Podcast appearances and mentions of Christopher Larkin

From the earliest 8-bit micro masterpieces of back in the day, to the full-blown orchestral epics that provide the soundtrack to the mind-blowing games of today, the music of video games is a wellspring of creativity, imagination and musical adventurousness. Your humble host has not been a "gamer" for many a decade but thankfully the younger generations are keeping on the cutting edge of this world, and bringing their parents along for the ride. Here is where ATTT comes in, with our favorite longtime regular guest, the Old Boy Himself Ryan Blake bringing his progeny in tow to talk video game music. Ryan's son Jasper Blake and Jasper's trusted sidekick Elliott Blake help round out this conversation with a younger perspective and wider knowledge of some of the best video game soundtracks being made today. Picks 10-6 of TOP TEN SONGS FROM VIDEO GAMES are featured in Part 1.Ryan Blake's music is on Spotify!https://open.spotify.com/artist/5DMMz3Z5KVxAqf172PiipE?si=QLMdS3SpSXCHzSlxV1yQxwRyan's 90s cover band Il Destro is out there doing stuff all over Orange County!https://www.instagram.com/il_destro_band/Jasper has his own YouTube channel, folks!https://www.youtube.com/@PixelshadowstudiosATTT's Patreon is back, with an exclusive Bonus Episode every month featuring our patented Emergency Pod! format. Join for just $5 a month and get Patreon Emergency Pod #4 with guest Gabe Scalone, out now:https://www.patreon.com/alltimetoptenWe're chatting about music! If you're on Facebook and want to join the ATTT community, chat with us in the All Time Top Ten Podcast Music Chat group:https://www.facebook.com/groups/940749894391295

Cuando termino de publicar un Episodio y me dispongo a preparar el siguiente me dedico a buscar nueva música, a menudo de autores ya largamente conocidos, pero siempre disfruto buscando música de otros que no conocía. Y, a pesar de llevar ya 30 años haciéndolo, creedme, siempre, siempre hay nuevos músicos que no conocía. Entonces me convierto en un explorador y me dejo sorprender por músicas que soñaba que existían, músicas secretas que estaban esperando el momento de ser descubiertas. Richard Stonefield, Christopher Larkin, Roger Subirana, Santiago Trigueros, Luis Alberto Naranjo, Eddie Jobson, Joakín Bello, OKADA, Ocoeur, Laura Masotto, Carolina Eyck, Raphah, Chuck Johnson. El playlist detallado: lostfrontier.org/episodios/2024/1023.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Cuando termino de publicar un Episodio y me dispongo a preparar el siguiente me dedico a buscar nueva música, a menudo de autores ya largamente conocidos, pero siempre disfruto buscando música de otros que no conocía. Y, a pesar de llevar ya 30 años haciéndolo, creedme, siempre, siempre hay nuevos músicos que no conocía. Entonces me convierto en un explorador y me dejo sorprender por músicas que soñaba que existían, músicas secretas que estaban esperando el momento de ser descubiertas. Richard Stonefield, Christopher Larkin, Roger Subirana, Santiago Trigueros, Luis Alberto Naranjo, Eddie Jobson, Joakín Bello, OKADA, Ocoeur, Laura Masotto, Carolina Eyck, Raphah, Chuck Johnson. El playlist detallado: lostfrontier.org/episodios/2024/1023.Escucha este episodio completo y accede a todo el contenido exclusivo de lostfrontier.org. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/26825

Y cayó la más oscura de las noches como cae el telón tras el último acto y las tinieblas se cernieron sobre el mundo y los fríos páramos quedaron yermos bajo la bruma, desnudos y ateridos en la más absoluta indigencia. Las almas vagaron sin rumbo a la deriva en la corriente, meciéndose en un agitado mar, ahogándose de prejuicios, naufragando en el abismo. Dolor y agonía de una orfandad súbita, el silencioso llanto desgarrador del eterno deambular en la oscuridad del alma. Débiles susurros que se lleva el viento. Los pasos cansados de recorrer una y mil veces el mismo camino polvoriento; la lucha por levantar el terrible peso de arrastrar una cruz que te doblega y te arroja contra el suelo en la extenuación de la noche más oscura. Música para descender a los abismos. Música para la Semana Santa. Ben Carroll, Glacis and Adrian Lane, Adrian von Ziegler, Endless Melancholy, Scott Holmes, Christopher Larkin, Lewis Lenk, Russell Giffen, Andy Mort, Daniele Bogon, Manchester Collective, Patrick Jonsson, Richard Einhorn, Max LL, Jóhann Jóhannsson, The Beka, Sangnoksu, Hildur Guðnadóttir, Kyle Preston, Simon Daum, Zack Hemsey. El playlist detallado: lostfrontier.org/episodios/2024/1022.

