Writer / Editor, Annie Zaleski
Annie Zaleski is a 2002 Harvard Graduate that has been writing professionally since 1999.
Over the years her work has appeared in dozens of print publications (including Rolling Stone, Spin, Billboard, Alternative Press, The Village Voice, Los Angeles Times, Cleveland Plain Dealer, New York Journal News, Boston Herald) and online publications (eMusic, AV Club, Amazon.com, Salon.com, Billboard.com).
From 2005 until early 2011, she was the music editor at the Riverfront Times in St. Louis, which evolved from being solely print-based to being focused on online content.
While working here she was in charge of the overall editorial, marketing and social media strategy for both the weekly newspaper’s digital and print music properties. She also was the original editorial coordinator/ social media guru of the RFT’s daily music blog, previously called A to Z (now at www.rftmusic.com). Through conducting much analytic research and social media response and cross- promoting, she envisioned the tone and the content into what the site is today; the city’s go-to resource for breaking news, live reviews and events.
Annie started writing for Alternative Press Magazine as a summer intern. Over the years, she has submitted tens of thousands of words for AP on everyone from R.E.M. to the Rocket Summer; also penned covered stories on Jack’s Mannequin (AP #234), All Time Low (AP #247), AFI (AP #257) and the Maine (AP #264).
In Spring of 2011 through Spring of 2012 she was the managing editor of Alternative Press where she was the jack of all trades. While under this title she conducted social media strategy, website management, interdepartmental coordination, copyflow management and marketing content.
Throughout the years she has won awards for;
*Honorable Mention, Da Capo’s Best Music Writing 2008, for an essay on the tenth anniversary of Radiohead’s OK Computer
*Third Place, Best Music Blog (Above 50,000 Circulation), 2010 AltWeekly Awards, based on the following three pieces:
-Review + Setlist: Leonard Cohen at the Chicago Theatre, Wednesday, May 6
-Remembering Michael Jackson
-Geocities To Shut Down, Millions of Geeky ’90s Kids Get Nostalgic — And Some St. Louis Sites Are Affected.
Photography provided by herself
First off, tell us a little bit about yourself. (How did you know you wanted to be a writer/work in the music industry? What sparked your interest?)
Hi! Well, I was born in Cleveland, Ohio and grew up during the ’90s. I’ve wanted to be a writer since I was in junior high, but I started thinking seriously about music writing when I was in high school. I’m not sure there’s one thing in particular that led me there; I always loved music–and listened to it constantly–and was always writing. It seemed natural to combine the two in my mind. But if I had to pinpoint anything, reading music magazines probably sparked my interest the most. I read Rolling Stone, CMJ, Spin (occasionally), British music publications such as NME, Melody Maker and Select. And, of course, reading Alternative Press was very important to me. (I still remember the first issue I bought–Bad Religion on the cover, with a Britpop special inside!) I still recall having to search at record or book stores for the magazine, as it wasn’t always that easy to find.
How do you decide on who to interview/ what articles to write?
As a freelancer, the process varies. Most often, I pitch editors story ideas–whether show previews tied to shows, feature ideas or CD review requests–and they let me know what they will (or won’t) take. Sometimes, an editor will come to me with a story idea they think I might like or want to do. In previous jobs–specifically, my time running a local alt-weekly–I controlled what stories we pitched. (Mwaha!) In that case, I tried to cover a balance of shows (both genre-wise and in different venues) or interview people who were interesting or had something to say. In all of these cases, it’s nice to have a unique hook or approach.
How do you see music journalists contribute to the industry, in this age of social media?
That’s a very interesting question. Music journalists are no longer constrained by word counts or column inches; they can write a piece and then expand it on a blog, Tumblr or on Twitter. I think music journalists now can create three-dimensional discussion about bands and albums. They also have the chance to comment on/write about so much more music, beyond their assignments. You can be more of a fan now than you ever were, because there are more ways to express yourself.
I think the definition of music journalist has expanded quite a bit (or even become obscured) simply because of social media. In times past, a “music journalist” was someone who worked for a media outlet (radio station, newspaper, magazine, etc.), and these positions weren’t easy to get. Now, because of blogging, social media sites, Tumblr, etc., anyone can write about music and have an opinion about it. There’s more conversation.
