“My education has been so unwitting I can’t quite tell which of my thoughts come from me and which from my books, but that’s how I’ve stayed attuned to myself and the world around me for the past thirty-five years. Because when I read, I don’t really read; I pop a beautiful sentence into my mouth and suck it like a fruit drop, or I sip it like a liqueur until the thought dissolves in me like alcohol, infusing brain and heart and coursing on through the veins to the root of each blood vessel.” – Bohumil Hrabal
An imaginative production crew seeks to fundraise resources to launch a full-length feature film about Czech writer Bohumil Hrabal’s novel,Too Loud a Solitude.Directed byGenevieve Andersonand starring Paul Giamatti as the voice of Hanta, Too Loud A Solitude (Příliš hlučná samota) is a feature adaptation of Bohumil Hrabal’s beloved book made with live action puppets, animated sequences and visual effects.
This globally famous novel is about a book crusher, Hanta. Watching the trailer of Too Loud A Solitude is like entering a magic portal to another dimension where Bohumil Hrabal’s book takes place in a world of puppetry. An intimate, sneak peek to Hanta’s daily life and his private love affair with the books and their stories. A mirror reflection of Hrabal’s writing voice and how each book he created almost seems to be a personal letter written to each individual reader as opposed to the masses. As the camera soars in over the skyline of the town and we see gears grinding, scraps of papers tossed about and a city that seems to be very cold and quiet. Characters bundled up in many layers, speaking to each other without speaking as they go about daily life. The music is hypnotic and dreamy with its romantic yet haunting tune of a melancholy violin.
“Too Loud a Solitudeis the story of a waste compactor, Hanta, who was charged with destroying his country’s great literature in his humble press, and who fell so in love with the beautiful ideas contained within the books that he began secretly rescuing them – hiding them whole inside the bales, taking them home in his briefcase, and lining the walls of his basement with them. It became one of the defining books in Czechoslovakia’s history for its unsentimental, humorous, painfully relevant portrayal of humankind’s resilience.The story of Hanta’s quest to save the world of books and literature from destruction is often cited as the most beloved of Hrabal’s books. Too Loud a Solitude has a global fan base and an active community of support has emerged for our feature film project. The book has been translated into 37languages and sold over 70,000 copies of Michael Henry Heim’s English translation alone. Bohumil Hrabal wrote the novella as an unsentimental account of what happened to him during the Russian occupation of Czechoslovakia during the 40’s and 50’s. Many of Hrabal’s books were banned by the Russian regime and other great books by many authors were physically destroyed, an act Hrabal characterizes in Too Loud a Solitude as ‘crimes against humanity’… Our team has been committed to bringing Czech writer Bohumil Hrabal’s beloved novella Too Loud a Solitudeto the screen since 2004. With the assistance of The Rockefeller Media Arts Foundation (now the Tribeca Film Institute), Heather Henson and Handmade Puppet Dreams, and The Jim Henson Foundation, we completed a 17 minute sample of the film in 2007. The film has been playing nationally and internationally in the Handmade Puppet Dreams program, and in 2009 was awarded an UNIMA-USA citation of excellence. We are currently working on financing the feature project, first through a Kickstarter start-up funds campaign and then through partnership with other financing and production entities. Our intention is to enlist the support of the book’s global fan base and expand its already impressive audience. We’re down to two weeks left in ourKickstarter fundraising campaignand are continuing to do outreach work to drum up more support for our project. We seek to raise $35,000 to cover the costs of puppet design, armature creation, motion exploration, character development, costume design, and visual effects.”
For more information about the film, please visitwww.tooloudasolitude.com. “For thirty-five years now I’ve been in wastepaper, and it’s my love story…I am a jug filled with water both magic and plain; I have only to lean over and a stream of beautiful thoughts flows out of me.”
“I felt beautiful and holy for having the courage to hold on to my sanity after all I’d seen and had been through, body and soul, in too loud a solitude.”
Based in Los Angeles, Darren Fung is a talented, award-winning music composer. Born in Canada with strong Chinese roots, Mr. Fung’s music is a medley of the East and the West. His love of music began at the age of three and led him to become an accomplished composer. After a lifetime of living in Canada, Darren Fung moved to the United States to create music for film and TV in a new location.
Fung has a colorful, diverse, and nostalgic music style with a powerful yet gentle effect on the viewer’s senses. “With over 100 composition credits to his name, Darren Fung is seminally gifted and a highly influential composer who is well-respected in the TV and Film scoring worlds. Fung is one of Canada’s most accomplished composers, thrice nominated for a Canadian Screen Award. Most recently, he scored The Great Human Odyssey, a mini-series that explores the roots of humankind. The project opened to widespread critical acclaim in Canada, winning the 2016 Canadian Screen Award for Best Music and receiving a nomination from the International Film Music Critics Association. (The Great Human Odyssey premieres in the U.S. this fall onPBS.)Darren utilizes an epic, large-scale orchestra and choir to bring this special’s score to life, replete with memorable melodies and unique musical colors. His diverse credits also include a recreation of Canada’s second national anthem (the beloved Hockey Theme) for CTV and TSN and the theme music for CTV’s flagship morning news show Canada AM. Additionally, Darren scored Bell Canada’s Orchestra advertisement spot (for the 2010 Vancouver Olympics), which was voted as Canada’s top commercial by readers of The Globe and Mail. Darren’s feature and short film scores have been heard at prestigious film festivals around the world, including Toronto, Cannes, and Sundance. After Fung studied at McGill University and worked full-time as a composer in Montreal, he moved to Los Angeles and is represented by Maria Machado of Gorfaine/Schwartz Agency and CW3PR.”
In 2016, Mr. Fung spoke with local Texas writer, Nicolette Mallow, to discuss the bird’s-eye view of his life lived in music and how he came to be in California with his wife and daughter after many years in Canada.
Darren Fung and orchestra. Photography provided by CW3PR Inc.
Nicolette Mallow: Will you please tell me a little about when your love for music began and when you learned to play an instrument?
Darren Fung: I started playing piano when I was 3. Music has always been part of my life. After piano, I dabbled a little in violin and then the saxophone. I loved trying new instruments and playing the music in my head.
NM: Yes, I read in other interviews that you tend to create music with a large-scale orchestra. That makes sense, given you learned to play so many instruments… What number of instruments (musicians) entails a large scale orchestra?
DF: A large scale orchestra can be 40, 50, 60 people. Even 90-100. For me, that means anything over 40. Over 40 is a pretty big orchestra…Now, do I prefer to work with a recording group? I also like the challenge of not having a large scale orchestra and doing other things that are not orchestral.
DF: Yes, and no. I always loved music, but at the age of 15, I knew I wanted to be a composer. But it was hard for my family at first to accept that I am good at this, good enough to make a career of it. My mother is a Chinese tiger mom, and she wanted the best for me growing up. She had a preset idea of what my future looked like. She wanted me to pursue something more secure than music. Music or a creative career was too risky. So, when I first began music school instead of pursuing a life as a lawyer… it was hard for her. Culturally there were some conflicts and it would’ve been easier and more accepted had I chosen to be a doctor, lawyer, or engineer. My mother is very supportive now and she is very happy for me that I chose music.
