, is Levon Helm — I think he’ll always be the most perfect image of a gut-forward drummer, and all I’ll ever really strive for as a drummer is to be as in the moment as he always seemed to be.

How do the music scenes in New York and Nashville compare? When you first moved to Nashville from New York, were you concerned about the preconception that Nashville is all/just country music?

I’d spent a fair bit of time in Nashville before I moved, so I was aware of how great the music scene is, and how broad it was. I feel like there are a million different experiences of the music scene in New York. Mine was a struggle, which probably had more to do with me than New York — but it was so hard to afford a practice space, to always have to rent vans to tour since I was largely living month-to-month, everything else that goes along with trying to do something that’s financially challenging in an expensive city.

Nashville’s much more affordable, and that makes playing music more doable. That there are so many incredible players here is a great bonus, too. In the nine years I’ve been in Nashville, the rock scene’s become a lot more fractured, I think, but also really fertile. There’s a lot to get excited about across a ton of different aesthetics. I was born in New York, and I’ll always love it, but Nashville’s really become home.

Are you discouraged or encouraged by how the business of music has changed? What’s your view of new models for artists to finance record releases (sites like Kickstarter and Pledgemusic)?

To be completely honest, I’m still just confused. I can’t figure out whether I’m more encouraged or more scared about where we’re at and where we might be going. I’m excited that there are other viable ways to finance the creation of music, but I don’t know how sustainable that is, and I don’t know if we’re moving toward a point where new ways of bringing money toward musicians are offsetting all the places where musicians aren’t making money anymore. Ultimately I just hope as a culture that we’ll all put energy toward supporting musicians we believe in by sending money their way, in whatever form that might take.

Check out Nicole Childrey’s twitter.

Interview with Hope For Agoldensummer

August 23, 2012 / aftertheshow

I spoke to Claire of Hope For Agoldensummer, a three-piece band led by sisters Claire and Page Campbell from Athens, Georgia.

After The Show: Starting mid-September, you’ll not only open for Patterson Hood but you’ll also sit in with his band during their sets. How are you preparing for that?

Claire Campbell: I actually just texted Patterson yesterday because we haven’t had any rehearsals since last time we played a show together, so as of now we haven’t started preparing yet. What happens is we have marathon rehearsals at Drive-By Truckers practice space. Sometime after dinner we’ll rehearse, rehearse, rehearse until we can rehearse no more.

With his sets, there is no set list – he just works off a giant list of songs we know, so we have a huge catalogue of songs that have to be ready at all times for whatever he decides he wants to play. The other thing about Patterson is that he doesn’t always call out songs, so sometimes he’ll just start a song and we’ll have to figure out which song it is in the first few bars. I’ll be playing banjo and realize I have to quickly change instruments!

When you’re playing shows in the south or in cities in the northeast, have you noticed differences in how audiences react to your music?

At first it seems like more of a novelty thing to people who aren’t from the south or from the southeast. But we win them over with our terrible jokes and stage banter. I feel like we get a pretty good reception across the board. Some places take longer to warm up.

What was your experience using Indiegogo to fund your fourth album, and why did you choose it over KickStarter?

We chose Indiegogo because we had a rather lofty financial goal of what we wanted to raise. If you don’t meet your goal with Kickstarter, you lose everything. In our case, the album was mostly in the can when we started fundraising. We were raising to cover the material cost of making the physical album and then to hire a publicist for the album – those things are the expensive things, and why we wanted to pre-sell it and do the fundraising campaign.

Even if we didn’t meet our goal we’d still get to keep the money we raised on IndieGoGo. The album was going to come out regardless of how much money we raised.

You play with some really interesting, unusual instruments like banjo, singing saw, and even a cheese grater. What’s your favorite and/or most unusual instrument you play?

My favorite is just the guitar; it’s the most fun. That’s what I write most of my songs on. I don’t tour with it, but I have a tiny old nylon string guitar from Vietnam and that’s what I mainly just sit at home & play – it’s effortless.

The weirdest thing I play is the singing saw. It’s a beautiful sound, in small amounts…it can definitely be overused. I can get tired of hearing it sometimes. We try to use it very sparingly, whenever we do use it. I don’t release a lot of raging singing saw solos in our folk songs. For Page, her current favorite weird thing is probably an Echoplex tape machine. We don’t tour with it and rarely use it.

I love the line “Mr. Bloom / I’ve made some room / in my mind / for thoughts of you.” Do you want to discuss the meaning and evolution of the song “Daniel Bloom”?

It’s kind of a long story. Daniel Bloom is a really good friend of mine who lives in Athens. When I first moved to Athens in ‘98, he was the first or second person I met. I was studying religion and he was studying philosophy so we had a lot to talk about. We had been talking about bugs…I said you can eat cockroaches – they would be protein & safe to eat, but it turns out after research that you can’t eat them because they carry terrible diseases. We made a bet that whoever was wrong had to write a song about the other person & perform it in public. The song slowly evolved to involve what I had written about him for that bet, but also parts of a love letter from someone else.

