Contando Historias Max Martin

6/24/2017 DiStorytellingMaxMartinworldexclusiveinterviewDiStorytelling
WORLDEXCLUSIVE
MAXMARTIN
World exclusive: Max Martin, #1
hitmaker
http://storytelling.di.se/maxmartinenglish/ 1/33
FEBRUARY11,2016
00:00
LosAngeles.Someofthemostbelovedhitsongstheworldhaslistenedtofrthepast20years
werewrittenbyaswedeMartinSandberg.HeisbetterknownasMaxMartin,butfewoutofthe
musicbusinessknowswhoheis.Untilnow.ForthefirsttimeMaxMartintellshisstoryinaworld
exclusiveinterview.
Author:JanGradvall
Photo:Axelberg
E
acheracanbedefinedbyitssongs.Thegreatesthitscreatecollectivememories.Melodies
encapsulatetime,andhavedonesoforathousandyears,fromariastopopsongs.
Ifyoudliketoexperiencehowitfelttolivein,say,1972or1983,youddowelltolistento
themosttypicaltunesfromthatoneyear.Thisbecomesstrikinglyclearwhenyouput
togethersoundtracksforfilmandTVseries.Songscantellalotmorethanpictures.
Forthepast20years,themostwidelyspreadandhummedtunesintheworldhavebeenwrittenbya
Swede,MaxMartin,therecipientofthe2016PolarMusicPrize.Itshismelodiesthatbottleupourtimes
andpreserveitforthefuture.
AbusyrestaurantinWestHollywood.ItsSaturday,aroundlunchtime.Thenoiseisbuildingup,asittends
todoincrowdedrestaurantswhenmanyoftheguestshavedecidedtotreatthemselvestoaglassofwine.
AssooftenhappensinLosAngeles,themajorityofthepeopleintheroom,frompatronstowaiters,look
liketheyresomehowinvolvedintheentertainmentindustry.J.Alexander,oneofthejudgesfrom
AmericasNextTopModel,drawsstaresashesitsdown.
Wewaitbythebar.Whenwerefinallyusheredtoourtable,MaxMartinishungryandbeginsstudying
themenu.Afterjustaminute,awaitressappearsandpointsoutabettertablethatssuddenlybecome
available.Wouldweliketoswitch?Immediately,thespeculationsbegin.Whywouldsheofferusanew
table?IsitbecausesomeonehasrecognizedMartin?
MaxMartin,whohasntsofarparticipatedintheconversation,looksupfromhismenuandsays:I
surehopenot.
Itturnsouttobeafalsealarm.MaxMartincanrelax.Nobodyrecognizeshimthisluncheither.
00:00
CHAPTER1
Revealing the secret behind the hits
A
fterlunch,MaxMartindrivesmearoundinthestreetsclosetoSunsetBoulevard.Waitingby
aredlight,wecancatchthesoundsofTop40hitsplayinginnearbycars.Handstomyself
LYSSNA withSelenaGomez,asongheardeverywherethisweek.WildestDreamswith
TaylorSwift.InTheNight LYSSNA withTheWeeknd.