We're back for one last ride! Featuring special Guest Chris Larkin! We talk about a whole mess of rambling topics, so you know we finished this pod in true form. Enjoy! Find Chris! https://www.christopherlarkin.com/ Chris's music Find us! Patreon: https://www.patreon.com/Gofloatpod Insta: https://bit.ly/2IHgNIt Twitter: https://bit.ly/2H337qu Theme song: Severe Tire Damage by Kevin MacLeod: https://bit.ly/2ICU0h2  Logo Design by Tori Russell: https://torirussell.com/

Atrapados en el ajetreo constante de la vida moderna, nos perdemos el trasfondo de la existencia y no nos damos cuenta de que la música se oculta en lugares insospechados, en los rincones olvidados enterrados en el bullicio de las ciudades. Se encuentra en el susurro del viento entre las hojas de un viejo árbol o en el ritmo sincopado de los pasos de un transeúnte apresurado. Se encuentra en los murmullos de una conversación lejana, en los ecos de una risa infantil que se pierde en la distancia. Se despliega en los detalles inadvertidos, en los silencios elocuentes que se intercalan entre los sonidos más obvios de la vida diaria. Evoca recuerdos olvidados y desencadena nostalgias sutiles. Es una melodía que conecta lo visible con lo invisible, que se revela entre susurros y suspiros con la eterna promesa de una música escondida. Ben Prunty, Kyle Preston, The Eight, Julia Kent, Erik Wøllo, Ash Ra Tempel, Manuel Göttsching, Piotr Wiese, NuvolutioN, Operentzia, Sébastien Guérive, Bleaklow, Christopher Larkin, Frore & Shane Morris. El playlist detallado con enlaces a las audiciones íntegras de cada álbum: lostfrontier.org/episodios/2023/1012.

Atrapados en el ajetreo constante de la vida moderna, nos perdemos el trasfondo de la existencia y no nos damos cuenta de que la música se oculta en lugares insospechados, en los rincones olvidados enterrados en el bullicio de las ciudades. Se encuentra en el susurro del viento entre las hojas de un viejo árbol o en el ritmo sincopado de los pasos de un transeúnte apresurado. Se encuentra en los murmullos de una conversación lejana, en los ecos de una risa infantil que se pierde en la distancia. Se despliega en los detalles inadvertidos, en los silencios elocuentes que se intercalan entre los sonidos más obvios de la vida diaria. Evoca recuerdos olvidados y desencadena nostalgias sutiles. Es una melodía que conecta lo visible con lo invisible, que se revela entre susurros y suspiros con la eterna promesa de una música escondida. Ben Prunty, Kyle Preston, The Eight, Julia Kent, Erik Wøllo, Ash Ra Tempel, Manuel Göttsching, Piotr Wiese, NuvolutioN, Operentzia, Sébastien Guérive, Bleaklow, Christopher Larkin, Frore & Shane Morris. El playlist detallado con enlaces a las audiciones íntegras de cada álbum: lostfrontier.org/episodios/2023/1012.