As it’s always been, though, music journalists illuminate new artists + talk about why older artists still matter, as well as try to explain why something is worth listening to. That’s still important, I think, because we need trusted people to cut through the static–both the abundance of music and writing–and tell people what they feel matters.
What is your favorite and least favorite thing about social media?
Favorite thing: Talking to people! I love talking to people online–friends, strangers, etc. It’s fun meeting people and exchanging thoughts and opinions.
Least favorite thing: How critical people can be–and how people sometimes misconstrue what you say.
Music journalists sometimes get a bad rep from bands and other music industry professionals. What do you think is the biggest misconception about this job is?
I think the biggest misconception is that the job is glamorous or easy! I know that it might seem fancy to talk to rock stars all day and review music, but you don’t always get to meet the band or get prime access at concerts, and it is hard work. I know I personally make sure I give every album I review a fair shake, so I’m not writing something overly critical or shortsighted. That takes time, and quality time at that.
Another misconception sometimes, I think, is that journalists are out to “get” musicians, or do interviews just to dig up dirt and be confrontational. For some people, that might be their motivation, but I know myself–and a lot of other people–are music fans first and foremost, and want to try to tell a band/musician’s story in a fair and balanced way. We respect musicians and the work they do, and don’t want to betray the implicit writer-source trust that develops when you interview someone. Not everyone is out for gossip or pageviews!
Your work has appeared in dozens of print publications (including Rolling Stone, Spin, Billboard, Alternative Press, The Village Voice, Los Angeles Times, Cleveland Plain Dealer, New York Journal News, Boston Herald) and online publications (eMusic, AV Club, Amazon.com, Salon.com, Billboard.com) what was it like at first to see your work in these big publications?
It was exciting. (In fact, it’s still exciting!) I have always been proud of my work. Plus, when I have something tangible to show my parents either in print or online, it makes it more real to them what I do for a living. Ha.
Even though you’ve been writing for AP for a long time (you started out as a summer intern); last year you became the managing editor of Alternative Press. With all the different music magazines (online and print) it’s hard to stand out and have longevity; how was it to be a part of something so stable and resistant?
That’s another good question. It was humbling and sometimes even kind of awe-inspiring to see the history in the office (and on the walls of the office), and to continue the work so many talented people started. It was also a nice challenge: We didn’t want to duplicate things done in the past, so you had to stretch yourself and be creative to do new articles and story concepts. But that was the fun part!
What is the one writing piece you’re most proud of?
Good question. Any of the cover stories I did for AP. Also, when I was in St. Louis, I wrote a non-music piece about, well, my life. I worked very hard on it, and I’m pretty proud of it:
http://www.riverfronttimes.com/2010-12-09/news/americans-with-disability-act-twentieth-year-cerebral-palsy/
What has your favorite/ most memorable interview been?
I wrote about a couple of them below, but in addition (and in no particular order): Billy Bragg, XTC’s Andy Partridge, Heart’s Ann + Nancy Wilson, Robert Smith of the Cure, Sean Mackin of Yellowcard (most recently, talking about his cancer), Gerard Way from My Chemical Romance (several times), anyone in Death Cab For Cutie, etc. I’ve talked to so many people over the years; I’ve reached the point where I’ve forgotten who I’ve talked to!
Have to ask, who haven’t you interviewed that you would like to?
David Bowie! Geddy Lee. Leonard Cohen. Dave Grohl.
Have you had any mentors along the way?
I have! Two of my first editors when I was an intern at AP, Rob Cherry and Jason Pettigrew. I was super-young when I was an intern (19!) and really shy. But I was passionate and wanted to do well. Rob recognized that I was really eager to learn and improve, and he let me write a ton of stories and have a lot of responsibility. It really set me on my way, and I’ve always been grateful for that. Jason is one of the funniest people I know, and also one of the best writers–he can make a turn of phrase work that really shouldn’t, and he comes up with great comparisons super easily. (If you follow him on Twitter, that’s obvious!) But he’s also one of the most fair editors I’ve had, in the sense that he’s fair to the subjects of an interview. If Jason is writing a story, there’s no one-sided smack-talking going on; he’s trying to make sure everybody has a say, and it’s not a platform for people to air grievances. I always try to do that in my work, and I keep Jason’s mindset in mind as I do so.