ThreeexamplesofcurrentTop40tracksallthreewithMaxMartinascocomposer.Theonlydriver
whodoesntseemtobelisteningtoTop40radioisMaxMartinhimself.
No,Irarelylistentotheradio,saysMartinwhiledriving.Mostofthetime,Itendtolistentomyown
stuff,whateverIhappentobeworkingonatthemoment.Whathelistensforisdetailsthatcouldbe
improved.Isthebasstooloud?Istheintrotoolong?
Onhisphone,MartinplaysademothatworldleadingartistXjustmayrecord.Itsfollowedbyasong
thatmightberecordedbyworldleadingartistY.WhenMartinasksmewhatIthink,itseemslikehes
moreinterestedinwhatmybodylanguageistellinghimthaninwhatIactuallysay.Lateron,Illfindout
why.
AsMaxMartindropsmeoffatmyhotelinWestHollywood,agroup
ofteenagegirlsaresittingonawallrightacrossfromus,waiting. FACTS
Theyvebeensittingtheresinceyesterday.Theyrehopingtocatcha MAXMARTIN
glimpseofateenagepopstarapparentlystayingatthehotel. Realname:MartinSandberg.
TheydontseemtohaveacluethatthelonghairedSwede,whos Age:44.Turns45intheendof
February.
rightnowsteppingoutofhiscar,probablyknowstheiridolandhave, Family:Wifeochdaughter.
perhaps,writtentheverysongstheyallknowbyheart. Background:BorninStenhamrain
Uppland,Sweden.Hisfatherwas
MostmusiclistenerslikelyhavethesameperceptionofMax apoliceofficer,hismothera
MartinasAdeleusedtohave. schoolteacher.
Occupation:Songwriteroch
Occupation:Songwriteroch
Asshewashavinglunchacoupleofyearsback,Adeleheard producer.
TaylorSwiftsIKnewYouWereTrouble,asongfrom2012,and Lives:LosAngelesand
00:00 Stockholm.
stoppedinhertracks.ShecouldtellthatitwasTaylorSwiftsvoice,
butthistuneshowedacompletelydifferentsideoftheartist.Whohad
TaylorSwiftbeenworkingwith?
InaninterviewwiththeAmericanradiochannelNPRinNovember,
AdelesaidthatasshewastoldwhoTaylorscollaboratorwas,shehad
tolookhimup:IwasunawarethatIknewwhoMaxMartinwas.I
Googledhim,andIwaslike,Hesliterallywritteneverymassive
soundtrackofmylife.
AdelesetupameetingwithMaxMartinandJohanShellback
SchusteriLondon.Together,theywroteSendMyLove(ToYour
GREETINGSFROMADELE NewLover),thesecondtrackonAdelesnewalbum,analbumthats
AdelessingleHelloofherthirdalbum brokeneveryconceivablerecordandrockedtheentiremusicindustry.
explodedlikeabombinNovemberlast
year.
Untilnow,MaxMartinhasrefusedeveryextensivemagazineinterviewproposal.Hedidagreetodoan
interviewforTimeMagazinebackin2001.Sincethen:Nothanks.Everynewspaper,magazineandTV
channelintheworldhasaskedhimoverandoveragain:Nothanks.
Ontheweb,aninterviewfrom2009forthesitePopjusticekeepspoppingup.Itsfromthispiecethat
PeopleMagazinerecentlyliftedquotesforanarticlewiththeangleThemanbehindallthehits.
ButtheinterviewinPopjusticeisjustatranscribedphoneconversationthattookplacewhenMartin
agreedtotalkalittleaboutCarolinaLiar,aSwedishAmericanrockbandthathewasworkingwithatthe
time.
TheonlyrecentexampleofMaxMartinagreeingtoaninterviewwaswhenSwedishpublicradiohost
FredrikEliassonmadetwodocumentaryseriesontheCheironstudio.
Lastfall,TheNewYorkerjournalistJohnSeabrookreleasedhisbookTheSongMachine,thebest
chronicletodateontheevolutionofpopmusicoverthepast20years.Inthisbook,MaxMartinisthe
maincharacter,butJohnSeabrookdidntgetanintervieweither.
Because my life is so much easier without the attention. Im not on social media
either. I dont do anything like that. I want to keep it simple.
TheclosestSeabrookevergottoMaxMartinwasgreetinghimatanawardsgala.Inthebook,allthe
informationaboutMaxMartincomesfrompeoplewhohaveworkedwithhim.Andforemost,from
FredrikEliassonsradiodocs,whichTheNewYorkerlettranscribeandtranslate.
Whydoyounevergiveinterviews?
Becausemylifeissomucheasierwithouttheattention.Imnotonsocialmediaeither.Idontdo
anythinglikethat.Imeetpeoplewhohavesomanyproblemsrelatedtothatkindofstuff.Peoplethink
thisorthataboutme.Butthosepeoplewouldnthavethoseproblemsifthey,likeme,hadntreadit.I
thisorthataboutme.Butthosepeoplewouldnthavethoseproblemsifthey,likeme,hadntreadit.I
wanttokeepitsimple.
00:00
CHAPTER2
Life in Los Angeles
M
axMartinhasforseveralyearsworkedinLosAngelesandStockholm,alternately.Thetwo
citiesthat,thankstohim,areconsideredthecurrentcapitalsofinternationalpopmusic.
NewYorkandLondonarestillNewYorkandLondonbuttheyrenolongertheplaces
wherethegreatesthitsarebeingwritten.
Formanyyears,MaxMartinwouldrentstudiospacewheneverheworkedinLosAngeles,primarily
ConwayStudios,astudiowithaneverybodysworkedthereCV.Backthen,hewouldstayformonthsin
hotels.Ifyoudliketofindoutwhichofthecityshotelshavethebestroomservice,youddowelltoconsult
MaxMartin.
Afewyearsago,thefamilydecidedtosettleinLosAngelesonamorepermanentbasis.
Itwasjusttoomuch,withallthetravellingbackandforth.
Now,theirdaughtergoestoschoolinLosAngeles.Butoverhersummerbreaks,thefamilymovesbackto
Stockholm.
TheyveboughttwohousesinLosAngeles,oneofwhichhasbeenremodeledintoastudio.Orrather,six
smallstudiosinonelargehouse.
Ontheexterior,itsjustanotherresidentialbuildingonaquietstreet.Thelistofpreviousowners
includesFrankSinatra.Franksspiritisstillpresentintheshapeofaframedpictureonashelf.Theback
portionofthehousewasonceaseparateapartmentwhereMarilynMonroelivedfromtimetotime.
Martinandhiswifeboughtthehousefromthechildrenofawomanwhousedtobemarriedtoa
differentHollywoodactorwhosenameMartincantimmediatelyrecall.Laterintheday,hehandsoverhis
phonewherehesGoogledthename:
phonewherehesGoogledthename:
Itsthisguy.
00:00
JamesCoburn,hardboiledHollywoodactor,knownfrommovieslikeThemagnificentseven.
SetandcostumedesignerTonyDuquette,whoforhalfacenturyworkedonbigHollywoodmovies,
hasalsolivedinthehouse.DuquettehadawayofdecoratingthatMartinandotherownershavechosen
torespectandpreserve.
Artists sometimes feel uncomfortable in studios where every hour feels like it
costs money.
Walkingaroundinthehouse,thefeelingisstillthatofvisitingsomeoneshome.Andthatsthewholeidea.
Idontwantittoofancy,Iwanteveryonetojustrelax,saysMartin.
Artistssometimesfeeluncomfortableinstudioswhereeveryhourfeelslikeitcostsmoney.Thatgoesfor
someoftheyoungproducerstoo(whoonlyworkontheircomputers),someofthemhaveneverbeenina
realrecordingstudio.
Thebuildingalsohousesasmallgarden,outdoorspacesandaroofterrace.Alargeopenroomwitha
hugediningtableisthenaturalgatheringpointofthehouse.Peoplesitdownforlunchhere,getasnack
oracoffeeinthekitchenandstandaroundtalkingbeforedisappearingintooneofthesixdifferent
recordingstudiosscatteredaroundthehouse.
Itslikearegularbutunusuallyhomeyoffice.Onlydifferenceisthatthepeoplehangingoutinthe
kitchenareoftentheworldsmostcelebratedartists.
Allthepeoplewhohangoutandworkinthehousehaveonethingincommon:theirloveofmusic.
AdamLevineofMaroon5:
TheresnothingbutmusicintheroomwhenyouworkwithMax.Nopolitics,nomoney,Maxjust
lovesmakingmusic.
Aresidentialbuildingwithsixdifferentstudiosisalsoagreatfitforthewaytodayspopmusicisbeing
made.Today,almosteverygreathitsongistheresultofacollaborativeeffort.