Tiffany Anton meets with Christopher Larkin of FundsFlow, a business consulting service for small businesses. They talk about what FundsFlow does for small businesses in the community, the second business Christopher helping companies market in the NFT space, and seeing Cookeville and the Upper Cumberland as a booming area of small business.  Listen to the latest Local Matters Podcast… Presented by Office Mart. Visit them at 215 S Jefferson Ave in Cookeville to see what they can do for your office News Talk 94.1 · Presented By Office Mart

Hey Everyone, Chris Larkin (Monty) stopped by to talk season 6 with us! OR did he? Enjoy Chris Larkin Music: https://open.spotify.com/artist/3TZZWO1dHgEMmEnY6dVck3 Patreon: https://www.patreon.com/Gofloatpod Insta: https://bit.ly/2IHgNIt Twitter: https://bit.ly/2H337qu Theme song: Severe Tire Damage by Kevin MacLeod: https://bit.ly/2ICU0h2  Logo Design by Tori Russell: https://torirussell.com/

Intro: Nasty neighbors in the Great Unraveling, The Rest MovementLet Me Run This By You: RejectionInterview: We talk to Tina Huang about soap opera acting, LaGuardia High School, the Playwrights Horizon program at Tisch, breaking down barriers for Asian actors, Ammunition Theatre Company, Revenge Porn or the Story of a Body by Carla Ching, Bay Area Theatre, Pig Hunt, starting a fake management company,  Word for Word Performing Arts Company, Intersection for the Arts, Campo Santo, Amy Tan, 1:1 Productions, Karla Mosley, Jeanne Sakata. FULL TRANSCRIPT (unedited):1 (8s):I'm Jen Bosworth Ramirez this, and I'm Gina Pulice.2 (11s):We went to theater school together. We survived it, but we didn't quite understand it.3 (15s):20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of2 (20s):It all. We survive theater school and you will too. Are we famous yet?0 (34s):You2 (35s):Part of the building.1 (36s):Okay,2 (37s):Great. I don't know how it's gonna go.1 (41s):I mean, nobody knows how it's gonna go. It's unknowable until we know it.2 (45s):That is true. Good morning.1 (48s):Good. Margie,2 (50s):Your makeup looks amazing.1 (53s):Thank you. I'm not doing well, so I'm acting opposite. You know that skill?2 (59s):Oh, I know. Oh, that's like, I would say like 90% of adulthood. Anyway. What's happening? What, what is, if you wanna get into it, like what's the overall arching shittiness,1 (1m 10s):The overarching thing is just, Well, my neighbor I told you about.2 (1m 15s):Okay. And I just wanna put it out there and we'll get into the story, but I wanna put it out there that I, we are in, and we've said this before on the podcast in what I would call, and others like Gina would call probably similar, the great unraveling of our society. So it's like Rome is falling and I, I don't even say it, it sounds so cavalier the way I'm saying it, but I literally every day see evidence of the great unraveling of the American sweater. You know what I mean? Like it's coming out. Yes. Yeah. And we, it's okay. And I think one of those things is terrible neighbors, right? Like, people who are terrible are just getting more terrible.2 (1m 58s):So Gina has a neighbor that is very terrible.1 (2m 0s):Yeah. People just over the last several years do seem to feel way more comfortable just being extremely hor. Horrible. Horrible. So what, So this is the same neighbor that I've talked about before. And basically the deal with her is it's like she's obsessed with us. And, and like, what she doesn't understand is that we just work very hard to avoid her, you know, avoid interacting with her at any cause. I realized yesterday after she screamed at me that she has screamed at three fifths of my family members.1 (2m 40s):She only hasn't screamed at the nine year old and the, and the 14 year old. It's so insane. She's the one who Aaron was walking the dog and he had a flashlight and the dog was really young and he was trying to train him. So he kept like stopping and starting screens out. It's very disconcerting to be sitting in my living room and seeing a flashing light in front of my house, house. Like, he's like, I'm walking the dog. And the same one who when she was walking her dogs and he was walking our dog, she's like, It's not a great time to be walking your dog because her dogs are out of control. And she's yelled at my son a few times. Anyway, so what happened was, I walked the dog, I picked up the poop, I had the little baggy. If it's anybody else's house, I feel comfortable putting it in their trash2 (3m 23s):Can. Yeah. Here's the deal. Here's the deal. I hate to tell you people, but poop is trash. There's like nowhere else to put it. So if you, if you are like not okay with pooping in your trash in a bag tied up, then you don't need to live in a society where there are dogs or where there are trash. Cause that's what it1 (3m 44s):Is, Honestly. Honestly. And it's like, I feel like a big part of what's driving all this bad behavior is just like, so much