NM: I understand the family and cultural aspects of what you just said. My Latina mother was most displeased, if not furious when I said I was going to Savannah College of Art & Design 12 years ago instead of Barnard or Stanford to be a psychologist or doctor. But she, too, is now very happy for me that I chased my artistic dreams.
DF: Yes it can be hard at first to choose your own path.
NM: In regards to music composition, what are some of the most distinct differences between Canada and the US?
DF: The most significant diff between the two is that Canada is more comparable to the Indie film scenes—the budgets are not that big. The AFM calls them low-budget films because we are lucky to get around a $3 million budget. We are supposed to do more with less. However, since we are so close to the states, we have a lot of similar musical influences.
NM: Reading about your career, I saw the phrase “musical colors” mentioned in writing. Can you tell me a little about what musical colors means to you?
DF: Instruments or sounds are our palette. Composers (and musicians) can kind of make whatever we want out of it. Musical colors are why I think I love orchestra so much because there is so much available—so many colors and moods to portray. Not to say other genres of music don’t have that. But I am a classically trained musician, and to be able to take that stuff and play away. It’s endless and I never know what will happen and I love it.
Darren Fung and orchestra. Photography provided by CW3PR Inc.
NM: Were you nervous or excited to recreate the 2nd national anthem for Canada?
DF: Both. When I recreated the 2nd national anthem for hockey night in Canada, we wanted to pay homage to the original, but with a whole bunch of orchestrations and differentiators. For the longest time, it was a really iconic song in Canada. Everyone knows the song and it’s equivalent to Major League Baseball’s classic tune “Take Me Out to the Ballgame”…At the time I was working with CPC and they wanted to make it their own. I was 26 at the time and I didn’t want the country hating me as the guy who guy who f*cked up the hockey thing… However, I was thrilled to be part of the project. And at 26 I got to work with the Toronto Symphony Orchestra and specific members who the company hired to play. So to be given that budget and content for a major broadcast was amazing.
NM: The Great Human Odyssey sounds amazing. What was it like writing for this TV show?
DF: It was 85 minutes of music in 7.5 weeks. There was material to score but we didn’t start writing till 7.5 weeks before we recorded… Niobe Thompson (Producer and Director of The Great Human Odyssey) sort of talked about bringing me on board as he was shooting. Almost two years before he started editing, I saw some raw footage. And I have to admit that when I first met up with Naobi, there was not a lot of money and I was not really sure the resources were available to create what he wanted with an orchestra and choir. But then he showed me the first warrior of this man jumping across ice flows. Drone shots across ice flows, and the backdrop was spectacular. The costumes, everything was visually stunning. And I realized we needed to get the music to match the greatness of the film… Fast forward in time and he then needed trailers. Then suddenly later on I am going to Prague so I can record a couple of cues to cut… Fast forward to the final count down where we are talking frame by frame, intentions, character and motivations; figuring out the music for each character and each scene.
NM: Do you have any hobbies that you enjoy to keep you balanced outside work?
DF: Hockey and rowing are my two hobbies. Often I get up atstupid-o-clock in the morning around 5 A.M. to go rowing before work. What I love about hockey and rowing is that it’s two completely unrelated things to music. I meet people who aren’t in the business and it’s not a sedentary job. I get to move around and I get to blow off a lot of steam. I keep biz cards on me, just in case, but I like that it’s totally separate from work. Honestly I worry about the day where I might have to give one or both of them up… I find so much sanity and comic relief in hockey and rowing. Im horrible at both… but trying to get physical activity is necessary. And it’s fun to go have a beer with the guys sometimes.
NM: Are there any genres in film or television that you would like to write for that you’ve yet to work on?
DF: I’ve been lucky so far and enjoyed all my projects. But I would like to write for sci fi or opera. I haven’t yet had the chance to do either. Also, Animation is something else I am interested in. I like changing things up and I just finished up on an installation work for a gondola ride in Banff. So long as it’s a great project with great music: count me in! I am always looking for new projects and I came to LA to establish myself here.
For more information about Darren Fung please read his online bio. And to hear many songs or tracks from Fung’s music portfolio, please check out his SoundCloud page.
Pieter Schlosser is an award-winning television, film and video game composer known most recently for scoring NBC’s hit show You, Me and the Apocalypse. Based in Los Angeles, Schlosser grew up traveling the world with his family, enriching his musical vocabulary with each new culture and each new country.
This summer Pieter Schlosser was interviewed by a writer in Texas, Nicolette Mallow, to discuss topics like how world-traveling influenced his music, the differences between scoring for the UK versus the US, what lead him to study at Berklee College of Music in Boston and other miscellany.
“Pieter spent a great deal of his childhood traveling, living in Guatemala, Austria, Panama and Costa Rica. He attended Berklee College of Music in Boston before moving to Los Angeles to pursue a career in television, film and video game composing. A multi-instrumentalist and polyglot, Pieter has had his work featured in the music of Grammy-nominated world music group Editus. Last year, he worked with the Costa Rica National Symphony Orchestra, arranging a full orchestral performance of his original music. In 2014, he won the ASCAP award for Top Television Series for his work on Freeform’s The Lying Game. Pieter Schlosser also composed the music for Lifetime’s The Client List and provided additional music for ABC’s Resurrection and The Astronaut Wives Club. Pieter worked on Desperate Housewives and is credited with bringing the signature Latin musical styling to the show. Currently, he is composing the music for the highly anticipated IMAX film, In Saturn’s Rings. He is also scoring the major motion picture, What About Love, starring Sharon Stone and Andy Garcia, set for release in 2017. Pieter worked in Hans Zimmer’s Remote Control Productions studio for 5 years alongside many high profile composers on various projects, such as Friday The 13th and the Transformers film and video game franchise. In addition to Transformers: The Game, Pieter demonstrated his versatility by providing additional music for some of the most popular video games of this generation with Gears of War 2 & 3 and The Sims 3.”
Nicolette Mallow: Will you tell me about your childhood background in music and how growing up in so many countries influenced your career?
Pieter Schlosser: Music was always around when I was growing up and it was always playing in the house. My mom played the piano; it was an old upright piano that ended up in our home. My dad was always a big fan of music, too. Dad loved to play jazz. My mom favored classical. The love of music was inherited from my parents. When I was in Guatemala, I didn’t play an instrument. I just listened to music and sometimes I even stole my mom’s tapes and records. When we moved to Austria, I was eight and that’s when I began to start playing the piano. There is a mecca of music in Austria. Everyone plays music. I wanted to join the choir and that’s where it all really began. After spending three years in Austria, my family and I moved to Panama. I kept singing in the choir. It was a Swedish choir in Panama and we sang around Christmas time. There was one person who played saxophone and I thought it looked cool and so I began lessons. Then we moved to Costa Rica and I made a friend with someone on the island and I joined band and played jazz. As I became obsessed with music, my grades began dipping… I loved moving around the world, even if my brother didn’t like it so much. My dad worked for BHL and that’s why we moved around the globe so much.
NM: Did you have a favorite place out of all the countries you and your family resided? Was there one musical style or culture that inspired you the most, or did they all equally fulfill your musical talents?
PS: It’s hard to say because, as a kid, it was pretty normal having all these different cultures and musical styles around me. I can’t say or pinpoint one thing that influenced me most. Growing up in Guatemala, Austria, Panama, and Costa Rica is like having a little book of musical notes and rhythms that I can use—and the combination of all these things is a nice balance that enriches my craft.