Backintheday,popsongsweretypicallycraftedbytwopeopleonepersonwritingthemusicand
anotherpenningthelyrics.Today,focushasshiftedfrommelody&lyricstotracks&hooks.Thesound
itself,theproduction,isofsuchgreatimportancethatithasbecomeanintegratedpartofthecomposition.
Contemporarypopsongsareoftencreatedbyfourtofivecocomposers.
Theartistsoftenparticipateinsongwritingandbringinsongstheyvestartedworkingon.
KatyPerry:
Maxalwayslistenstowhattheartistwantstodo.Furthermore,hesgotanincredibleteamaround
him,ateamhescurated,ateamofpeoplewhoknowshimreallywell.Theyreallyoung,andtheyall
havegreatears.
InordertounderstandthescopeofMaxMartinsaccomplishments,itsimportanttokeepafewthingsin
mind.
mind.
AssoonasabrandnewMaxMartintunebeginsclimbingthecharts,10000songwritersalloverthe
00:00
worldimmediatelytrytocopyit.Theresnopopmusicpatent.Asuccessfulformulamightworkforafew
months,perhapsayear,butafterthat,itsspentandcantbeusedanylonger.
Inordertostayatthetopofthegame,youneedtocontinuallyevolveandreinventyourself.Oldmerits
countfornothing.
Asarule,nosongwriterorproducerintheworldhasmanagedtostayintheverytopformorethansix
orsevenyears.
MaxMartinhasfirmlyheldhisspotattheverytopfor20years.
TheonlyotherpersonwhohassucceededinasimilarfeatisPaulMcCartney,alsoarecipientofthe
PolarMusicPrize.PaulMcCartneyhadhisfirstnumberonehitonBillboardin1963withTheBeatlesI
WantToHoldYourHandandhismostrecentin1983withtheMichaelJacksonduetSaySaySay.
Thatsaspanof20years.Thatitsbeen33yearssincePaulMcCartneylasthadanumberoneonBillboard
givesanindicationofhowdifficultitis.
ItsalsohardertoreachthetopspotonBillboardtodaythanwhenABBA(oneBillboard#1)was
activeinthe1970sandRoxette(four#1Billboardhits)inthe1980s.Today,thenumberonestendtostay
inthetopspotforweeksonaverage.Asaconsequence,therearefewernumberonehitsperyear.
MaxMartinhasseen58ofhissongsplaceamongBillboardsTop10.
21ofthemhavemadeittothe#1spot.OnlyPaulMcCartneyand
JohnLennonhavehadmore.Asaproducer,MaxMartinhashad19
numberoneBillboardhits.OnlySirGeorgeMartincanboastofmore.
Despiteallthis,ittookalongtimebeforeMaxMartinreceivedany
kindofrecognitioninSweden.ManyparallelscanbemadetoABBA.
SONGWRITER&PRODUCER Duringthebandsactiveyears,ABBAwasdismissedforsimply
MaxMartinwasawardedProducerofthe fabricatingpopmusichits.Mediafocusedonhowmuchmoneythey
yearattheamericanGrammyawardsin
weremaking,insteadofonthemusicandthemeticulousworkbehind
February2015.
it.
ThesamegoesforMaxMartin,anditssomethingthathasnt
increasedhisdesiretogiveinterviews.
FRONTFIGURE.DennizPopfoundedCheiron
togetherwithTomTalomaa.
00:00
Wevemetbefore.ThefirsttimeItalkedtoMaxMartinmusthavebeen17or18yearsago.Hecalledme
upafterIdwrittenanarticleaboutCheironandthelegacyleftbyDennizPop.Martinemphasizedthat
hedidntwanttobequotedbutthathesimplywantedtothankmeforaseriousmusicarticleandforthe
wayIdwrittenaboutDennizPopwhohadthenjustpassedaway.
Anothertime,wewerehavingcoffeeonesummerdayinStockholm.Foranhourandahalf,Martin
happilyexplainedwhyhedidntwanttobeinterviewed.Then,hecheckedhiswatchandsaid:Oops,
sorry,gottago,Katysontheway.
TheclosestIveevergottentointerviewhimwaswhenIwaswritingaboutSwedishsoccersuperstar
ZlatanIbrahimovi.Againstallodds,MaxMartinagreedtotalkabouthisfriend.Icantsaynoto
Zlatan.
OK, lets go, now that Ive nally agreed to do this, lets do it properly.
ThatMartinfinallyagreestodoaninterviewnowaftermehavingaskinghimfor20yearsisbecause
ofthePolarMusicPrize.Itisclearthatheisveryproudandmovedbyreceivingtheaward.
WesitdowninFrankSinatrasoldhouse,intheroomthatsstillcalledthelibrary.
OK,letsgo,nowthatIvefinallyagreedtodothis,letsdoitproperly,saysMartin.
HowdoesitfeeltoreceiveanawardthathaspreviouslybeenpresentedtomusicianslikeQuincy
JonesandJoniMitchell?
Theresomethingveryunrealaboutit.Iveneverimaginedmyselfinthiskindofcontextbefore.
00:00
CHAPTER3
The Cheiron legacy
I
nhighschool,MartinmajoredinmusicattheSdraLatinSchoolinStockholm,butdroppedoutto
pursueacareerasasingerinthemetalbandItsAlive.ThebandcompetedintheSwedishtalent
showRockSM,andwentontourinSwitzerlandandGermany.
In1993,DennizPopsignedItsAlivetoshortlivedCheironRecordsandproducedthebands
albumEarthquakevisions.ThealbumnevertoppedthechartsbutDennizPoprecognizedMartin
SandbergspotentialasasongwriterandkepthimattheCheironstudioassomekindofintern.
MaxMartin:
Ispenttwoyears,dayandnight,simplyhangingoutinthestudio,tryingtolearnwhatwasreally
goingoninthere.Ididntevenknowwhataproducerdid.
MaxandDennizeachhadmusicalabilitiesthatcomplementedeachother.Martincouldreadmusic
andwritescore.Furthermore,Martinstalentsasasingerturnedouttobeessentialtotheevolutionofthe
Cheironsound.WhenDennizpassedawayfromcancerin1998,Martincarriedon,onhisown.
Maxbroughtinyoungertalentsandgavethemthechancetomakeit,justlikeDennizhaddonebefore
him.RamiYacoubandMaxMartinbeganproducingtogether.TheirfirstjointsongwasBritneySpears
BabyOneMoreTime LYSSNA .RamiandMartinwentonworkingtogetherforclosetotenyears.
00:00
SHELLBACK.JohanShellbackSchusterhas
createdseveralhitsunderthewingsofMaxMartin.
HeparticipatedonPinksRaiseYourGlass(together
withMaxMartin)andMaroon5:sPayphone,thefifth
mostsellingsingleworldwide2012.
MaxMartinthenbroughtinJohanShellbackSchusterasanapprenticeintohisstudioinStockholm.
ShellbackcamefromthehardcoreanddeathmetalsceneinKarlshamn.Afterstartingout,asShellback
himselfputsit,spendingayearmakingcoffeeinthestudio,hehasmovedontococomposenine#1
Billboardhits.
Inturn,ShellbackandMaxMartinbroughttheWolfCousinsintotheircollaborations.Thename
WolfCousinsisatranslationofVargkusinerna,charactersmadefamousinBamse,aSwedishcomicmag
forlittlekids.ThenameShellbackisatranslationoftheturtleSkalman,anothericonicBamsefigure.The
traditionofpickinginterestingnamesstaysintact.
TheWolfCousinscanbestbedescribedasafarmteamfeaturingnineyoungSwedishsongwritersand
producers,amongthemToveLo.Today,allnineofthemareinternationallyknown.
WOLFCOUSINS.AliPayami,AlexanderKronlund
andToveLo.
TheWolfCousinsflybackandforthbetweenthestudioonRoslagsgataninStockholmandMartinsstudio
inLosAngeles.Twoofthewolves,AliPayamifromMalmoeandIlyaSalmanzadehfromStockholm,both
withIranianroots,workintheLosAngelesstudiomoreorlesspermanently.Rightnow,theyrehanging
outinthekitchen,enjoyingacoffeebreak.
AlihadhisfirstBillboardnumberonethispastfallwithTheWeekndsIcantfeelmyface LYSSNA ,
IlyawasclosewithArianaGrandesProblem LYSSNA ,whichmadeittosecondplace.Bothsongshad
MaxMartinascocomposer.
PeterSvenssonfromTheCardigansandAlexanderKronlundalsobelongtothegroupofsongwriters
workingclosetoMartin.Likewise,LalehhasrecentlyjoinedtheSwedishsongwritingcrew.
To suddenly enter a world where the studio and the songs were at the heart of
To suddenly enter a world where the studio and the songs were at the heart of
the matter, it was dizzying and completely amazing.