Hopefully that song will have a music video to go along with it – our plan is to do a motorcycling music video where I drive and Page stands on the foot peg mouthing the words to the song. We’d then have different members of a motorcycle gang chase us…we’ll see what happens.

What aspects of the business of music do you like and not like?

I don’t like hardly any aspects of it. I’ve been in it for so long that I’ve gotten really weary of it. I don’t really like booking shows anymore, and I don’t really like publicizing my shows. We hired a publicist for this album and tour, but I honestly feel like we could have probably pulled most of it off ourselves & gotten the same results, for the most part.

I got sort of disenchanted with the whole rat race and competition, and my ideas and priorities changed as far as how much time I wanted to devote to music & how much time I wanted to devote to all the other things in my life. At this point, I try to keep my nose out of the business of music as much as possible, and it’s probably to the detriment of our band.

Page is a graphic designer now & I’m a doula – we have other passions that have come to the surface. They haven’t overtaken music at all but are definitely of equal importance as music.

You’ve said that music isn’t how you make money; it’s how you spend money. That’s such a powerful, succinct statement about the current state of music and the struggle of the majority of bands.

Yes. For most people it’s an expensive hobby…I hate to say the word hobby, but is money the determining factor? Probably not. Our band breaks even, although we have massive amounts of credit card debt after the last tour. Except if you started actually figuring in the man and woman hours, we definitely would be in the red. None of us are pulling remotely a fair wage from being in this band, but we love it & we do get fulfillment from the other ways we make a living, so I think that’s okay.

I am happy where we are, for sure, right now. I’m not unsatisfied & I don’t look back at decisions we’ve made & have massive amounts of regret. I feel like we are successful whether or not we earn our living from music. I waver back and forth – on the business of music. I know it’s frustrating for everybody. This town [Athens] is great for being a musician because people are used to hiring people who go on tour, but most people here are not making a living wage.

You do great covers like “Time After Time” and even an Aaliyah song. Are there any covers people can expect on your upcoming tour?

Well actually I was just thinking of pitching some Elvis songs to Page. We do a lot of old R&B from Georgia like James Brown and Little Richard, but I was thinking like an Elvis song maybe…and Chuck Berry. Then there’s this really weird song about “why would you wanna break up.” Do you know that song?

No…

It has really strange timing – the rhythm is weird and the chorus is amazing – sorry I don’t know who it’s by. Patterson’s band is going to be our backup band so we’re trying to keep things simple, and we’ll probably be playing the exact same set every night because we’ll have to teach people our songs. I have pieces of songs but nothing new. We might do a new song of Page’s. But Page is insanely prolific, which is good when I have writer’s block.

*Thank you Hope For Agoldensummer — catch the band on tour — list of shows here

Interview with Farmer Dave

August 22, 2012 / aftertheshow

I caught up with musician Dave Scher, better known by his nickname Farmer Dave.

Farmer Dave has done studio and production work, been a touring musician with Jenny Lewis, Interpol, Elvis Costello, Johnathan Rice and Vetiver, and Jenny & Johnny even refer to him in their song “New Yorker Cartoon” as “my best friend Farmer Dave.”

After The Show: What’s one of your favorite lyrics that you’ve ever written?

Farmer Dave: “And you came on from so far away
Miss Carolina 3AM
I send a bottle with your name
Floating down along the Seine
You burn in me while I’m gone
But the day’s gonna come
I’m gonna be by your side
From the daylight till the dawn
And we could go on”

How do you stay connected to the musicians you’re playing with onstage and not feel isolated when you’re sitting down stationary and everyone else (except the drummer) is standing up and moving around?

I stand up more these days
But sitting doesn’t make a difference
The connection is still there

Do you prefer playing guitar on faster or slower songs? Does tempo deeply influence the way you feel as you play a song?

a variety of tempos is the ideal
I want to experience
All the colors of the tempo rainbow

Your bands Beachwood Sparks and All Night Radio were on Sub Pop. What do you see as the future role of record labels in an age where albums are rarely purchased anymore?

I would like the labels to have more interest in artistic development
Like Motown, Old Hollywood,
or David Geffen’s Asylum label

Nature and California/the ocean seem to be big themes in your music. How do nature and music connect for you?

They are one and the same
I hear the best things in nature and out in the world
For me the human recordings, performances, and compositions we all listen to will always play second fiddle

You played lap steel on one of my favorite albums – Are You Thinking What I’m Thinking by The Like. How did that come about?

My girlfriend at the time managed The Like…I really loved them like family, and am happy to’ve known them and spent time with them…We had the best adventure, me driving them in a van across the country opening for Kings of Leon … it was rad.

