The DumDum.fr team, that’s Anthony top left
Hello Anthony! Can you tell us about when you realized the importance of music in your life?
It came rather late, as a teenager, I was really obsessed with soccer and girls among other things. Like all kids I liked music, but I developed a few different obsessions towards the end of my adolescence. When you grow up in the suburbs, far from concert venues and hype, you can’t fall into the scene out of luck. For me, it was garage rock, most notably the Black Lips, that I discovered thanks to their cover of a Dutronc track “Hippie Hippie Hourra.” An absolute headbanger. So I started to be interested in garage rock, the “Nuggets” compilations, those types of things. It was from that moment, more or less, that music would assume a capital importance for me.
You are the Editor of DumDum. What is the objective of DumDum, and who are your readers?
We never really know too much about who are readers are. We get a good response from Facebook, Twitter, but I tend to think that the majority are always silent. These are questions that I prefer to not ask myself. As for the objective of DumDum, it’s to show music from a different angle, to try to go further. The project has matured greatly since we launched it. We made some novice mistakes, most notably editorial. Today, with our daily articles, we try to take music head on. And with out annexes, we try to take a step back, to tell stories, and talk about people. Because music, in the end, lets us say a lot about life and the world we live in.
Why did you become a music journalist? Are you passionate about music or writing? Or the two?
Well, as I said before, it’s kind of crazy in my head. I studied at a journalism school, initially to become a sports journalist, I love soccer. But I quickly realized that I was heading straight into a wall: I picture myself at stadiums with my microphone trying to grab the stupid comments of football players. Therefore I directed myself rather naturally towards music and culture magazines. I started at Technikart, then the excellent magazine VoxPop that doesn’t exist anymore. Afterwards, it became a job, even if I don’t write exclusively about music. And fortunately elsewhere.
You also contribute to other publications, like Snatch and Rolling Stone, is music journalism different from the web to print?
Online music journalism and print aren’t very different along the lines of supports. On one hand, it’s a shame, I think that print magazines will stop doing news updates and talking about top singles. That makes sense: people don’t get their doses of discoveries from a paper magazine. They pay 5 euros to read long-form subjects, and deep interviews, things that we don’t find as much online. Looking back, that which I’ve written for DumDum or Rolling Stone I create in the same way. We have a tendency to think that an online magazine takes less work, that everything must be short, but in the end, I think that’s short-sighted: long-form has existed online for a long time, and it’s taking a more and more important place there. Looking at the stats from DumDum shows this, some of our long articles get a lot more clicks than the short little updates.
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