00:00
YoustartedoutasaninternatCheiron.Canyoutellalittleaboutthattime?
Backthen,Iwasthesingerinarockband.Thatwasabigpartofmyidentity.SinceIwasvery,very
young,thatswhatIhadsetouttobecome.Soformetosuddenlyenteraworldwhereinstead,thestudio
andthesongswereattheheartofthematter,itwasdizzyingandcompletelyamazing.Tojoinagroup
oflikemindedpeoplewhoworked24/7.ItwasabitlikewhenIwasacceptedintoSdraLatin,coming
fromStenhamra.JusttoseeDennizPopcomeintotheofficewashuge.Tosensethatperhapsoneday,I
toowouldbeabletodosomethingthatmightbereleasedonanalbum.
Whatdidyoulearninyourrookiedays,hangingoutwiththeCheironproducers?
Dagge(DennizPop)daredtothinkbig.HedaredtothinkbiggerthanSweden,hehadavery
unrestrictedandfreewayoflookingatthings.Ihadntencounteredthatbefore.Imighthavereadabout
suchpeople,butIhadnevermetanyonelikethatmyself.ThefirstdayIsneakedintothestudio,theywere
busymixingTheSign LYSSNA withAceofBase.Asongthatwouldlaterbecomeanumberonehitinthe
US.Theenergyaroundthat.Tobesoclosetothefire.
You no longer had to worry about the way you looked, if you were cool or not. I
got lost in the studio.
Onceyouheardhowtheywereworkingwithpopmusic,whattheylistenedforinasong,whatdid
youlearn?
Morethananything,IfeltlikeIhadcomehome.Sure,Iplayedinametalband,butIhadalways
lovedpopmusic.Thesongs.Beatles.EltonJohn.CreedenceClearwaterRevival.AllthestuffIdbeen
listeningtoinmyparentsrecordcollection.Ivemetmanypeoplewhobelongtomygeneration,whose
parentshavehadroughlythesamealbums.Perhaps25LPs,theonesallbabyboomersseemtohavehad.
ThatBeatlescollectionwhentheyrestandingonthebalcony.CaptainFantasticAndTheBrownDirt
CowboywithEltonJohn.ABestofwithCreedence.SongswereattheheartofthingsatCheiron.Youno
longerhadtoworryaboutthewayyoulooked,ifyouwerecoolornot.Igotlostinthestudio.Fiddling
withthesounds,messingaroundwithsamplers.Givemethis,letmebeapartofthis.
00:00
CHAPTER4
The perfect pop song
W
hatcharacterizesagreatpopsong?
Well,IcanonlysaywhatIthink.Ithinkthatagreatpopsongshouldbefeltwhen
youhearit.Youcanhearsongsthataretechnicallygreat,songsthattickalltheboxes.
Butforasongtobefelt,youneedsomethingelse.Itsincrediblyimportanttomethat
yourememberasongrightafterthefirstorsecondtimeyouhearit.Thatsomethingstickstoyou,
somethingthatmakesyoufeel:Ineedtohearthatsongagain.Thatsfundamental.Somethingyouwant
again.Andagain.
Yoursongsaredeceptivelysimple.Whenyouvelistenedtoasong
fourfivetimes:thereneedstobestufflefttodiscoverthatmakes
thesonglastovertime.
Exactly.Youmustbeabletohavemorethanonefavoritepartin
thesamecomposition.Firstout,youmightlikethechorus.Then,once
youvegrownalittletiredofthat,youshouldlongforthebridge
HOOKEDONAHOOK. Daggealwayssaid:Afterjustonesecond,youshouldbeableto
MaxMartinsmostfamoushooks. recognizethesong.Hebroughtthatwayofthinkingwithhimfrom
hisdaysasaDJ.Inordertokeeppeopleonthedancefloorasyou
switchsongs,youshouldneverleavepeopleguessing.Youshouldbeabletohearrightawaywhats
coming.
There shouldnt be too much information in the overall sound. I work a lot on
getting it all as clear and distinct as possible.
getting it all as clear and distinct as possible.
00:00
Andhowdoyouachievethat?Throughthesound?
Itdiffersfromcasetocase.Thereshouldntbetoomuchinformationintheoverallsound.Iworkalot
ongettingitallasclearanddistinctaspossible.Thereshouldneverbetoomanynewelementsintroduced
atthesametime.Oneatatime.Likeinamovie.Youcantintroducetencharactersinthefirstscene.You
wanttogettoknowonebeforeyourereadyforthenext.
Thismightbeareallyhardquestion,buthow,exactly,doyoubuildasong?
Allthesequestionsarereallyhard!
Doyouworkchronologicallydoyoubeginwiththeintro?
Again,itdepends.Lately,Ivewrittenalotofmusicwheretheresalreadyasetbackground.Theres
alreadyacompletedtrack.Inthosecases,itsmoreaboutworkingwiththedramaturgyofthemelody.It
shouldnevergetrepetitive.Ilikeitwhenasongislikeajourney,buildingupalongtheway.Thatthey
startoutsmallerthantheyend.Alongthetrip,youaddelementsthatmakethelistenerlesslikelytotire.
Then,attheend,euphoria.
MaxMartinthinksforabitbeforeadding:
Thatsreallytrueforallsongs.Ifyoulistentothefirst,secondandthirdchorusofasong,theydont
soundthesame.Itsthesamemelodyandallthatbutwhatreallyhappensisthattheenergychanges.Its
allaboutgettingthelistenertokeephisorherconcentration.WhenIplayasongtosomeoneandaskSo
howdoyoulikethis?,Idontcareallthatmuchaboutwhattheysay.WhatIreallypayattentiontois
howtheyact,theirbodylanguage.
Peoplewholosetheirconcentrationgivethemselvesawayveryquickly.Iftheystartfiddlingwiththeir
phonesasthesecondversekicksin,theremaybesomethingaboutthetunethatwasntgoodenough.
SomethingalsohappenswhenIlistenasifwithotherpeoplesears.Igetnervousandthinktomyself,
Shit,thispartisabittooslow.
EachandeveryartistIvetalkedtoaboutthewayyouwork,fromBritneyandBrian&AJfrom
BackstreetBoystoKatyPerrytoPink,allmentionhowintenselyyouworkontheirsinging.The
vocalelementseemstobeofincredibleimportancetoyou.
Thevocalsarealwaysmymainconcern.
Asaproducer,Imverypresentwheneverwerecordthevocaltrack.
Someproducerslettechnicianshandlethatpart,whilethey