Whose idea was it to do the “Ask Farmer Dave” advice column on Jenny Lewis’ website?

Probably J Lew.

Your song “By Your Side” was in the movie Scott Pilgrim Vs. The World nine years after the song was released, and you did the music for a Tokyo Cyder commercial. What’s your view on music licensing?

Licensing I don’t have much philosophy on.
I love music in movies and have always loved commercial compositions as music just like other kinds.
We have some real classic jingles growing up in the Southland.

I saw you playing a few July 4th’s back at Battery Park. What did you do for July 4th in 2012?

I went up to Pt Dume in Malibu and had a fire with friends. You could see the fireworks for each city all the way along the bay to Palos Verdes.

Thanks, Farmer Dave

Interview with Elliot Jacobson

May 11, 2012 / aftertheshow

Elliot Jacobson is the drummer for Ingrid Michaelson and Jenny Owen Youngs. He was voted the #1 Up and Coming Drummer in Modern Drummer Magazine in 2010.

Elliot has drummed on The Tonight Show with Jay Leno, Late Night with Conan O’Brien, Good Morning America, Late Night with Jimmy Fallon, and Live with Regis and Kelly amongst others.

After The Show: You’re currently on a US tour with Ingrid Michaelson. Any memorable shows or experiences on this run?

Elliot Jacobson: I think we all agree that Austin was hands down the best show so far. The audience was huge, loud and fun, but also respectful. It’s rare to have that balance. We played really well and connected with the audience in a very special way.

You’ve talked about Evans drumheads. How does your drum set-up differ for live shows versus recording in a studio? Do you alter your set at all when you tour with different musicians who play different styles of music?

You’re referring to a testimonial video I did for Evans about the heads that I use. My set up changes from tour to tour, artist to artist, session to session. I bring what’s necessary for the music. I’m using the biggest set up I’ve ever used on the current tour. I’m also running tracks with my laptop and Abelton Live for any parts on the new record that the six of us can’t cover.

I think on the surface, a basic drum beat is really simple, but there are so many styles and complex techniques too – there’s always more to learn. What do you do to keep your playing fresh and continue to grow and challenge yourself as a drummer?

There are endless ways to play a single beat, you’re exactly right. To do my job, I have to always play the right feel for the song, even if the beat itself is the same. I am always working on expanding my knowledge of the shuffle or swing that happens between hits. I also make sure I’m bringing the right touch to the drums for the song, artist and musical environment. My session work has made me very detail oriented. But I am always trying to play faster, like any drummer out there!

What inspired you to start your blog, The Healthy Musician? Is there a city or state that you’ve found the most challenging to stay healthy while traveling through?

I started the blog because I wish I had something like that to help me. I was on tour at the time, and had lost a bunch of weight prior to the tour. It’s a struggle to maintain any sort of balance on the road, let alone maintaining a healthy diet and workout routine. So I started posting information based on my own experiences. The smaller towns are always the most difficult because there are not as many options for gyms and food. But even in the bigger cities, the abundance of food makes it difficult to resist temptation.

When and how did you know that you wanted to make a career out of playing drums?

I had been drumming on the side for a long time before I made the leap and chose to make a career out of it. I was more of a music business guy, interning at labels, working at a music publishing company straight out of college. But when we started playing sold out shows with Ingrid, I saw an opportunity in performing for a living, and I made the leap. It was around the time “Breakable” was placed in an episode of Grey’s Anatomy. I wanted to take the risk and leave the full time job rather than pass up what would prove to be an opportunity of a lifetime. Not an easy decision at the time, but I’m happy with my choice.

Why do you think the number of female drummers is so small compared to the number of male drummers?

I think there are two reasons. Firstly, it’s because girls don’t have a lot of iconic female drummers to look up to in the way that men do. Sure, they’re out there. I could name about 30 right now without looking up any names. But to the common music lover, they know Travis Barker, Tommy Lee, Carter Beauford, and see a bunch of sweaty dudes in the background making ugly faces and beating the crap out of drums. Not very appealing to the majority of young aspiring female musicians when they see beautiful, powerful women commanding the stage. The other reason is that there is sexism in the drumming world. It’s generally a surprise to other drummers and musicians (male and female) when a female drummer can play well. And that’s a huge problem. I always encourage the female artists I work with to expand their knowledge of drums and to play them as well. I have taught a number of young females to play. Why can’t a female singer songwriter play guitar, sing and play drums very well too? I know a lot of guys who do it. We need more role models and more ladies seeking out those role models to move away from this stereotype.

The majority of touring musicians aren’t blogging about their travels, active on Twitter, posting behind the scenes videos on YouTube, and sharing their perspective and experiences being a musician. Where does your ambition/drive come from?

I just love what I do, I’m very busy and I love connecting with other musicians and fans by sharing my work and experiences. I find the social networking experience very rewarding.