entitlement. Like, I'm entitled to have only my trash in my trash can. And it's like, okay, you've never lived in New York City, right? Cause you don't understand anything about cooperative living. And anybody, whether they live in my neighborhood or not, is welcome to put their poop2 (4m 6s):Back. Yeah, dude.1 (4m 7s):So I'm walking by and I'm talking on the phone stuff, somewhat distracted, and I see this trash can, and I go, I like reach out ever So tentatively, not tentatively, but like, I had barely started to reach out, realized it was their house didn't. And within milliseconds, she is out of her house screaming at me. And I hadn't even, you know, put the poop in there. And I, I'm talking about misbehavior. I mean, I've, I don't think I've ever done this except for like having road rage in the car where the other person really can't hear me. Like I just screamed every obscenity Yes.1 (4m 48s):In the book. I, I hope nobody else, I'm sure somebody else heard, but nobody, nobody's contacted me. And, you know, I'll say this, I'm much better about taking a beat. Like, I really wanted to blast her. I really wanted to like write a horrible message to her. I really want, and I, and I don't, I'm not refined enough, well enough evolved enough to like get right to like, what's, what's the need of the matter? But I have figured out that I should probably just not say anything until, until I've thought about it. I had a good long think she messaged me on social2 (5m 22s):Media. What1 (5m 23s):She said, I'm sorry, I accused you of throwing trash in our trash can. And I just blocked her. I'm just like, you know, I, I, I wanted, what I wanted to say is like, you have no idea how much time we spend trying to avoid you. You are unwell. You have yelled at three fifths of my family, like, never speak to me or my children ever again. Forget I exist. Forget I live right across the street from you because that's what I'm trying to do about you. So2 (5m 50s):Instead you just blocked her. Well listen that, that, because when you told me this story yesterday that she, the the reach out on social media hadn't happened. So now I'm like, I think what, before you said that part, I was gonna say like, I think our only recourse is what people do, which is start videotaping the insanity. And I'm not sure that's a really a good solution. Like, I think that like, oh sure, people put it on social media and then there's a laugh, but then we're really laughing at sort of the horribleness and the, and the mental illness of others. And it's their person and who knows how that's gonna negatively affect them or their job or their family. So I don't, like, I understand the, the urge to videotape everything, but I'm not sure that's really the answer with, with non-criminal behavior.2 (6m 40s):If it's a crime, then it's something else. But if it's just to embarrass or ashamed someone I, I'm, I have second thoughts about the videotaping now, but good for you for just blocking it. It, you know, what it is, is if to say, we are done with this, we are done with this.1 (6m 57s):Yeah. Yeah. And you lie down with dogs and you get fleas. Yes. And I don't really wanna bring that energy into my life. And sometimes, you know, if you get, if you're like a person who consumes as much media as I do, you get this false sense of like, what I would do in that, you know, in a certain situation when it's theoretical, I feel very, like, not even brave, but just like aggressive and entitled. And I can get to a point where I feel like I could hear myself saying like, Oh, I would kill that person. Or I would, which of course I would never do. In fact, I don't even wanna like, say anything unkind about them in a very public way. So knowing me and knowing my values, and you could just never go wrong if you stick with your own values. Like, it's not my value to, it's not my value to tell people, You know what, here's a thing you need to know about yourself.1 (7m 43s):And it's not my val even though I do that with people, people that I know, but not strangers. And it's my value to like, keep as much peace in my life as possible. And it's not my value to engage with toxic people with whom I could only ever have a toxic Yeah. You know,2 (8m 0s):Interaction. Right. It's not gonna get better. It's like a legit never gonna get better because it's just, that's not how, that's not how it works if you engage in that. So anyway, that okay. But that, that has nothing to do with the overarching shitty No,1 (8m 14s):The overarching thing is just like, wow, parenting is so hard. People, people are really, people learn at different rates. People learn lessons at different rates. People mature at different rates. Like, and having patience for somebody who's really behind in so many ways is exhausting and overwhelming to me. So there's that piece. There's like, you know, a relative with having a health crisis, there's,2 (8m 45s):Oh,1 (8m 