NM: What lead you to Berklee College of Music in Boston?
PS: While I was in Costa Rica, the Costa Rican-North American Cultural Center had a series of Universities do a Master class followed by a concert. Berklee College of Music in Boston was always there, including many other amazing programs from Miami and Texas. At one point I called or wrote a letter “Hey can u send me a Berklee sticker with the logo?” And I put it on my saxophone case. Suddenly I decided that’s where I wanted to go. It was the only college I applied to and I sort of felt a calling to enroll. Austria was a back-up to study jazz, but I was set on Berklee. So I applied and sent in an audition tape to Admissions and eventually I was offered a partial scholarship to attend. I accepted.
NM: How did your professional career in film and television begin?
PS: After college, I moved to LA. “The Record Plant” (a recording studio) in Hollywood was my first gig and I was a runner: food orders, trash, coffee and other office errands. During that time I met a scoring mixer who works with a ton of composers including Hans Zimmer. At the time he was working on the remake of “Italian Job”. Eventually we reconnected, and he hired me for little things in the studio. I got to attend a scoring session which was amazing. Ultimately, through him and my contacts with Berklee: I became an intern at Hans Zimmer. There’s no other place like working at Remote Control Productions. Anyway, that’s when I met Steve Jablonsky and later on Jablonsky hired me for “Transformers”. And then I started working on other film & TV projects.
NM: What is one of the most significant variations between scoring for television in the US versus music composition the UK?
PS: When we scored the UK version of “You Me and the Apocalypse” there are no commercial breaks. In the US version of the show, it’s 45 mins divided into 5 acts. Most shows in the US have commercials breaks, excluding HBO or Netflix.
NM: Have you always liked video games?
PS: Yes, I like video games. When I was younger, I enjoyed watching my brother play video games much more than I wanted to play myself. I am not entirely sure why I didn’t enjoy participating, but I preferred to watch.
NM: In regards to The Costa Rica National Symphony Orchestra, what original music of yours did they play? Is there a link or audio to hear this performance?
PS: The music community in Costa Rica is relatively small, so everyone knows each other. I became friends with members of a band called ‘Editus.’ In 1998, they were putting an album together titled ‘Calle Del Viento’ and released in 1999. I was just starting to write music then and I dared to pitch them the first piece of music I ever wrote. They loved it and included it in their album! Fast forward 16 years to 2015 and I got an e-mail saying they would be putting on a concert over three nights of that very album but this time, playing with the Costa Rica National Symphony. They asked if I’d make an orchestral arrangement of the piece. You can find the original recording of this piece called ‘El Sendero Menos Caminado’ (or ‘The Road Less Travelled,’ which is a line in a Robert Frost poem called ’The Road Not Taken’). The orchestral piece recorded in 2015, I believe, is currently being mastered and prepared for release. The song can be found on iTunes and Spotify.
NM: Now that you’ve obtained success and first-hand experience within the industry, do you have any advice or helpful insights for other aspiring composers?
PS: The best bet when it comes to writing music to picture, whether its film or television, the best route is to find some sort of mentorship with another composer so you can hopefully be getting paid while learning on the job. I wish there were a more solid answer. But I think it’s different for everyone and you have to figure it out as you move forward. It’s important to remember that there is not one way or one path to success in this field. Just remain passionate and even stubborn to your craft, but keep a smile. It’s tough but hang in there and you’ll persevere.
Roc Chen is a Sichuan-born, award-winning composer who has created music for film and gaming. Recognized within the U.S. and China, Chen’s music has the power and the beauty to bring cultures together from around the world, which is no easy task. His film roster includes “Chinese Zodiac” with Jackie Chan, “Forbidden Kiss” and the Chinese adaptation of “Everybody’s Fine” (American adaptation ft. Robert DeNiro). Roc also partnered with DreamWorks to create music for the film “Kung Fu Panda 3”— and his music is present in the award-winning, internationally broadcasted documentary TV series “A Bite of China.” Chen’s video game work even dabbles into “World of Warcraft” and “God of War” orchestras—as well as the “Might and Magic” series and his latest work underway with “Prince Adventures.” Recently partnering with Danny Elfman to bring music to Disney Shanghai’s newest ride, Alice’s Maze; Roc Chen’s music brilliantly celebrates the fusion of the American storyline of Alice in Wonderland with Chinese culture native to the Shanghai location.
This summer Roc Chen was interviewed by Nicolette Mallow. The two discussed his background in music, technology, and the power of music and how it can feel like time traveling. Mallow also inquired about the challenges and rewards of merging Eastern and Western cultures for film, Disney, DreamWorks and much more. And Chen opened up about how his music can be like an invisible, magic mirror that reflects everything inside the listener’s heart. The written interview proceeded as follows.
Nicolette Mallow: Will you please tell me about your background in music? Did you always know that music composition was your life calling? When did you begin to play music and write music? As a child, what did music feel like?
Roc Chen: When I was a kid, sometimes I woke up in the middle of the night humming the melody from “The Godfather,” and I thought to myself, “Maybe I should be a film composer when I grow up!” Like many kids, I learned to play classical piano at the age of 4, but unlike many kids, I loved to keep the sustain pedal down to create a bigger reverberation (just like in film scores). And, of course, my piano teacher would always get mad at me for doing that. I’ve always known music, especially film music – it’s my life calling. However, I spent my college life in what is considered a Chinese Stanford (University of Science and Technology of China). We had a large and great orchestra band there and the conductor asked me to be the assistant conductor, so I’ve had the chance to learn from each and every different instrument – not from a book but from a real orchestra band. Later on I also obtained a Master’s Degree in Composition from the Conservatory of Music. I consider myself pretty lucky to have a background in both music and technology!
NM: Art has the power to take us places, particularly music. Music can take listeners back in time within seconds. Music can evoke feelings or fantasies within us and it’s almost like time-traveling… What do you feel are the most powerful components of music that allow us to transcend time, space and imagination?
RC: All the components of music such as melody, harmony, counterpoints are powerful enough to allow us to transcend time, space and imagination—but personally I think the most powerful one is the abstract part within the music. Pop songs take us into a specific world because the lyrics/words are quite specific and straight-forward. But instrumental music such as film scores without any lyrics or words are abstract, so it takes people to their own and unique places, to the different secret places deep within each person’s heart. This is also the beauty of scores. Film scores, though there are specific picture/scenes synced with it, can allow us to re-create those scenes and characters in our own way when we hear music outside of the cinema. It’s like everyone is a director and everyone directing his own version of that film in his brain. This is the beauty of film scoring. And of course, there are certain skills and ways to evoke those feelings or fantasies in the way of composition.
There’s a music piece of mine, “Deep in Their Hearts,” originally composed for the most renowned documentary in China called “A Bite of China Season 2”. It has moved nearly a billion people in China and around the world. I tried to tenderly and beautifully play the piano with a melancholy and nostalgic melody. It was performed by beautiful strings, woodwinds, with some abstract inside harmony, fine orchestration and counterpoint. The result is this music cue, which has moved lots of people and has surpassed pop songs to reach the top of the Chinese billboard. Thousands of fans came to my Chinese Twitter to express their feelings hearing this music to me and it’s actually quite interesting to read those comments. Some people say it reminds them of their childhood loneliness; some say it reminds them of some moving moments in that documentary; some people say it makes them cry with happiness. Some people say the woodwinds in this cue are funny and playful. It’s all different – and I feel like my music is like a mirror – each person saw and found their secret place deep in their heart by hearing this magical mirror.
