I love A Day to Remember. They really had that style down of doing heavy songs mixed with pop songs when nobody was doing that style of music.
When I say I don't have to write pop songs anymore, there's no way I'm going to get on the radio at 60 years of age unless I'm doing a duet with Gaga or I was on 'All of the Lights,' which was a Kanye West record that managed to get on the radio.
When I was working on the music for this I didn't want to just use pop songs as the score - most movies do it and I've done it before.
There's a lot of vulnerability in songs - I'm not talking about pop songs - from people that are in the art of songwriting more than the commercial enterprise of it.
When I am seriously composing, sometimes a phrase will come into my head, a catch phrase. When I was writing pop songs for a few years, as a career, separate from my folksinging career, I used to write songs for pop singers.
I've covered Avril Lavigne. I like good pop songs, and I don't think there should be any kind of preconceptions about where good pop songs come from.
Pop songs are like a D.J. set crammed into three minutes.
Drag has always inspired people to come together to be joyous and fight for what matters. If we can do it through beauty and positivity and lip-syncing our favorite pop songs, then let's do it.
I think 'pop' can be a bit of a dirty word. People are very cool in Australia. They don't like to admit that they like pop. There are people who listen to Triple J and cool stuff like that, but commercial radio is massive, and if you look at the sales of the pop songs every week, people love pop music.
I am a pop girl! And I'm on a major label. I enjoy singing pop songs.
It was just the next logical step from making succinct pop songs. What do you do after that? You make pop songs that are longer and more epic, that push the envelope. Imagine your favourite song, or something that you play over and over in the car, except that you don't have to start it over as much.
If I look back on my life, you can almost tell the story of it through pop songs. Romances as a teenager, your first kiss, first love, first heartbreak.
When it comes to songwriting, I grew up in the Seventies listening to AM radio. So I've all these pop songs running through my head from Paul McCartney and Elton John, and a lot of stuff that was written on piano.
I see songs not as a commodity used up when the album goes off the charts, which is often the case with pop songs. I see them as a body of work. Life should be breathed into them.
At one time musical theater, particularly in the '40s and '50s, was a big source of pop songs. That's how musical theater started, really - it was just a way of linking several pop songs for the stage.
I like Sam Smith and Taylor Swift. I love pop music, but I also like Sam Smith's slow songs. That would be more to dance to. I think dancers like different genres of music, compared to just a regular person.
A lot of what I've done as Nine Inch Nails has been governed by fear. I was trying to keep the songs in a framework that was tough, and I learnt a lot from Jesus and Mary Chain about how to bury nice pop songs in unlistenable noise - the idea being if you can get behind that wall, you find there's a pearl inside.
I have sung as many as 6,000 songs of various hues, be they classical, pop or folk songs. I have even performed free of charge for the Maharashtra government.
Music was my first love, and at Marlborough we put bands together and sang the pop songs of the day. Although I couldn't read or write music - I still can't - I taught myself to play the guitar and piano by listening to songs and working out the chords.
Anyone would be embarrassed of what they did at 15 or 16. I listen back to that first record, and I'm like, 'Compared to what my contemporaries were doing, it was crappy.' You listen to an early Britney Spears or Christina Aguilera song, and they are great pop songs. I just don't feel like on that first record I got anywhere near anything great.
The industrial thing came about mainly through giving up trying to write pop songs in the early '90s. I don't think I was ever very good at pop music and as soon as I stopped trying, and started to write more the things I loved, it became much heavier and more aggressive.
I don't think I can name any names or anything, but this is what I've wanted to do for a long time: to have Flume as my creative outlet and to work on the biggest songs in the world, like pop, and come up with the idea and send it off.
We need more pop songs and more empowering songs.
I always liked really heavy guitar music, but didn't like the long-winded songs that went with it. And I always liked pop songs, but was driven nuts because the guitars were so wimpy sounding. So I decided to put the two together. That's how the Muffs started.
I think that purists may regard the '80s and Jerry Goldsmith being the quintessential example of film scoring, but that was also a very prominent type during a time when soundtracks were purely songs, and there was very little score.
