Maggie Rogers
speaker
41 appearances
1 recordings
1 series
first heard Dec 2024
last heard Dec 2024
Maggie Rogers’s voice in public audio — every appearance, attributed to the second.
Trend
recordings per month · last 12 monthsNo recordings in the last 12 months.Older appearances are listed below; set an alert to hear about the next one.
Appearances
And how do I use the work that I love to do the most amount of good in the world?
I mean, it was really, really scary when it happened. I was incredibly overwhelmed. But it was also, it was complicated because I got the job that I had trained for and that I'd always wanted.
Exactly in the moment when I needed a job. And yet it was so deeply and wildly out of my control. Like it felt like something that was happening to me. Even though it was something I had prepared for for like a decade at that point.
Yeah, exactly. And then there was this moment where the door just opened. Part of me wishes that I got to upload that song and present my artistic statement. But also what's beautiful about the video is how unguarded it is. So if it happened any other way, it wouldn't be what it is. And I feel actually really lucky that the version of me that got introduced to the world...
Is and was the most authentic version of myself because that's the kind of art that I love and I've always been drawn towards making. And so, like, do I wish that I, like, brushed my hair and, like, put on a real outfit?
Elk vertebrae.
I mean, I think that that's the thing that's sort of wild and funny about it is like when I suddenly overnight became a pop star, like I needed a lot of clothes and all of the clothes I had were for like, I lived in the studio. Like I was a studio rat and suddenly I needed like colorful glittery outfits. And I was like, what do you mean? I can't wear like my jeans and boots.
was walking through icy streams that took my breath away moving slowly through westward water over glacial plains and i walked off you Oh my, I thought it was a dream. So it seemed.
And now breathe deep, I'm inhaling. You and others stare in between. Leave me be.
Yeah, I mean, well, I think that the coldness that you're talking about in that song comes from the synthesizers and how smooth they are.
Exactly. There is space to it. But even in those background vocals that sort of come to help transition from the pre-chorus to the chorus... There is a sort of, it's a plate reverb. You know, there's a lot of different kinds of reverb, but a plate reverb is quite metallic in the way that it's designed.
And I think that some of that smoothness of the synth and the way that the sonic palette of that song is designed does sort of represent the landscape I was talking about. And that to me is like... It's something I'm always trying to do, you know, make the music try and echo or tell the story of the emotion that it's soundtracking.
And that comes from, you know, I grew up really loving classical music and playing the harp in orchestras. And I remember my mom... really early telling me to listen to orchestral music because they were telling a story without words. And I was just so, so taken with that idea. As far as these color mood boards go, I think it goes back to how fast everything was because...
I've always had a very strong connection to color and sound. But also as I got sort of like thrown into the like big dogs of the music industry and was suddenly working with all of these different collaborators after really just working alone for a really long time.
Putting down my thoughts and feelings of the sonic palette or texture that I was trying to create into a couple different one sheets were really helpful to walk into different people's studios with. Because I could show them in a couple different terms, whether it was just blocks of color on a page or images I had pulled off of the internet about how I wanted the record to feel.
It was something that helped me communicate my artistic vision, but also keep things really coherent, even as I was sort of navigating all of these wonderful new people that were coming into my life because of all of this new attention.
I mean, I think I was lucky to work with a lot of really wonderful people who were true artists and really— And listened to you. Well, and the work of a co-producer is to serve the artist or to serve the art. I think that's also part of the reason that I was drawn to music production or to education in the first place. Because in so many ways, knowledge is power.
And I got into music production because I was writing songs in high school and I couldn't get the guys to play my arrangements. So I learned how to program. I learned how to play the songs by myself and create the arrangements for drums and bass and synth and all these things on the computer because it was like a gender problem.
And when I got to school and I could learn about engineering and software and production and microphones and drum technique, it became something that allowed me to protect my vision. They were just tools that allowed me to get the thing that I heard in my head down onto paper.
This has been such a dream. I have to just tell you, I'm a big, big Fresh Air NPR girl, and this has been really special. Thank you so much for having me.
Showing 21–40 of 41 · page 2 of 3
← Previous
Next →