Roc Chen. Photography provided by CW3PR.
NM: What are some of the distinct differences between Eastern and Western music styles pertaining to film?
RC: Well, this is a little bit of a huge topic that I could talk about for days and write a book about. The scale of notes and melodies are different between the eastern and western worlds. Still, as for the relationship between music and film: I think one of the most distinct differences is the eastern style is more implicit while western style is more straight-forward and passionate. As I’ve been traveling between LA and Beijing a lot, I also found this difference within people’s behavior between the two countries. I guess one of the benefits of my goal as trying to be the most international composer is I can always get to know more about people from both worlds.
NM: Would you please share with me the challenges of integrating Eastern and Western music? Is it difficult to please both audiences?
RC: Many Hollywood films with pure western music are also enjoyed by lots of eastern audiences, but most of this music hardly reaches their hearts. So sometimes with only a few elements from the East can really move the eastern audience and ironically enough it moves the western audience too! Also, each film project is different and I’m always very careful with this challenge by always listening to the director’s ideas regarding the direction of the film. I always offer my suggestions and opinions on the direction of music but I would respect my director’s opinion because it is the film – a combination of many arts. It’s a whole project we’re going to present to the audience, not just music. There’s a project I did, “Heroes of Might and Magic VII,” the 7th game of the famous “Heroes of Might and Magic” video game franchise. I write some of the cues in a pure-western style and some cues have a little bit of East and West combined flavour. It all depends on the specific occasion.
NM: What lead you to work for Disney Shanghai?
RC: I guess people loved what I did for “Kung Fu Panda 3” as a Chinese music consultant, and then I got introduced to Disney by my friends at DreamWorks. But really, I think it’s because of my specialty of knowing both East and West which lead me to work for Disney Shanghai.
NM: In regards to Asian American crossroads within the entertainment industry – how did you begin to infuse the American storyline of “Alice in Wonderland” with Chinese culture native to the Shanghai location of Disney?
RC: First of all, it’s always teamwork! It is done by Danny Elfman, myself and another beautiful lady from Disney Imagineer. We put Chinese lyrics such as the translation of “Alice Are You Lost” and other lyrics written initially by Danny into the melody and make sure it really sounds great in Chinese. A lot of times, you’ll hear directly translated songs sounding very, very weird after translation. This requires a lot of experience of the Chinese culture and customs along with musical experience of the tone, pitch and rhythm of each note and its relationship between other notes. We tried many different ways to avoid a common phenomenon in Chinese music which is called “Dao Zi,” meaning the pitch of the notes will not violate or conflict with the tone of the Chinese words. I also had my female choir friends at Beijing singing the melody in Chinese beautifully while we remote-recorded them here in Los Angeles. We also did a lot of tweaks during the recording session.
NM: Do you have a favorite genre of music that you love to write? You are talented at composing many forms of music. But do you have a favorite style?
RC: Well… It’s really hard to pick one favorite style for me as I’ve worked in a lot of different styles and genres. But my favorite one is the one that best supports the film. As long as the form of music can do a good job to support the camera and film – that’s my favorite!
NM: Your career is most impressive and I have watched many of these films. However, I must admit that I have a fondness for “Kung Fu Panda”… Was that your first time writing music for animation? What did you enjoy most about this DreamWorks project?
RC: With this film, Hans Zimmer is the music composer while I worked alongside him as the Chinese music consultant. I offered direction and guidance on the Chinese instruments, Chinese musicians, the articulations and specialty of Chinese instruments. I also consulted on how to combine the instruments with Western orchestra music to the DreamWorks music team. I enjoyed turning the song of the last scene of “Kung Fu Panda 3” into Chinese and recording 40 amazing pop choir singers from Shanghai so when the film was released. Everyone could hear the final product of “animal” singing in Chinese happily in the end scene!
NM: Do you have any upcoming projects you’d like to highlight?
RC: I just finished recording with an orchestra in Nashville for a new animation feature I scored, and I’m also going to score some new exciting feature films, animations and TV series but due to NDA reasons I’m sorry to say I can’t disclose them right now.
NM: Lastly, I grew up reading the book “Joy Luck Club” by Amy Tan about four Chinese American immigrant families living in San Francisco. It’s a bittersweet, tragic and beautiful story that I still enjoy reading in adulthood. Since I was a child, I’ve always been fascinated by the history of China and I hope to visit someday. And of course when the movie came out I enjoyed the soundtrack. My point in mentioning “Joy Luck Club” is because for years, I’ve always wanted to learn more about the roots of classical music in China. But I never know where to start… Is there a book you’d recommend or a certain time period to study for those who want to learn about the roots of music in China?
RC: This is a great question! But frankly, I personally think the best book of Chinese music history or Chinese musicology is not in English but in the language of Chinese. Just like if you wanted to learn the western musicology: you’ll have to read that greatest musicology book in English. When I was in the Conservatory of Music, there was a school book called “History of Chinese music” which nearly covers all different kinds of music from pre-Qin Dynasty times, to Tang Dynasty music, to Qing Dynasty and even modern music of China. It also covers the musicology of a lot of different areas of China such as the music from the north of China – which is so different from the south of China. Music from HeBei Province is also so different from the music from the ShanXi province or the ethnic Uygur group in Xin Jiang areas. I have this book in my Beijing studio and I’ve always wanted to purchase an English-translated version to keep in my Los Angeles studio. Without any luck, I Googled and searched Amazon and didn’t find this book or any book just as great. Maybe some book publisher could work with me to translate a classic book into a new one in English.For those who want to learn about the roots of music in China, most people will probably say the Tang Dynasty is the best time period to study as it is one of the most brilliant time for all kind of arts. But I would personally recommend the eras around the Qin Dynasty such as the Three-Kingdom era, Warring States period, etc. If you research it and dive deep enough, you’ll see music in those ages are clearly fundamental not only to Chinese music, but also to the music of the Eastern world.
June 27, 2016— “Unsolved Murders: True Crime Stories”released a thrilling, new podcast episode this week titled “Lights, Camera, Murder.” “Unsolved Murders” is a recently launched podcast series Produced by Parcast and co-Founded by Max Cutler and Ron Cutler (son and father). Parcast created this multi-dimensional podcast network as a flagship series with an acute focus on cold case files. The first three episodes of “Unsolved Murders” pertain to “The Axeman,” a serial killer in New Orleans. And the second series of podcasts within most recent episodes revolve around “Hollywood’s First Murder.” Please bear in mind these episodes are not intended for children—the podcast contains a great deal of graphic and bloody details—therefore, viewer discretion is strongly advised.
Nonetheless, “Unsolved Murders” is an enticing and haunting mixture of a classic radio show, a theatrical script and a murder-mystery-book-on-tape that morphed into the form of a modern-day podcast. Narrated by Carter Roy and Wendy Mackenzie, “Unsolved Murders” combines the beauty of audio and sound design with the articulate eloquence of literature and storytelling. The professional sound effects, dialogue and delivery within each episode of the show are compelling—and the audio is very clear and precise to the ears. Listeners can almost hear the amount of time, heart and energy that Parcast’s talented crew of employees dedicated into this podcast just by the quality of presentation and sound.
