Maggie Rogers

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.

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.

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.

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.

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.

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.

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.

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 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 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.

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.

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.

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.

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.