Do you write your own music? What are your professional goals for the next several years?

I don’t write, but I’m starting to get back into producing again. I want to begin doing remixes this year and continue making good music with good people.

Check out Elliot’s site for his latest news, photos, and videos.

Interview: Nasser AlQatami of Loft 965

April 16, 2012 / aftertheshow

Headquartered in Kuwait, Loft 965 is the #1 music blog in the Middle East.

I asked Nasser AlQatami, the founder of the site, about blogging, the relationship between music and fashion, and the perception of pop music in the Arab world.

After The Show: Loft 965 covers a wide range of artists, from Madonna to Vanessa Carlton to Karin Park. How do you choose which artists and songs to feature, given that there’s so much music out there?

Nasser AlQatami/Loft 965: I basically started the blog partially because I was frustrated with the state of pop music – a genre often unappreciated but it is somewhat the glue of our global commonplace. There are many artists that never chart but produce some great pop tunes and then there are the known artists who keep on doing what they are great at through the ups and downs of their careers, both of which need support. I had always loved music in many forms and thought it would be a fun idea to put all this research time I spend online on music to good use. The blog is the result and it took off quite nicely.

Congratulations on being chosen as a Middle East ambassador for Puma. How did that come about? What do you think about the intersection between fashion and music [I like that you’re not afraid to comment on fashion, like Madonna’s “ugly gloves”]?

Isn’t it great? My best friend recommended my blogs, PUMA’s representatives looked at it and they liked what they saw. They wanted people in the region who were doing something different. I guess I fit that category. I try to drop a snide comment here and there about artists who have let fame get to them. Sometimes I rile up the fan base of a certain artist to see the kind of reaction I get. Madonna’s fans are up there with the rest of them, but not as bad as Britney Spears’ and Beyonce’s. I love all the artists but I will be the first to say if something I think falls in the “not ok” category.

Yes, of course fashion and music are inseparable. Although I predominantly cover music on the blog and my interest in the fashion world has waned as of late, the visual is a very important aspect when it comes to pop music, in fact it’s only second to the music, just ask the Gaga.

How did you decide to start the website in 2008? What does the name mean, and what factors have made it so successful and widely-read?

I have always used the world wide web as a portal and before this one I did use sites like LiveJournal and others when blogging was in its infancy (it was called a weblog). When I did my Master’s I didn’t have time, but I promised myself that when the time comes I would launch a blog for public consumption. The thought kept rummaging through my head and then when I had to do it, I basically knew exactly what I wanted.

There are many factors that made it visited by the thousands on a daily basis. First, you have to like what you do. Having passion about the subject is what draws people in, if you feel an obligation to post about something then it is probably not the thing for you. You have to keep it short, visually succinct and updated. The rule of thumb when it comes to writing is to address the blog reader as if you are having a chat with them when a certain song comes up. Nobody wants to spend their night reading an essay. They want the punchline with a pretty picture.

Other factors include the fact that I have artist loyalty. I don’t stop posting on an artist should they falter or take a turn in their career (unless they show a bigoted side to themselves). Also, its important to attach a face to the blog. It’s not a text book and people want to know who does it, more about their lives and why they do it. I think I have captured those dynamics on the blog.

The name is simple. I came up with the idea of a place, like a hangout, and I usually hangout at a loft during the weekends. I didn’t want to overburden the reader with music keywords. Also, my other passion is travel (which is why my other blog is titled Flight965.com). So, I decided to take my country’s telephone code and attach it to Loft. It gives it a regional feel with no pretense.

Have you faced any criticism for posting your content given that you’re based in Kuwait? Is there a backlash against American dance-pop or is there a desire to access that material, especially among young readers of Loft 965?

To tell you the truth, I have faced many forms of criticism. The whole array of possible criticisms have come my way throughout the 3 and half years of operation. It’s important to say that the backlash is from all over the world. But, because I have a journalism background, both in academia and previous professions, I know that feedback means that people are reading. I get a good balance of good and bad. Many accusations come my way but you have to learn to ignore them. Oh, and the IP Address registration is coming in handy.

What do you envision for the future of Loft 965? What about the role of music blogs in general?

It’s going places, but I always hope for more. I see its potential and I keep working on the material and the site. Many people think blogging is easy, but it definitely is not. In fact maintaining a blog is a full time job. So, imagine working full-time and then running two blogs. If the right circumstances should arise and I have time, I would like to take it to another level. You’ll have to keep clicking to see what that is.

When it comes to blogs in general, I think they are the future of journalism. Much to many people’s dismay, print journalism will most probably disappear into electronic form. People will start reading and trusting the opinions of bloggers and online journalists who have a history of credibility in their work. A degree won’t matter anymore, what matters is what you have to say, how many people enjoy it and what they do with it.