themselveschilloutonthecouch.ButIliketobetheremyself,
handlingeverythingonthecomputermyself.Iwanttoknowexactly
whatwentonandIneedtobeabletorecallitall.Singinginvolvesa
JUSTINBIEBERINTHESTUDIO greatdealofpsychology.Iftheartistisnthavingagreatdayorfinds
MaxMartinispresentinthestudiowhen itallboring.Myrolebecomesthatofacoach.Gettingtheverybestout
theartistsarerecordingvocals.
oftheartist.Helpingthemperformattheirverybestwhenitsgame
time.Onewaytogetthemthereistobringthemoutoftheircomfort
zones.Tocoachthemalittle,getthemtotrynewstuff.
Onecanhearitinyourproductions,butIdontthinkthatmanypeoplerealizejusthowmuchhard
workactuallygoesintothevocals.
workactuallygoesintothevocals.
Iveheardthedifferencewhenothershaverecordedthevocals,thoughIwontnamenames.Itsall
00:00
abouthowtheartistsingsthesong.Thatsthemostimportantthingofall.Someartistshaveaclearvision
ofwhattheywanttodo,butmanyhavequitenervous,sensitivepersonalities.Manyhavemicrophone
phobia.Itmaysoundreallystrangetohavemicrophonephobiawhenyoureanartist,butthatshowitis.I
havetoimaginemyselfintheirsituation.Holdtheirhandsalittlewhenitstimetorecordthevocals.
From day one, the one thing that Ive had the most use of in this profession is
my background as a singer. To be able to sing and demonstrate your vision when
you record a demo has been crucial.
Isitjustyouandtheartistintheroomwhenyourecordthevocaltracks?
No,therearealwaysafewmorepeopleintheroom,handlingthetechnicalsideofthings.Itsalsoup
totheartist.Ifsomeonewants10peopleintheroom,thatsfine.Butifitsuptome,therewontbemany
peopleintheroom.AllIwanttofocusonishowthisonepersonsounds.
Whenyouwanttogettheartisttosinginacertainway,doyousingityourselfthewayyouthink
itshouldsound?
IdsaythatstheonethingIvehadmoreuseofthananythingelse.Fromdayone,theonethingthat
Ivehadthemostuseofinthisprofessionismybackgroundasasinger.IminoredinsingingatSdra
Latin,Isanginaband.Iwasprettygood,backintheday.Tobeabletosinganddemonstrateyourvision
whenyourecordademohasbeencrucial.Itsalothardertoshowsomeonewhoisreallygoodatsingingif
youcantsingyourself.Itmightbeaboutatechnicaldetail,tobeabletoreallygettothecoreofwhatever
problemthereis.Fortheartist,itcanalsobeatrustissue.Somethingwecanbondover.Itsworsewhen
theartistsingsevenworsethanyou.(laughs).Butthatdoesnthappentoooftenthesedays.
TRIOOFTALENT.MaxMartin,JohanSchusterandTaylorSwift.
Howdoyouconstructavocalmelody?Itseemsverycomplex.Firsttheresamelody,thentheres
anotheroneontopofit.Howdoyoudoit?
Ihavelotsoftheorieswhenitcomestothis.Ifyouvegotaversewithalotofrhythm,youwanttopair
itwithsomethingthatdoesnt.Longernotes.Somethingthatmightnotstartatthesamebeat.AsIsaythis,
ImafraiditmightsoundlikeIvegotawholeconceptfiguredoutButitsnotlikethat.Themostcrucial
thingisalwayshowitfeels.Butthetheoriesaregreattohaveonhandwhenyougetstuck.Wecantthink14/33
http://storytelling.di.se/maxmartinenglish/
thingisalwayshowitfeels.Butthetheoriesaregreattohaveonhandwhenyougetstuck.Wecantthink
ofanything,isthereanythingwecoulddo?Inthosecases,youcanbringitinasatool.Ifyoulistento
00:00
ShakeItOffwithTaylorSwift(hehumstheversemelody).Afterthatsegment,youneedafewlongernotes
inordertotakeitallin,otherwiseitssimplytoomuchinformation.Iftherewouldhavebeenasmany
rhythmelementsinthepartrightbeforethechorusDoeswhatImsayingmakeanysensetoyouatall?
Yes,thisissointeresting.ThisisexactlywhatImtryingtogetat.
Sweetandsaltmightbeadescriptionthatseasiertograsp.Youneed
abalance,atalltimes.Iftheverseisabitmessy,youneedittobeless
messyrightafter.Itneedstovary.ShakeItOffisagoodexample,
wherethemathbehindthedramaisprettyclear.Butthemelodies
themselves,theymayappearwherever.ItsneverlikeNowImgoing
tositdownandwritethisorthatkindofsong.Themelodiesmay
PERFECTPOP? showupinthecar,intheshower.Fromthenonitsallabouthowyou
ShakeItOffbyTaylorSwiftispopinthe managethemelody,howyoumakesurethatyoullbeabletohearit
philosophyofMaxMartin:sweetoch
overandoveragainwithouttiringofit.
salty,partswithalotofrhythmfollowed
bypartsoflongernotes. Yousaidyouhadmoretheoriesonthis?
Howmuchtimedowehave?
Plenty!
Ifthechordschangealotoverthecourseofasong,itsbettertostaywithinthesamemelodic
structure.Onceagain,itsallaboutthebalance.Anothertheoryisthatyoucanalsosingthechorusmelody
asaverse.Forinstance,takeIWannaBeYourLoverwithPrince.Theverseandchorusofthatsongare
exactlythesame.Butasalistener,youdontreallynoticesincetheenergyofthechorusiscompletely
differentcomparedtotheverse(hesingslikePrincetoshowhispoint).Oncethechoruscomes,youfeel
likeyouvehearditbefore.Andyouhave!Youvehearditintheverse.Itautomaticallycreatesasenseof
familiarity.Princedoesthisalot.LetsGoCrazy,samething.Iveusedthistrickafewtimesmyself.InDo
YouKnow(WhatItTakes) LYSSNA withRobynforinstance.
HowmanytimesdidyoulistentoIWannaBeYourLoverbeforeyoureachedthiskindof
conclusion?Doyoustudysongsinclosedetail?
TherewasaphasewhenIandpeoplearoundmelistenedtoPrincealot.Alot.WetookPrince
fandomtotheextreme.Theinsightswegainedprovedhelpful.Absolutelynotlikethefundamentalways