Reminiscent of a riveting and spooky time machine, “Unsolved Murders: True Crime Stories” take us back, safely, to mysterious cold cases like The Axeman from the 20th century in New Orleans when his murderous and diabolical rampage in Louisiana began. Actors and a sound crew portray all the voices of the witnesses, the victims, the locals and the police. The footsteps in the dark and the screams in the night. The audience can feel the fright, and yet the lovely melodies from the jazz era that trickle in throughout the podcast add a sense of playfulness and lightness in the midst of a dark, heavy story. Listeners come to know the presence of The Axeman by the bone chilling audio of his weapon hacking into flesh and bone after carving his way in the back door with a blade. Even though the murderer is a mystery, the audience comes to learn about his obsession for jazz music and the fact he was a deranged man who believed he was inhuman. And by the end of “The Axeman” episodes, the narrators swap theories as to who they believed to be the violent serial killer.
Max Cutler, Co-founder and President of Parcast, consented to a phone interview in June 2016 with Arts & Entertainment Writer for Examiner, Nicolette Mallow to discuss “Unsolved Murders: True Crime Stories”, the launch of Parcast and The Axeman of New Orleans.
Nicolette Mallow: Will you tell me about your love for radio and storytelling? How did this all begin from childhood to adulthood?
Max Cutler: I’ve always loved radio and I was born into it. But I remember when I was 4 to 5 years old that it really became part of me. My dad (Ron Cutler) worked in radio and operated 12 national radio shows when I was growing up called Cutler Productions. His company was also the #1 in comedy. However, my love for storytelling happened as I got older and then I grew an interest in true crime and mysteries. Looking back, my dad had a profound impact on my career. He was also a storyteller that wrote a novel titled “The Secret Scroll” … As an adult I wanted to start my own company and I wanted to pursue the entertainment business. Obviously I love radio for many reasons but what I hope to gain from “Unsolved Murders” is not only to share crime stories and top quality audio productions, but I want to bring people together and help take away the daily stress of life. People are very stressed out sometimes and to help lessen the stress of others in the form of radio and storytelling for 20 minutes, or an hour, is a very good thing. Its important to relax and unwind.
NM: Will Parcast and its podcasts networks focus solely on “Unsolved Murders” or do you and your team intend to cover and produce other topics of interest?
MC: “Unsolved Murders” is the first show but there will be five to seven new shows within the next year that cover other topics than cold cases, such as education or history. We started with this genre because I love mystery and true crime stories 100%. And there is also a large community that appreciates cold cases. So from a business standpoint it’s also a hot topic that has a market. “Unsolved Murders” is about my passions and entertaining the interests of others… Parcast came to be so that we could take audio and radio to the next level. There are many great, high quality podcasts out there that are up to par. But a large majority of the podcasts these days are lacking in sound quality and production with a lot of holes to be filled. Parcast has the most talented crew working with us and I am so grateful for my team that my father and I assembled. The whole company is very gifted and talented. We spent a lot of time searching and recruiting voice actors, writers, and we have a great digital engineer (Ron Shapiro) that brings the sound of the axe to life. It took about 3 to 4 months to get it right, but we are just very overwhelmed and excited about this start. “Unsolved Murders” already ranked #5 out of 300,000 podcasts. It’s just a really humbling experience and we all look forward to the future.
NM: “Unsolved Murders” begins with the story of “The Axeman” and all the podcast episodes about this cold case are so captivating. I didn’t want to stop listening to the audio. Although I admit I probably will not listen to the podcast right before bedtime. Anyway, the sound quality is amazing and I love the voice actors and the narrators. Y’all did a great job and I look forward to more episodes… How did you come to hear of The Axeman?
MC: Thank you. I am glad you enjoy it and I appreciate the compliments… The Axeman is ranked among the Top 10 serial killers to never be caught. Our podcast focuses on serial killers and cold case crimes that aren’t as well known as criminals like Jack The Ripper or The Zodiac Killer. We didn’t want to focus on the commercial cases the media already had a field day with. A lot of research lead me to the launch of this series about The Axeman. Another reason I chose this story is because it gets me upset when someone gets away with a crime and justice is not served, so this podcast is also a way to never forget the case. It’s just a very interesting and scary story about a clearly deranged criminal.
NM: Yes, he is very deranged. That episode entailing the letter written by The Axeman to himself and when its read aloud in that sinister voice on the podcast. The letter he wrote to the police. It was very creepy and disturbing how he claims that he is a demon, inhuman. And The Axeman even writes the return address as being from ‘hell’ just like the infamous Jack The Ripper… Did people really believe this guy was a demon? And was it ever made clear why he demanded people go to jazz halls and listen to jazz music in order to be spared from his axe?
MC: Actually, yes, many people did believe he was a demon. And many people even thought The Axeman was somehow Jack The Ripper manifesting in another continent at another time. You can’t make this up! We have to remember this is the early 20th century in New Orleans, a very superstitious place. When the newspaper in New Orleans published his letter in 1919, locals and immigrants were terrified and became very scared of this ‘inhuman’ criminal. Which is why most of the city went out that one Tuesday night to listen to jazz music at “12:15 earthly time” just as The Axeman demanded. However, there is a common theory that perhaps the The Axeman was actually a musician and needed to get paid. Regardless, The Axeman had a sense of control over this town and the fact he was never convicted only added to the stigma that he was supernatural. It was a huge topic all around Louisiana and a #1 hit jazz song about The Axeman was written about him.
Teenage Mutant Ninja Turtles and April. Photography used with permission from Nickelodeon.
Composer Sebastian Evansis scoring the music for Nickelodeon Animation Studio’s “Teenage Mutant Ninja Turtles” TV series. Based in California, Sebastian Evans learned music theory as a kid and began to play piano when he was 10 years old. Evans’ mission to pursue music began after watching “Return of the Jedi” when he was seven. After participating in various musical entities until he reached college: a jazz band, concert orchestra, drum line and musical theater. Over the course of time Sebastian Evans also taught himself how to score music as a working professional.
“Sebastian Evans is one of the only black Composers in the industry, and he’s quickly rising in the competitive world of TV and film music. Evans is a creative type who is rapidly gaining accolades within the industry. Invigorating several hit animated television shows with his unique style, Sebastian has received considerable acclaim from fans and critics alike. Most recently, Sebastian’s distinct sound has helped reinvent the “Teenage Mutant Ninja Turtles” franchise starring Seth Green and Sean Astin. From his head-bob inducing main title theme to his seamless blend of Far East and Western musical styles, Sebastian provides a lively score that’s helped reinvent Nickelodeon’s Emmy-winning series for a whole new generation. Sebastian has also created scores for other hugely popular shows including “Cartoon Network’s Ben 10: Omniverse”, starring Yuri Lowenthal and Joe DiMaggio, “Transformers: Animated”, starring David Kaye and Tara Strong as well as “Super Robot Monkey Team Hyperforce Go”, starring Greg Cipes and Mark Hamill for Disney. He has also worked on various projects for “Warner Brothers” and “Adult Swim”. Also, in case you were wondering, his favorite Ninja Turtle is Donatello.”