What do you hope to contribute through your work?
I hope people get a better sense of what an album or band sounds like. I hope I convey the passion I have for the music about which I write, so people can share in the joy I get from music. I hope to find common ground with other people via music.
Do you have a memorable moment or fun story you want to share?
Oh, geez. So many! Doing an AP cover story on Paramore last year was a lot of fun; the entire band are very nice and down-to-earth, and it was really fun hanging out with them. I have a lot of respect for the band, both as musicians and people, and hanging out with them for a day validated my perspective. My long-ago AP cover story on Jack’s Mannequin was also a blast. Andrew McMahon is a great guy, also very genuine and honest, and he’s also very interesting and quoteable. He, like the members of Paramore, loves music–and interviewing people who like what they’re doing AND are fans is always a treat. Plus, I inadvertently helped mold the direction of a song from The Glass Passenger–no, really! That was a thrill: http://www.youtube.com/watch?v=V114MJUwwpA
Who do you think changed the music industry? Why?
A lot of people have changed the music industry over the years at different junctures; I think a lot of the changes have been small, and they’ve built up over time. Anybody who’s been a digital innovator, for sure; I think the founders of TuneCore went a long way democratizing music distribution. Shawn Fanning, Napster founder, really changed the industry, too. Although the way we’ve consumed music has always been changing–from vinyl to 8-track to tape and CD–the move toward MP3s has revolutionized the way we collect, listen to and approach music. From a cultural standpoint, the MP3 was seismic.
Is there a moment that sticks out in your head that made you realize that this is the perfect job for you?
Many moments! Any time I do a particularly meaningful interview, and the artist thanks me for asking good questions. Any time I’m geeking out about music with other writers/people. Being at SXSW (when I used to go) and hanging with people there. Connecting with others about music business gossip.
What albums are currently on heavy rotation? What albums are you most excited for in 2013?
In heavy rotation now: Ke$ha (haha), Solange’s new EP, Christmas albums!
2013 albums: Paramore; Ra Ra Riot; Frightened Rabbit; Low; Tegan and Sara (which I’ve heard, so maybe that doesn’t count!)
What have your life-changing concerts been?
Any of the REM shows I saw. Any of the times I saw PJ Harvey or Garbage–such strong, powerful women! The Death Cab For Cutie/Dismemberment Plan show I saw in 2002 was also pretty memorable. Bruce Springsteen in 2008. Daft Punk at Lollapalooza. Radiohead in 1997.
Any advice people who want to be a music journalist/ work in the music industry?
For journalists: Write. A lot. Start a blog, practice reviewing music–albums and shows–and work on finding your own unique voice. Try to get an internship somewhere–and if you do, do as much as you can to learn from your supervisor. Be humble, too–nothing makes people angrier than entitlement.
My final piece of advice seems odd, but I tell this to a lot of people now: Keep music journalism as a side gig. Very, very few people have the luxury to be able to make a living doing just music stuff; most people have some other gig–whether it’s full-time or part-time. It’s harder than ever to make a living as a full-time writer. I have friends who run blogs on the side of their day jobs, and they are as happy as someone doing the full-time thing. You are able to carve out your own niche now, and you don’t need the blessing of anyone else but yourself, which is one of the neatest thing about today’s industry.
But most important: Don’t get discouraged!
What is the biggest lesson you’ve learned working in the music industry?
Don’t be afraid to be proactive or aggressive. I’ve freelanced for years, and you definitely can’t be complacent about your career; you have to work to get assignments AND be unafraid of rejection. Part of the reason I got into journalism is to get over my shyness; I used to be afraid to pick up the phone and make a call. I’m still shy, but I’ve gotten better at talking to anyone about anything.
But perhaps the biggest lesson I’ve learned: Rock stars are people, too. When you’re meeting them, talking to them or interviewing them, if you treat them like regular, normal human beings, you’ll have better conversations and better interactions. Don’t put anyone on a pedestal.
Where would you like to be, workwise, in 5 years?
Still writing! In what form, I”m not sure–but hopefully still freelancing!