ofmakingmusic.SometimesyouhearrumorslikeTheyvefigureditout!Butitsnotlikethat.Itsabout
understandingandlearning,puttingatoolboxtogether.
In the beginning, it seemed important to prove stu. Ill show them. Look at me.
But that whole thing is over and done with since long ago.
Hadtherebeenasetformula,otherpeoplewouldhavebeenabletomimicyou,butyouhavesteadily
evolvedmusically.Howhaveyoumanagedtoreinventyourselfsomanytimes?
Ifeelitsreallyimportanttostressthis:Themajorityofthesongsthathavebroughtmeherearethe
resultsoflotsofpeoplehelpingout.IwouldliketosharethePolarprizewithsomanypeople.None
resultsoflotsofpeoplehelpingout.IwouldliketosharethePolarprizewithsomanypeople.None
mentioned,noneforgotten.Itsmycollaborationswithothersthathavemademeabletostayonbeyond
00:00
theaveragelifespanofasongwriter.Ivebeenblessedtoworkwithsomanyyoungpeople.Howdotheydo
it?Theymakemeworkhardtokeepup.Ifeelsohumbledbythisfact.IwanttosawthePolarprizeinto
10piecesandshareitwithothers.
Atthesametime,thisisawayofworkingthatyouhavechosen.Didyoubringitwithyoufrom
DennizPop?Songwritingasteamwork?
Absolutely.Butitsalsoaboutrealizingafterhavingdonethisforsuchalongtimehowimportant
itistohavefun,too.Inthebeginning,itseemedimportanttoprovestuff.Illshowthem.Lookatme.But
thatwholethingisoveranddonewithsincelongago.Whatdrivesmetodayistomakegreatthingsandto
havefun.Iverealizedthatitsmuchmoreenjoyabletodostufftogether.Sittingaroundonyourownisnt
allthatfun.Itsbettertosurroundyourselfwithgreatpeople.Playingsoccerismorefunwhenyoure
playingonateam.
It feels a bit strange to say it myself but I think Ive been fairly good at keeping
my ego in check. The ego gets in the way for many people.
Itsoundssonaturalwhenyousayit,butAmericanandBritishsongwritersrarelyworklikethis.
Manyfearlettingyoungerrivalsjointheprocess.Youriskthattheyoungercrewwillsurpassyou.
Andtheydo.Onadailybasis.ItfeelsabitstrangetosayitmyselfbutIthinkIvebeenfairlygoodat
keepingmyegoincheck.Theegogetsinthewayformanypeople.Inmanyways.Idontthinkitsgood
foryou.Icantthinkofmanysituationswhenitdoesnthelptobegenerousandhaveanopenheart.But,
sure,Ihaveanegolikeeverybodyelse.Ivehadtoworkonitattimesovertheyears.
Howdoyoukeepyouregoincheck?
Inmycase,mywifehasbeenthegreatesthelp.InmakingsureIstaygrounded.Mywifeandsomeof
myfriends.Butitshard.Icancertainlyunderstandartistswhosufferbecauseoftheiregos.Thisisalso
whyIvechosentostayawayfromwhatweredoingnow(theinterviewcontext).Ifnobodyrecognizesyou,
ifnobodycares,itseasiertoavoidgettingcarriedaway.Thatswayharderifyoureafamousartist.Ive
seenmanyexamplesofwhenthingshavegonereallywrong.
Veryearlyon,youdecidedtonotgiveinterviews.
Thattoo,goesbacktoPrince.IthoughtitwassocoolthatallyouknewaboutPrincewasabouthis
artistryandmusic.Earlyon,Dagge(DennizPop)andIdidaninterviewforsomeweekendsupplement.
Weleftthestudioanddidtheinterviewinacafesomewhere.Rightaway,Irealizedhowwrongitallfelt.
WhatamIdoing,sittinghereblabbingaway?Ishouldbeinthestudio.Thatsmyplace.Then,fortwo
weeks,Iwasanxiousaboutwhatitwouldsayinthepaper.Oneupsideofsayingnoisthatnothing
happens.Ifyousayyes,stuffcanhappen,ifyousayno,youdontneedtoworry.
Doesthisalsorelatetoyourprofession?Thatyourroleasasongwriterandproduceristo
promotetheartist?Thattheartististheonewhoshouldbeinthespotlight?
Yes,exactly.Idontthinkmostpeoplewholistentomusicarethatinterestedinalltheworkthatgoes
intomakingit.Itstheartistyoulike.
Pop music follows the evolution of society in general. Everything moves faster.
Intros have gotten shorter.
00:00
Howhastheverystructureofapopsongchangedduringthe20yearsyouvebeenworking?
Itkeepschangingallthetime.WevejustmadeitoutfromthemarshlandsofEDM.Nothingwrong
aboutEDM,greatsongscameoutofit,buttherewasaperiodwheneverythinghadtohaveapaceofha
128bpmandbeDJrelated.Thesedays,theresnodominatingtrendamongtheTop40songs,andIreally
enjoythat.Ahitcanbesomeonejustsingingtopianomusic,anything.Butbacktoyourquestion:I
recentlyrewatchedanoldmoviethatIusedtolikewhenitcameout.NowthatIwatcheditover,Ifeltthe
moviestempo.Itallfeltabitslow.Theyshowedthewholetriptotheairport.TodayitsmoreBoom!and
youreattheairport.Thesamethinghashappenedtopopmusic.Thereslessdowntime.Popmusic
followstheevolutionofsocietyingeneral.Everythingmovesfaster.Introshavegottenshorter.
Im simply not musically equipped for jazz, but I love listening to it. I love Chet
Baker.
Howdostayuptodatewithtodaysnewmusic?
Iprimarilylistentowhatwereworkingon.Ilistenwaytoolittletonewmusic.Icangetreallyjealous
ofaguylikeAli(Payami),wholistenstonewmusicallthetime.Ontheotherhand,Imabitdamagedby
myprofessioninthewaythatIkeepupwithwhatsoutthere.Iknowwhatsnewamongthenewstuff.I
wanttoknowwhatsgoingon,whatpeopleareupto.Ivealsostartedlisteningtojazz.Alot.Idont
understandjazz,andIfindthatliberating.Themusicstaysjustmusic.Ijustlisteninsteadoflisteningto
whatkindofbassdrumtheyreusing,youknow?
Isitbecauseyoudonthaveanyplansofyourownformakingthatkindofmusic?
Yes.Imsimplynotmusicallyequippedforjazz,butIlovelisteningtoit.IloveChetBaker.Itsdriving