Earlier this week in June 2016, a phone interview was booked between Sebastian Evans and Writer for Examiner, Nicolette Mallow.
Nicolette Mallow: When was the moment you realized the power of music and that you wanted to make music? How did you know that you were meant to be a composer?
Sebastian Evans: The day I saw “Return of the Jedi” for the first time when I was 7. That was when I really remember feeling something from the music and I wanted to replicate it myself. Specifically it was the moment when Admiral Ackbar says “It’s a trap!”… Right then and there I wanted to learn music. I wanted to know how to make the audience feel a certain way just by hearing the sounds. That scene in “Star Wars” stuck with me and I started taking music lessons soon after. By the time I was 10, I could play the piano and as time went by. I learned all kinds of musical styles. Eventually I moved out to L.A. with my band, but that didn’t work out. So then I got a job after sending demos to various studios. Warner Bros. hired me for “Cartoon Monsoon” which was an animated pilot program online. Later I made some connections standing in the “Star Wars” line at Mann’s Chinese Theater to see “The Phantom Menace”. Then I pitched to Disney. Along the way I met Ciro Nieli (Executive Producer of “Teenage Mutant Ninja Turtles” for Nickelodeon) and we began working together on various projects.
NM: Do you have a music ritual or a method of operation for when you create and compose? Or do the projects flow naturally and you write from the heart as it comes along?
SE: I used to write a lot more from the heart when it was personal, like for the band or my own art portfolio. But when it’s a project for a team: my style is based around the desire to reflect the Director’s vision. I want to support the film or the story. I try to stay flexible because you don’t always know exactly what the team wants. My focus for work projects are dictated by the team and how I can bring my own musical style to meet their vision.
NM: I am unfamiliar with writing music and putting audio or soundtracks onto film. What is it like writing for “Teenage Mutant Ninja Turtles”?
SE: Ninja Turtles has a lot of underground hip hop influences and a lot of loops. The music is often subtle and grey as to not overpower the story, dialogue or the characters. But the Director is also seeking to get something across that emotes something in a scene that would not be as prevalent without the music accompanying it. Music foreshadows events that are about to happen, or perhaps it uplifts the mood or makes the tone more serious. It all depends on the situation at hand. We have a couple of meetings every episode and we discuss what the scene needs. This helps me create a score that will benefit the character building of the story within each episode.
NM: Did you always intend to write for animation, comics or cartoons? Or did this path sort of unfold naturally?
SE: Yes, it all sort of unfolded naturally. My end goal in the future is to work on movies, but I really love working on animation for television. It’s been a learning experience and very rewarding because I never imagined that I would be where I am now. My roots in music are very scattered and I grew up listening to classical, like Mozart and the greats. Yet I also love metal and alternative. I will play Mos Def, Timbaland and Wu Tang during the same duration as I listen to Bjork or classical. So, yeah, I would like to explore as many characters as possible through TV and film in the future. But I am grateful for where I am right now and enjoy working on animation.
NM: Out of all four ninja turtles (Leonardo, Raphael, Donatello and Michelangelo), why is Donatello your favorite?
SE: Donatello seems like the outcast. He’s the brains and the nerd of the group. Donatello is also a romantic yet he’s very shy. And I just like him because he’s cool with being different and I felt a kinship to his character.
NM: Interesting. I relate most to Raphael because he’s the most fiery, hot tempered and yet also the most sensitive. Do you have any favorite hobbies outside of composing music?
SE: I watch a lot of comedy shows and I build LEGO® bricks a lot.
NM: That is awesome. I love LEGO® models. Thank you so much for your time. I enjoyed interviewing you and look forward to watching the TV series with my godson, Micah. He loves “Teenage Mutant Ninja Turtles”.
SE: You’re welcome. I’m glad to hear kids like the show. Thank you for interviewing me today.
Photography provided by Top Drawer and Project Transitions.
A welcome party was held in honor of Top Drawer’s second thrift shop located in the Crestview neighborhood within the heart of Austin, Texas. This newly released thrift shop operated by Top Drawer opened its doors earlier this spring. However the official party was hosted at 7101B Woodrow Avenue on May 15, 2016, the exact date as the International AIDS Candlelight Memorial. Top Drawer Thrift is the social enterprise arm of Project Transitions. “Since 1988, Project Transitions is a non-profit dedicated to serving people with HIV and AIDS by providing supportive living, housing and hospice in compassionate and caring environments.” Top Drawer’s original location on Burnet Road has been open since 1993, always sustaining a focus to sell items in support of Project Transitions. To this day, all proceeds directly benefit the programs of this nonprofit and volunteers mostly run the shops.
Arts and Entertainment Writer, Nicolette Mallow, interviewed the Manager of Top Drawer thrift shop, Karin Kokinda. The two spoke of donations, the history of the shop and how the employees often get sentimentally attached to the pieces. (An audio recording can be found on YouTube.)
“I can’t begin to tell you how excited Project Transitions is to dive into this new experiment. For over 20 years we’ve had the Top Drawer location at 49th and Burnet and it has been amazingly successful and popular,” said Karin Kokinda, Top Drawer’s manager. “The new store gives us the opportunity to showcase some of the more special and unusual items that are generously donated.”
The welcome party at Top Drawer’s second shop in Crestview featured complimentary wine, fruits, cheeses and crackers. All items were 20% off during the party. Entering the thrift shop, guests will notice it’s like an infusion of a high-end fashion boutique, antique library, art gallery and a retro thrift shop with vinyl records and other goodies of the past. Inside the store there is something to be desired for purchase by anyone and everyone. Top Drawer is beautifully decorated and arranged to where the space is filled top-to-bottom with inventory, and yet it does not feel crowded or scattered. The room is neatly organized and the eyes can never get bored. Boots, dresses, books, tables, lamps, giant mirrors, old cameras, artwork, imported goods and other miscellany are available for purchase.
Arts and Entertainment Writer for Examiner, Nicolette Mallow, attended this special event and purchased a lovely, handmade Italian brown leather notebook as a keepsake and a literary diary. After the purchase, Mallow interviewed the Manager of Top Drawer, Karin Kokinda. The two spoke of donations, the history of the shop and how the employees often get sentimentally attached to the pieces. To hear the interview, please click on the video above.
To contact Top Drawer Crestview about acceptable items or more information, please call 512-454-5161. The store hours of operation are 11 A.M. to 7 P.M. every Monday through Saturday. Donations will continue to only be accepted at the Burnet location. For more information about Project Transitions, please visit www.projecttransitions.org or call 512-454-8646.
“It’s a collaboration between the community and Project Transitions. It starts with our donors who provide our inventory, then our loyal customers that come shop in our store, and finally, our clients who directly benefit from 100% of the proceeds,” said Madge Whistler, Project Transitions Financial Administrator.
Note: This article was originally published on Examiner.com in June 2016.
Taste of Mexico 2016: A Culinary Arts Festival celebrating Cinco de Mayo. Photography by The Mexic-Arte Museum.