46s):There's just stuff going on. Yeah. And, but this is what I'm doing differently this time. Okay. I am trying to stay with myself, which is to say, yes, things are terrible, things are going wrong, but I am not gonna abandon myself in the process. Yeah. Of like, feeling my way through it. And in fact, that's another new thing, is I'm feeling my way through it and I'm really trying to apply this thing about taking a beat and like how crazy, you know, Aaron is also having, we're simultaneously having this growth moment. And, and you know, he recently made a big stride with somebody in his family who's having a health crisis, and he, he said, You know something I like, I'm not gonna go to crazy town.1 (9m 32s):Like I, he, I saw the light bulb for him. Like, I have a choice about whether or not I wanna go to crazy town on this. And actually I don't, because actually it's bad for my, because you know, I was thinking about this when I was at Costco today and I was doing some something small and I was wanting to like, do it really fast. And I thought, why do I wanna do everything so fast? Like, my shoulders are tense all the time. Like, I don't wanna do anything so fast anymore. There's no reason I'm not in any rush. Like I, there's, it's, it's just a habit from youth. I feel like just doing everything in a big rush, rush, rush. Yeah. And I think it's time to let that go.2 (10m 9s):Oh, I mean it's, so I feel like it's such an intense and like right on timing because there's this whole movement about rest. Have you heard about this? Like rest is radical, Rest is as a revolution. So there's a black woman and I believe I, I I I, I am ignorant to what her like specialty is area. And I just started hearing about it. And Miles my husband was listening to her an interview with her about how rest, not napping, not, but like r really snatching and holding dear to the idea of rest as, as radicalism, rest as a revolution opposite of hustle.2 (10m 50s):Culture is like gonna be the way that we, this is my interpretation of what she's saying. Like, the way that we sort of fight injustice and in fight racism, all the isms is by really embracing rest culture as opposed to hustle culture. So1 (11m 8s):I love that. And by the way, black women are spawn every good thing there is in the world. Like, you find a trend that's happening in society that you like and think is really positive. You can definitely trace it back to a black woman who, who, who, who started, who started it. So that's great. I'm pro rest, I'm, and I'm also trying to do less of like I'm a human being, not a human doing. And like, if I don't cross everything off of my to-do list, that doesn't, you know, it's not, it's not like I'm, it's not a wasted day if I didn't get all my little tasks done, you know, especially I was emotionally dealing with something else.2 (11m 45s):Yes, yes. That's the other thing. It's that the, the emotional, you know, I think like if it's become such sort of a, I don't know, buzzword or whatever phrase, emotional labor, but I do think that the time that I spend thinking, feeling and, and, and doing internal work, I've never counted as anything. And I think the way, and, and watching, especially having watched in white male dominated Hollywood for so long, Let me tell you something, Those motherfuckers rest okay. They rest when they, when, So don't you think for one second that the people who are on top or seemingly running shit or whatever or are running shit are not resting because they are, they can, they may set the trend for hustle culture, but they're really talking ultimately about the rest of us hustling because they have yachts and vacation homes.2 (12m 43s):They rest. I don't care what you say. You know what I mean? Yeah.1 (12m 46s):It's, it's such a, it's such a, I don't even know how to describe it. It's such, it's like a comical notion that these masters of the universe are really hustling all the time because all of their work is built on the backs of people who are oppressed in one way or another. So really everybody under them is hustling. Correct. Much, much more than they are,2 (13m 8s):Right? Yes.1 (13m 9s):And we've been able to outsource all their, you know, a domestic, everybody we've been able to out Yeah. Everything. Yeah.2 (13m 16s):And like, I think, I think the other, the other sort of weird shit is that like, you know, the older I get, and we've talked about this a lot on the podcast, is the more I realize like it's all a pyramid scheme, right? Like, so any capitalism thing that you are into, whether it's Hollywood, whether it's Wall Street, whether it's, I don't care, like anything, whether you work in tech, anything is all basically a pyramid scheme because that is what capitalism is. And so I feel like there are just more and more subtle ways in which I am seeing that the, you know, the rules are never fair and the what's behind the curtain is always the