mydaughtercrazy.Ohno,notChetBakeragain.Shesheardmeplayhismusicsomuchthatbynowshe
knowsallhissongs.
00:00
CHAPTER5
A day in the studio
M
artinsitsdowninhiswheeledofficechairinhisworkplace.Infrontofhim,onadesk,sits
todaysequivalentofamixingtable:acomputerscreenvisualizingthemusic.
Instrumentsarehangingalloverthewallsaroundhim.Differentkindsofkeyboards,
differentkindsofguitars,anukulele.Nogoldrecordsorstatuettes.Theonlyvisible
adornmentistwobooksthatMartinhasplacedonhisdeskrightnexttothecomputer,withthebook
coversinclearview.
OneofthebooksisapedagogicalBeatlesbookwithacartooncoverintendedtointroduceandexplain
Beatlestochildren.
ThisoneisfunnycausesomeoftheyoungartistswhocomeherebarelyknowwhotheBeatlesare.
TheotherbookisMaxBljaMaxDiaper.ItsaSwedishchildrensbookbyauthorBarbroLindgren.
MaxDiaperisasightthatmeetseveryworldleadingartistthatcomesintoworkwithMartin.
MartindidntcomeupwiththenameMaxMartinhimself.Instead,itwascoinedbyhismentor,Dag
Volle,moreknownbyhisproducernameDennizPop.In1994,hewroteonarecord,withoutfirstasking
Martin:ProducedbyDennizPopandMaxMartin.Thefirsttunetobeartheepochmakingsignature
wasThisIsTheWay LYSSNA withtheswedishartistEType.
AsIpointquestioninglytowardstheMaxDiaperbook,Martinreplies:Iwassittingaroundwithmy
friendAlexanderKronlunddiscussingwhichnamescouldpossiblybeworsethanMaxMartin.We
concludedthatMaxDiaperwasoneofthem.
Howdoyoudivideyourtimewhenyoureworking?
Yesterdayyoutoldmethatthesedays,youtrytoworkjusteighthoursandthatyounolongerwork
ontheweekends.Sohowdoyoustructureyourworkdays?
ItdependsonwhatImworkingon.Ifyoureinthemidstofaprocesswhenyouremakingstuffup,
whenyouwritesongs,theneverydaycanbecompletelydifferentfromtheother.Theremaybedayswhen
nothinghappensmixedwithincrediblyintensedays.TherewasalongphasewhenIworkedso,somuch.
00:00
Severalyearswhenthenamesoftheweekdayslosttheirmeaning.Iwenttoworkeveryday,nomatter
whatthecalendarsaid.NowthatIhaveafamily,Imabitmorecarefulwiththetime.Soifits
songwriting,theremaybesomecoffee,someFifa.Yougobeatingaroundthebush.Butotherthanthat,
itsdisciplinedwork.
Yousityourselfdownbythescreenandgettowork?
Exactly.
Whenanewartistcomesbythestudioandyoureabouttomakea
newalbumtogether.Howdoyoustartoff?
Itdependsiftheartisttakespartinthewritingornot.Howactively
theartistisininvolvedthecreativework.Someartistsjustsing.Butin
recentyears,weveworkedalotwithartistswhoareveryinvolved.
Then,itsmoreaboutproducinganartistssongwriting.Theyhavean
TEENAGEDREAMTRACKBY idea,Ilisten.Ok,thatsgreat,cutthat,repeatthat,nowwevegot
TRACK something.Werarelysitbythecampfiretogether,creating.
FollowthewritersofKatyPerryshit
Sometimes,thepartIplayinthesongwritingisquitesmall.But
TeenageDreaminthestudio.
hopefully,Illstilladdafewcrucialdetailswhenitcomestotheoverall
dramaturgy.IworkedwithTheWeeknd,hesanartistwithavery
clearvision.Thatmakesmyjobeasier.Butattimes,youhavetoworklikeafan.Writeasongthatyou
wantthatartisttosing.
IsntthathowyouworkedinthebeginningNSYNC,BackstreetBoysandBritneywhentheywere
soyoung?
Yes,Icomefromthatbackground.Thatyouwriteasongthatsomeoneelsecameintosing.Butin
recentyears,Ivecometoenjoycollaborationsmore.Atthesametime,beingaroundartiststakesitstoll
ImmoretiredafterafullworkdaywithanartistthanafteradaywhenIvejustbeenworkingonmyown.
Lookingatyourcareer,itmayseemlikeyouveenjoyedsteadysuccessfor20years,butyoudid
haveaperiodafterCheironwhenthingswerentgoingallthatwell.
Ivelearnedthatthingschange.Thewholeboybandthingalmost
turnedintoastockmarketcrash.WefoldedCheironattheright
moment.Then,therewasaperiodwhenwethoughtthatPharrell
(Williams)andtheotherscameandruineditallforuswiththeir
supercoolbeats.Myfirstthoughtwas:peopleareidiotsfornot
understandinghowgreatourstuffreallyis.Then,intheend,I
TEMPORARYSETBACK realized:theworldhasmovedon,weretheoneswhorestuckinone
2001popmusicchangedandtheCheiron place.SoIstartedlisteningtootherkindsofmusic.Ispentalotof
soundlostitsmomentum.ThesongI'm
timeinNewYorkandworkedwithartistswhoneverreallygot
aSlave4UfromBritneysthirdalbum,
writtenandproducedbyTheNeptunes anywhere.ThenthingstookanewturnwithSinceUBeenGone
withPharrellWilliams,sounded LYSSNA (KellyClarkson).Butatthesametime,duringtheCheiron
completelydifferent.
completelydifferent.
era,weneverreallyunderstoodwhatwehadachieveddowninour
basementinStockholm.Sinceweneverrealizedhowbigwewereback
00:00
then,Itookthatcoldperiodwithashrugoftheshoulders.
TEENAGEDREAMS.InabunkerinStockholm
youngsongwritersandproducerssuchasAndreas
CarlssonandJrgenElofssoncreatedboyband
songsintheyearsbetween19922000.Thestreet
outsideifthestudiowasalwaysoccupiedbyyoung
fans.
YoustartedoutplayingtheFrenchhorn.Whatdidyoulearnfromthat?
OnlyreasonIstartedplayingtheFrenchhornwasbecauseIwaswatchingwhenthehornsectionof
themunicipalmusicschoolcametovisitmyschool.Itmusthavebeenoneofthosedayswhentheycame
aroundforademonstration.OnceIsawtheFrenchhorn,IthoughtitwasthecoolestinstrumentsoI
decidedtotakethatup.Then,onceIrealizedtherewerentallthatmuchmusictobeplayedonthe