The Mexic-Arte Museumcelebrated Cinco de Mayo early this year by hosting a decadent and heartfelt party, Taste of Mexico 2016, at Brazos Hall in Austin, Texas. Cinco de Mayo is an annual celebration on May 5th and Taste of Mexico 2016 was a culinary arts festival in honor of this holiday. Brazos Hall was decorated top to bottom, upstairs and downstairs, filled with brightly colored red and violet spotlights. Dozens of food and beverage vendors were carefully placed about the space. Tacos & tequila, a mariachi band, a DJ, a photo booth and artwork also adorned the venue. Piñatas in the form of painted dolls, calaveras (skulls) and flowers dangled from the ceiling, too. The party was so full that at one point guests had to wait outside in line to get in as to not overfill maximum occupancy. Brazos Hall is a fairly large turn-of-the-century warehouse venue. Therefore the fact Taste of Mexico 2016 reached maximum occupancy not even one hour into the party on a Wednesday night is a testament that The Mexic-Arte Museum knows how to throw a fun-filled celebration for the community.
“Taste of Mexico is a festival of Mexican and Mexican-inspired cuisine and beverages from over 30 of Austin’s most eclectic restaurants, food trucks, and flavorful purveyors featuring fine tequilas, mezcals, wines, beers, and other refreshing beverages. Taste of Mexico also featured the Bazaar del Arte, including Mexican folk arts and crafts, unique gifts, one-of-a-kind jewelry pieces, selections from the Museum Store, and the Pop-up Print Shop hosted by our very own Screen It! students and the Education Department. In collaboration with the Consulate General of Mexico, Mexic-Arte Museum was pleased to present Chef Ángel Vázquez as their Chef of Honor for Taste of Mexico 2016. Vázquez is known for his international palette and sophisticated dishes that represent a Poblana-Mexican kitchen. His critically acclaimed restaurant Intro (Cholula, Puebla) boasts cuisine that takes inspiration from countries such as Morocco, Thailand, Greece, Spain, France, and more. His latest projects include Salome Antojeria Del Mar y Mezcal, Carbon Central de Hamburguesas, and Augurio Comedor Poblano. All ticket sales supported the Mexic-Arte Museum in its mission to offer enriching educational programs and provide the community with outstanding exhibitions.”
Writer and Austin Examiner, Nicolette Mallow, attended Taste of Mexico 2016. Mallow has previously covered celebrations hosted by The Mexic-Arte Museum such as Viva la Vida, a Día de los Muertos event. A local A&E writer and Latina from Tejas, Mallow has experienced many of the museum’s sponsored events. The time and thoughtfulness put into each party is so evident just by regarding the immaculate detail and intricate decorations. The Mexic-Arte Museum always hosts events that flow smoothly for guests. Even the pamphlet for Taste of Mexico 2016 included a guided map to all 30 vendors and their menu. Most of all, the staff and vendors are friendly and hospitable, making the party all the more delightful. Whether you’re a member of the Latino/Hispanic/Mexican community or not—everyone is welcomed with open arms and there is a sense of family, continuity and love at every celebration the museum hosts. Mexico and Texas are known for their hospitality and fiery personalities, so this infusion of a Mexican holiday celebrated in downtown ATX is a strong and vibrant combination. Anyone that attends a celebration hosted by The Mexic-Arte Museum is guaranteed to have a good time. Simply put, The Mexic-Arte Museum organizes genuine and unforgettable parties with memories that last a lifetime. Once you enter the doors, attendees feel a vivacious, playful and radiant energy that is bound to put a smile on anyone’s face. And you will want the party to last throughout the night.
Crystal Grooms Mangano is a composer that has created music for film and television, and her most recent project was for the documentary film “Asperger’s Are Us”. The film made its grande debut at SXSW 2016 in Austin, Texas. During this time: Netflix bought the global streaming rights to the documentary, “Asperger’s Are Us”.
To talk more about her musical background and composing the soundtrack for “Asperger’s Are Us”— Composer Crystal Grooms Mangano chatted on the phone with Austin Examiner, Nicolette Mallow. The phone interview took place shortly after the end of the The SXSW Music, Film and Interactive Conferences and Festivals 30th anniversary held in March 2016.
SXSW 2016 ran a synopsis of the film containing the following: “For the members of the comedy troupe “Asperger’s Are Us,” it’s easier to associate with a faceless audience than with their own families. No matter who the crowd, best friends Noah, New Michael, Jack and Ethan have one simple mantra: ‘We would much rather the audience appreciate us as comedians than people who have overcome adversity’. In this coming-of-age heartfelt documentary, this band of brothers finds themselves at a crossroad. With real life pulling them apart, they decide to plan one ambitious farewell show before they all go their separate ways. People with Asperger’s don’t deal well with uncertainty, and this is the most uncertain time in their lives.”
Nicolette Mallow: I read your biography about your compositions for film and television, but will you tell me the overview about how your journey as a musical composer unfolded?
Crystal Grooms Mangano: I began playing piano in the 1st grade. Then I added on the flute, the electric bass and I participated in as many music groups as I could while I was in school. Back then I started composing piano pieces. And I loved playing piano reductions of film scores, which I know frustrated my piano teacher. Like the time I brought a piano piece from “Seven Years in Tibet”. In college, I studied music and film together at Montana State University because I wasn’t sure what I wanted to pursue. Their dual degree program allowed me the freedom to learn both spectrum’s… I sort of created my own path by absorbing, learning and combining as much as I could from studying film and music. Practicing both at the same time. I met so many people in both departments. It gave me a great background into all aspects of filmmaking, editing, directing and music. Sort of like learning the ground base for what goes into making a film… When I got to LA, it was a big change and a bit of an adjustment. I was born in Casper, Wyoming and then moved to Montana. But I have grown to love Los Angeles. During the last four to five years is when I really started composing for film and television.
NM: Do you have a process when composing music for film and TV? Or does it alter depending on the project?
CGM: Yes, it depends on the project and the Director. A composer can come on at any point in the project. A composer can begin as early as the script, or as late as when the film is being edited at the end. I recently worked on a horror film and I read the script in advance and then submitted a demo to the Director while he was editing. And then once they were finished, I came back and created the complete score… During the making of “Asperger’s Are Us”—I came in close to the end when they were almost finished editing. I didn’t have much time to think about the music. Before writing anything down, I watched the film multiple times. Just because I really wanted to know as much about the story as I could, first. One of the first tracks I sent was “First Rehearsal” when the guys are looking for a place to rehearse. The scene shows their personalities and struggles; exterior influences. They so much want to focus on themselves and are having so much fun with it all. And I wanted to portray the spirit of their comedy troupe. They do it because they love it and their friendship becomes formed around this comedy troupe. But they don’t have a space so they keep getting kicked out of places and it’s not going smoothly. The score at times is a little off-kilter and a little unconventional as far as instrumentation. I wanted to show they’re having fun and that’s the point of what they’re doing.
NM: I listened to your tracks several times. The music is so playful, fun and it makes me want to go on a walk outside or take an adventure somewhere. There is something about the music that reminds me of youth and the playful mood of being young and free… Music is so powerful. When you’re creating music for a project, does it affect your mood? I would imagine the horror music was vastly different than this documentary.
CGM: Music is powerful and it does affect my mood. I really have to get into the same mindset as the music I am trying to write: anxious, happy, subdued. Whatever mood it may be, yes, it can be difficult because I really have to get into the film. “Asperger’s Are Us” was really light and cheerful as opposed to the darkness and eeriness of a horror film.
NM: I read that you run marathons… Does running help calm your mind and help you write?