same, which is a select few who tend to be, you know, white males are really running the show.2 (14m 10s):And we shall see what if it, if it changes with, without a civil war. Like, I, I don't know.1 (14m 17s):Yeah. Yeah. And you know, I I I always think of like great ideas for memes, but then I never make them. But we should do one of like, you know, a picture of that, of the Wizard of Oz and, and when we see the curtain and you know, what the internet is what has opened the curtain really, you know, kind of exposed and reality TV to some degree has exposed and documentaries have exposed like the truth of what's going on. The great unraveling is also like the great discovery of what the actual truth is.2 (14m 48s):Sure. Yes. I mean, when you, when you unravel the sweater, it's like what is under there is is like this old decrepit white dude who's flabby and, and not in shape telling the rest of us that we're fat lards and need to get it together. And that is what's happening. So I'm not, and the other thing I'm not doing, it's really interesting. It's like I've made a conscious decision to literally stop following up with people who are not following up with me.1 (15m 22s):Yes. Yeah.2 (15m 23s):I'm not following up, I'm not circling back. I'm not, I'm not hitting you up again. I'm not waiting three months and then putting it on my calendar to circle back. I'm done, I'm done with all that. I don't, I don't have anymore resources to circle back. Like, I'm not willing. Yeah. So if we have a thing and we're supposed to meet and you can't do it, or you, you keep putting it off, it's over. Unless you wanna come out of the blue and say, Hey, I realize that like we never met. Are you interested in meeting on this day at this time? And then I am okay. Because it is just my following up is taking up too much time. I'm not, I'm not1 (15m 58s):Interested taking too much time. It's, that's emotional labor too. And also, like I've gotten to the point in life where I, if, if I reach out and somebody says, Yeah, and then we go, you know, we try to firm it up and they, they ghost me, which by the way, I have done bajillions of times me to, I just understand it as the way that you're communicating to me non-verbally that you actually don't wanna be part of this thing. Correct. Which is totally fine because a lot of us over commit and can't, you know, carry out our commitments. It's fine. But I'm less inclined even after like one interaction that because the person is telling me who they are, if not who they are, how they actually feel. You know, because you make, you make, you make time for whatever you want to make2 (16m 38s):Time for. That is absolutely true. And I also feel like I am so like, okay, so we bought this house, we bought, I don't know if you know this, but we bought the second house. We didn't buy the first house. The first house was got invested with no, Oh yeah. I forgot to tell you this because I was waiting for the podcast. But, and then, anyway, that first house, I have to send you the pictures of our real house. The first house was owned by Open Door, which is a horrible private equity company that just bought up all the houses in southern California. And anyway, they communication is horrible. They treated my realtor and us like crap. And, and so we just walked away from the deal, got our earnest money back because they would not fucking fix their fucking $8,000 termite problem.2 (17m 23s):So we were like, bye, I'm done. So then we found this other house built in 1980 that I fucking adore. And so it is so dope and I am restoring it to its 1980s glory. So it's gonna be an eighties. Like every room, every room is gonna have sort of an anchor of 1980. It's a very specific year because it's like the, the seventies are still, which is why I was like, can you make my neon sign1 (17m 48s):Pink? Yes, By the way, which I did look into and I would love to do for you, but to get what we wanna put on it is like a minimum thousand dollars.2 (17m 57s):Yeah, let's not do that. Don't do that. We'll do it. Yeah. We1 (18m 1s):Could slash I was trying to do like fa slash o you know, as a, as an acronym.2 (18m 9s):Let's just do people do it all the time. People put f fa Yeah, yeah, just do that. Don't worry about it. Okay. But so, okay, so what I'm saying is like, I'm obsessed now with picking out pieces for this new home that we, we, we close on the 7th of November and we move at the end of November. And so all this to say is like, I've realized I would much rather look at giant pink velvet sectionals that are retro refurbished from the 19, from 1980 than fucking follow up and circle back with your motherfucking whatever you're gonna help me with. Yeah. I would much rather look at, oh my God, they made what in the eighties.2 (18m 51s):That is, I I would much rather like focus it on my life and like how to bring creativity and art to this our first home that we're gonna