Frenchhorn,Iswitchedtotrumpet.Twogreatthingscameoutofthatplayingthehornsresultedin
givingmeagreattechniqueonceItookupsingingforreal.Thetechniqueisbasicallythesame,itsthe
samebreathing.Theothergreatthingwasthatthespacewherethemunicipalmusicschooltaughtclasses
wasrightnexttorehearsingroomsusedbylocalrockbands.Justwalkingby,Icouldhearplentyofnoise
seepingout.Itsparkedaninterestinrockmusic.AndthenIstartedwritingmyownsongswhenIwas14
15.
ItssweetthatyouthoughtthattheFrenchhornwasthecoolestofalltheinstruments.Fewother
kidswouldcometothesameconclusion.
Iveneverbeencool!Mytasteshavealwaysbeenprettycheesy.IlikeDefLeppard.Atthesametime,my
tastesmightbeprettyuniversal,Idontknow.
AsCheironproducers,youcamefromthemetalscene.Youtookthechorusstylesfrommetaland
puttheminapopcontext.
Yes,allthosegrandchoruses.Andwhilewereonthematteroftaste,Iremembermyolderbrother
cominghomewithaSwedishmagazinecalledPoster.Rememberthatone?Ithadpostersyoucould
unfold.Theyweretwosidedsoyoucouldtakeyourpick.Ononeside,Kisstheiconicimagewiththe
banduponEmpireStateBuilding.Ontheothersideoftheposter,aweirdbandoutinthewoods,who
calledthemselvesLedZeppelin.Tome,thechoicecouldnthavebeeneasier.Kiss,thisismylife!Ive
alwayschosenthemostcolorful,theonethatcracklesthemost.Zeppelinnevermadeituponmywall.
alwayschosenthemostcolorful,theonethatcracklesthemost.Zeppelinnevermadeituponmywall.
Now,mydaughterhasstartedlisteningtothem.LedZeppelinhasreceivedthePolarprize,right?
Yes. 00:00
ButKisshasneverbeenawarded?
No.
ThethingthatwassogreataboutKisswasthattheythoughtworldwide.Arenas,theAlive! LYSSNA
album,theattitude.Thefactthattheyhadsuchagrandscopewassogreat.Bytheway,ImetGene
Simmonslastspring.Itwasthefirsttimewemet.AnASCAPhappening.Kisswererewardedsomekindof
prizeforgoodandloyalservice.(Martindoesntmentionthatatthisprestigiousgala,hewastitled
SongwriterofTheYearfortheeighttime.)SoIgottosayhitoGeneSimmons!Imightnotagreewith
hisworldviews,butitwasabigthingformetobeabletothankhim.
OOPS,IDIDITAGAINMaxMartinhasbeen
repeatedlyawarded.Hehasreceivedthetitle
SongwriteroftheyearinAmericaeighttimes.
HowdidGeneSimmonsreact?
FunnythingwasthathesaidHoldon,canyourepeatthatsothatmysoncanhearittoo?Andthen
GeneSimmonswenttogethissonsothathewouldgettohearmesaythosethingsabouthisdad.That
momentwasprettyhardtoimaginewhenIwassixyearsold,staringattheKisspostersinmyroom.
CheironwasaprettyhomogenousgatheringofmenwithSwedishsurnamesbutyouve
welcomedproducerswithforeignbackgroundsandhaveactivelylookedtoinvolvemorewomen.
MULTITALENT.TheswedishartistLalehisoneof
MaxMartinslatestcoworkers.Lalehisafantastic
exampleofsomeonewhoisjustasgoodasa
exampleofsomeonewhoisjustasgoodasa
producer.Lalehisagenius.
00:00
Idontcarewherepeoplearefrom,whattheirbackgroundis.Ifyourekillingit,yourein.Itscrucialthat
wegetmorewomeninonthetechnicalside.Today,therearemanygreatfemalesongwritersbutthereare
veryfewwomenproducers.Weneedtochangethat.Laleh(whoMartinhasbegunworkingwith)isa
fantasticexampleofsomeonewhoisjustasgoodasaproducer.Lalehisagenius.Thebestwaytochange
thingsaroundistobringinmorerolemodelslikeher.Itsucksthattherearesomanymeninmy
profession.
Roar LYSSNA ,whichyouwrotewithKatyPerry,didntjustbecomea#1single.IntheUS,the
songalsoturnedintoananthemforkidssufferingfromcancer.Bothchildrenanddoctorsposted
videosofthemselvessingingRoar.Roar.
Whenpopculturecaninfluencethingsinanyway,whenasong
becomessomethingbiggerthanjustasong,thatsthegreatestthingto
me.Isawthevideowherethewholestaffofachildrenshospitalsang
Roar,anditwasareminderforme.Ihaveatendencytobelittlewhat
Ido.Ithinkitsaconsequenceoftryingtokeeptheegoincheck.Igo,
Whatthef***arewedoingalldaywhenothersareworkingfor
SUPPORTINGCANCERVICTIMS. equality,Syria,battlingcancer.Butthensomethinglikethishappens
Thestaffatachildrenshospitalsinging asongfindsitswayoutsidethestudioandcomestoreallymean
Roar.
somethingtopeople.ItsnoteverytimethatImproudofatune,butI
amwhenitcomestoasonglikeRoar.
Anarticleby:
Text:JanGradvall
Photo:Axelberg
Editor:AndreasJohansson
Digitallayout:JohanPersson&RobertPiirainen
Translatedby:EmiGuner
ChefredaktrochansvarigutgivareLottaEdling.RedaktionschefJonasJonsson.RedaktrDiWeekend
AndreasJohansson.RedaktrDiDimensionBirgerMarklund.
PrenumerationsrendenTel0857365100
Frinsnt,ejbestlltmaterialansvarasej
BesksadressGjrwellsgatan30Post11390StockholmVxel0857365000
Harduettnyhetstips?
epostweekend@di.seTwitter/Instagram@DiWeekend
00:00
DagensIndustriAB2017
00:00
00:00
00:00
00:00
00:00
00:00
00:00
00:00
00:00
00:00

Contando Historias Max Martin

Загружено:

Сведения о документе

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

Contando Historias Max Martin

Загружено:

Авторское право:

Доступные форматы

6/24/2017 DiStorytellingMaxMartinworldexclusiveinterviewDiStorytelling

World exclusive: Max Martin, #1

Revealing the secret behind the hits

TaylorSwift.InTheNight LYSSNA withTheWeeknd.

Life in Los Angeles

The Cheiron legacy

the matter, it was dizzying and completely amazing.

The perfect pop song

A day in the studio

Вам также может понравиться