CGM: Running clears my head. Running gives me space for my thoughts. First part of the run, I am thinking and stressing about projects. But once I get into the run, that space clears and I am able to enter a creative place. I come up with a lot of ideas and bring them into the studio after a run. The more you sit and work, the more you get where you don’t know if you’re having fresh ideas or not.
NM: Do you have any advice for up-and-coming artists entering the entertainment industry?
CGM: My advice would be that if you’re going to pursue something to remember why you want to do it. Always remember, never forget. For me, when I am getting upset or I am frustrated by the process of it all—whenever I feel burnt out or discouraged: I remember why I love this. I remember that it makes me happy and brings me joy. Keep that remembrance and the love of it all the focus if and when you get caught up in the politics of the industry. Don’t lose sight of why you want to be there. Always put that love and that positive energy into your work.
To read more about Crystal Grooms Mangano and her biography, please refer to her website at www.crystalmangano.com. Stay tuned for the film “Asperger’s Are Us” to appear on Netflix.
Note: This article was originally published on Examiner.com in March 2016.
Euphoria will be hosting its fifth annual music, camping and community festival at Carson Creek Ranch in Austin, Texas from Apr. 7-10, 2016. Founded by Mitch Morales, the 2016 line-up includes Bassnectar, Above & Beyond, Dillon Francis, STS9, Eric Prydz, Juicy J, Griz, Tycho, Cherub and many other artists. Euphoria Music Festival has also revealed that it will present its first-ever Silent Disco at the fifth anniversary in an effort to keep the party going well after the main stages end. Created exclusively for Euphoria’s overnight campers, the stage will be presented by San Francisco’s famed HUSHconcerts, formerly Silent Frisco. Additionally, Euphoria also features art workshops, yoga, movie night and food trucks.Tickets to Euphoria are still available for online purchase. And to view a 5th anniversary line-up video on YouTube, click here.
“In addition to these activation’s, Euphoria has handpicked sponsor-partners to bring their own style to Austin’s home-built festival. Selfeo, a cutting-edge app that provides users with the ability to transform a single device into a customized, multi-screen viewing environment, will be hosting electronic charging and water stations. Coca-Cola, brings an interactive “Share A Coke” station- a great place to chill out and beat the heat. Mike’s Hard Lemonade will be bringing their “Mike’s Harder” Tasting Station, for 21+ patrons, featuring an intensely refreshing and boldly flavorful alcohol experience. In a phrase: it’s kick ass. Euphoria is also excited to announce its healthcare partner, ORIG3N. Encouraging fans to participate in the future of medicine, you can contribute a small sample of blood to support future medical research and sign up for a new genetic test granting you access to information in your personal code- allowing you to make choices about your lifestyle, fitness, and skin care choices. Euphoria is also making getting to-and-from the festival a breeze by teaming-up with Lyft, for premium drop-off points and cool swag at their tent inside the festival. Also don’t forget to take advantage of $20 free rides for first time users. Other 2016 sponsors include: Dos Equis, Red Bull, and Chaco Footwear. Finally, Euphoria is broadened its efforts to give back and build a community that goes beyond the music including a partnership with Keep Austin Beautiful. Formed to provide resources and education to engage citizens in building more beautiful communities, the two-year alliance will kick off in April and will include the adoption of Carson Creek that runs along the Ranch, five river cleanups to be held throughout the year, and additional participation and support for Keep Austin Beautiful events. The first of these events will be held April 2nd, when Euphoria will call upon its local family to join in a pre-festival river cleanup at Carson Creek Ranch. Additionally, Euphoria will be active in the organization’s Clean Sweep event on the morning of April 9th, inviting campers to take part in leaving Austin in better shape than when they first arrived.”
To find out a little more regarding the formation of Euphoria music festival, Founder Mitch Morales took a moment for a phone interview with local Austin Examiner, Nicolette Mallow, during SXSW 2016 this March.
Nicolette Mallow: What compelled you to launch the Euphoria festival in ATX?
Mitch Morales: Worldwide, my girlfriend and I have attended other festivals in Europe and abroad. We loved it so much that I wanted to bring it back to Texas, specifically Austin (ATX). Each experience at every music festival was so unique: the music, the people, the location and the energy. So that’s how Euphoria came to be. And the reason I wanted to integrate camping overnight as an alternative for attendees is because it prolongs the meaningful time spent at the festival. Camping gives people time to leave their worldly problems behind and immerse themselves in music and connect with others. Creating an even stronger sense of community and continuity among the crowd. Euphoria is equally focused on sharing music with other, as much as it is about giving back to the community and sustainability.
NM: What exactly is a silent disco? I’m familiar with discos and I adore a colored, retro disco dance floor all lit up at night. But I am not familiar with the term ‘silent disco’.
MM: A silent disco means that one or more DJ’s (disc jockeys) is spinning music that streamlines silently through radio channels rather than booming out the speakers for all to hear, one DJ at-a-time. This year we have a generous list of DJ’s that will be live on set, simultaneously, and guests can tap in and choose a radio station. Alternating between stations if they like—playing the music into their headphones. Silently listening to the music in their headphones as loud as they like, switching from DJ to DJ or staying on one channel.
NM: I like the symmetrical and symbolic branding y’all have set in place for the Euphoria festival, particularly the pyramid. But I also noticed that nature holds a prominent place amongst the symbols. What inspired the branding process?
MM: I wanted Euphoria’s branding to be something synonymous. I wanted to utilize symbols that have the ability to be universally recognized by people. That way we could share it locally. The pyramid is center stage because of its symbolism and in this case, it somewhat resembles a tent. On a higher level, in Egyptology the pyramid means much more and we can all recognize that and its importance. In regards Euphoria, it symbolizes the pyramid and it represents the festival tents and how Euphoria brings light, sound and energy in one place, together, and everybody coming together as one for the love of music.
NM: Speaking of coming together for the sake of music, I was informed that Euphoria is booked for an event during the Music portion of SXSW 2016. Is this the first year that Euphoria has participated in The SXSW Music, Film and Interactive Conferences out of the thirty years they’ve been in operation?
MM: Yes, this will be Euphoria’s first ever-official showcase for the SXSW festival. I am really excited about it! Being able to partake in SXSW Music 2016—it’s such a great opportunity and it also legitimated the work my team and I are doing for Euphoria. SXSW is another local festival on a much greater scale, and we are happy to be part of it. This showcase is like a sneak preview of Euphoria.
For more information about tickets, the schedule, camping and other inquiries: please visit Euphoria’s website at www.euphoriafest.com.
Euphoria music festival’s Manifesto: “We’re curious creatures, constantly seeking better ways to connect with people; constantly seeking better ways to add value to their lives and give back. We think about how people devour music, information, and new ideas and then go out into the world and plant the seeds of change. We are fans. Pure and simple. We’re deeply enriched by the transformative effects of music and community. We belong to and live in the musical moment. We belong to a community who, through music, seek a deeper, richer, more inspired experience. We belong to Austin, to its freedom and vibe. We belong to those who doubt the conventional and create the exceptional. We belong to each other, one family camping and laughing and loving and sharing in the joy of music. We belong here, in this place, which is far more than a music venue; far more than a festival, it’s a completely immersive experience, a place where you listen, create, feel and literally — live in the moment. Find Your Euphoria.”
Note: This article was originally published on Examiner.com in March 2016.