Listened Norman Fucking Rockwell – Wikipedia from Wikimedia Foundation, Inc.
Rather than hooking the listener in with sweet choruses and succinct pop songs, Norman Fucking Rockwell is an album which washes over like waves lapping the beach. Before long, you are lost. I think Sam Sodomsky sums it up best, saying,

The album weaves love songs for self-destructive poets, psychedelic jam sessions, and even a cover of Sublime’s “Doin’ Time” through arrangements that harken back to the Laurel Canyon pop of the ’60s and ’70s. Throughout, Lana has never sounded more in tune to her own muse—or less interested in appealing to the masses.

In an interview with Joe Coscarelli, Del Rey provides some insights into the choice of Jack Antonoff and why it is time for protest songs. There is something ironic about Antonoff’s inclusion. Some may call out another failure to present anything original, yet Del Rey’s raw honesty seems prime for collaboration with the ‘superproducer’ (what is a superproducer?) As Antonoff once stated in an interview with Zane Lowe:

I want to work with people because they think that they are geniuses, not because I want make the albums that they have already made

Ann Powers provides a more critical take on the album and Lana Del Rey.

Bookmarked Lana Del Rey’s Recent “Fan Tracks” Reflect Some of Her Strongest Songwriting Yet (Pitchfork)

“Mariners Apartment Complex,” “Venice Bitch,” and “hope is a dangerous thing for a woman like me to have – but i have it” continue Lana’s lyrical hot streak. … She continues to tease the tropes that have so often been used to pigeonhole her, including femme-fatale melodrama, sadness as a form of rebellion, kitschy sexuality, and her beloved Americana imagery, all prim debutantes in pastels.

I am intrigued as to what Lana Del Rey’s album will be like. I have really enjoyed what Jack Antonoff has done with St Vincent and Lorde.
Bookmarked You May Not Know Jack Antonoff. But You Probably Love His Music. by an author (

“The heart and soul of pop is newness, excitement, innovation,” said Mr. Antonoff, a spirited, zealous talker who rarely stops fidgeting. “The music industry is built on chasing that ambulance — ‘someone did it, let’s go that way.’ I don’t want to be a part of that. I want to be away from it.”

After bringing artists into his modest space, he likes to start with a simple question: “What’s the worst thing that’s ever happened to you?”

In contrast with the cold, near-scientific approach to songwriting favored by titans like Max Martin and Dr. Luke, Mr. Antonoff strives for a gut-level, emotionally probing therapy experience — “excavating,” he calls it. “If someone could do it without me, then I don’t want to be there,” he said, recalling an unsuccessful experience trying to write for Rihanna, who often pulls from large pools of competitive talent.

In this review in the New York Times, Jack Antonoff shares some of his past, how he goes about working with other artists and how Gone Now differs from the first Bleachers album.

📓 The Producers: Jack Antonoff

I have long been interested in the role of the producer in regards to influencing music and culture. Whether it be Mark Ronson, The Neptunes, Timbaland and Stuart Price. Here then is a collection of notes on Jack Antonoff:

Tiny Desk Concert

Bleachers performed on NPR Tiny Desk Concert. This stripped back concert includes a number of reimaginings, such as including Don’t Take the Money with Radio Gaga.

Making of Don’t Take the Money

Jack Antonoff reflects on the making of “Don’t Take the Money”. He provides an insight into the challenge of getting out the sound inside your head with the tools and skills at your disposal. Condensed into eight minutes, this overlooks the reality that such creations can take a considerable amount of time to develop.

Bleachers & PS22

A performance of “I Wanna Get Better” featuring Antonoff and the PS22 choir.

PK in the Morning Interview

Jack Antonoff‏ reflects on the making of “Look What You Made Me Do”. Hearing the song on the radio for the first time, he provides a commentary sharing the thinking to some of the sounds and choices. He also reflects on the life of an artist, including the following:

“You know a song is done when you run to back it up with the hard drive”

“Music is meant to be a mini-documentary of that moment”

“Start young, because then you have longer before you have that conversation”

“You can’t learn it so just get out there and do it”

Beats 1

Jack Antonoff and Zane Lowe on Beats 1 discuss the Bleachers album Gone Now. Interesting quotes:

“No one hates anyone enough to go out there and buy a ticket to heckle them at the show, therefore when I am on tour I feel like I am with my people” (3:00)

“Writing is the most powerless process … you wait, you sit and you pray” (5:00)

“I want to work with people because they think that they are geniuses, not because I want make the albums that they have already made” (8:00)

“It took my whole career to find out that it is all an accident … Fun was a big accident” (9:00)

“The success you get, the more people are listening, the more you need to take care of them” (25:00)

Entertainment Weekly

Step Into Jack Antonoff’s Pop Laboratory, Where He Makes The Music Happen

“It’s sad and sounds like a party at the same time”

Bill Nye

Jack Antonoff talks with Bill Nye about rollercoastering. Nye explains the dopamine rush associated with going on a rollercoaster. They also talk about what is means to exist.

Larry King Now

Jack Antonoff on “Larry King Now”

“I was born in 84′, I became conscious in the early 90’s” (9:00)

“1+1 = 1 Million” Antonoff on writing with others

WTF Podcast

A conversation between Jack Antonoff and Marc Maron on the WTF Podcast

“If I got a TV the first thing that I would do is throw away the manual and then spend seven years working out how to turn it on” (127)

“I don’t want to get to involved in the computer stuff … I don’t want to get away from what the song is” (127)


In an interview on WRBU, Jack Antonoff deconstructs the confusing logic of The Little Mermaid and why when you are playing in an arena you want to create an intimate experience, as well as vice versa.

When you play in a small venue you want to give people the arena experience and when you play an arena you want to give people the small venue experience

Drugs spin certain wheels in your head that are already spinning

Reddit AMA

Jack Antonoff with an Ask Me Anything

Jack Antonoff Reveals How He Wrote “New Year’s Day” with Taylor Swift in an interview with Jimmy Fallon:

Writing music is not much different to having a physical. (1 min)

People sing better when they are doing an impersonation (3 min)

Listened Steel Train, by Steel Train from Steel Train

Steel Train is the third full-length studio album by Steel Train, released on June 29, 2010.[5] The album features an all-female companion album entitled Terrible Thrills Vol. 1, which consists of covers, remixes, and re-imaginings of every song on the album by female artists.

Before Jack Antonoff produced tracks for Pink, Lorde and Taylor Swift, he was a member of Steel Train. I am always interested to listen to how artists evolve. This reminds me of the contrast of the early Powderfinger albums to their latter pop productions. I am also interested where the particular interest in 80’s synthpop came in as it is not really present in these guitar laden tracks.
Listened Bleachers – I Miss Those Days from Song Exploder

Bleachers is the moniker of Jack Antonoff, a songwriter, multi-instrumentalist, and producer. He won two grammy awards as a member of the band fun., and another for his production work on Taylor Swift’s album 1989. He’s also co­-written songs with St. Vincent, Carly Rae Jepsen, Lorde, Sia, and more.

In June 2017, Antonoff released his second album as Bleachers, Gone Now. In this episode, he breaks down a song from that album, called “I Miss Those Days” and traces the process of making it—from the original demo, to a version he discarded, to the final song.