own. You know, And then fucking track you, your ass down. Who doesn't wanna hang out with me in the first place? Bye bye.1 (19m 13s):Hey,2 (19m 14s):Let run this by1 (19m 15s):You today is about rejection.2 (19m 25s):I love it.1 (19m 26s):I'm sure we've talked about it here. Oh, I'm sure we run it by each other before here. But, you know, it's one of those perennial topics. So I, I liked truly by happenstance learned about an opportunity to direct something. Not with a theater company that I used to work with, but a different or organization. And it just so happened they were doing this play and, and the person who was producing it was like, Oh, we're looking for a director who's this and this? And I go, Oh my God, that's me. Yeah. So she says, Great, you know, and submit. And I submitted and, and I had, I submitted and four months before I got a call from anybody saying, Can you come in for an interview?1 (20m 10s):And then when they did, not a call, an email from somebody who emailed me at 2:00 PM asking me if I could come at 7:00 PM2 (20m 18s):Yeah.1 (20m 19s):Now I wanted to do this. So I, I did, I hustled, I got it together. I wrote up like my, I wrote like a thesis basically on who I am as a director. And then I went to the interview with, with eight, eight or nine people there.2 (20m 35s):Oh my god.1 (20m 37s):Yeah. And you know, there was one qualification for this job that I was missing, but it wasn't something, It wasn't, to me it wasn't a deal breaker. And I was, I was very upfront, I said it right in the beginning anyway, this theater is not necessarily that high profile, which is an understatement.2 (21m 0s):I just can't believe that's too many people in a fucking interview. No, I literally wrote eight person It's too scary in person.1 (21m 8s):Yes, in person. And honestly, like even that wasn't bad because I, you know how you can just get in there and be in the zone and turn it on. And I was charming and I was, you know, an answering questions like honestly, but in a way that I felt demonstrated my competence, et cetera. Now I didn't exactly have it in my mind, like they'd be lucky to have me, but when I got rejected, I thought they would've been lucky to have me. Like, that was a mistake. What2 (21m 32s):The fuck? Did they reject you? What the fuck? Who'd they pick? What the fuck?1 (21m 36s):They, I don't know. And I've, you know, I'm trying to be politic here cuz there's people that I like who are part of this group, but it just, it just didn't work out that way. They, they, so, I don't know, I don't know who they picked, but they, but at the end of her email she said, We'd like you to re resubmit for like, this next opportunity. And so I'm working on, you know, like, it's not that if I had to do it over again, I would've done it differently. But when I really got clear with myself about things, I, you know, I was not that excited about this opportunity because it wasn't going to do anything for my career.1 (22m 21s):It really was just gonna be like an opportunity to direct and flex my muscles, which I would've loved to do. And so I, I, you know, as an actor you have to deal with rejection all the time. I just would love to know, like, actors do seem to have amazing strategies, seasoned ones, and the thing I hear the most often people say is like, after the audition, just forget it. Don't ever think about it again. But I would love to hear what your strategy2 (22m 45s):Look are. I think that for people that are, that are working and auditioning or interviewing all the time that you, that that is a really good strategy. The Brian Cranston method, which is you, you just do it and forget it. However, for those of us who don't do that every day, all day long, where it's like the one thing is more important because it's the one thing that we go out for. Like, I, like for me, I don't audition all the time. So like, when I get an opportunity from my agent, I take it really seriously and I wanna book it. And I'm, I really put in a lot of work in time. Okay, fine.2 (23m 24s):So I, it's so easy to say one and done, like forget it. But I think that that's great if that's where people are, like Brian Cranston, Okay, does he even have to audition for things anymore? I don't know. But for me, the thing that really works is what something you just said, which is to really go through and say, did I, what, what did I want about this thing? Because did I just wanna be picked? Because of course that's really valid. Like who the fuck doesn't wanna be special and picked if you say you don't, you're a sociopath like that, I don't care. You know? So I wanna be loved and picked, so that hurts on that level.2 (24m 6s):And then if I go deeper, I'm like, okay, but what is the thing that I liked about this particular interaction? Possible collaboration. Okay, well I really wanted to get more practice on what for me would be like practice on set, working out how not to be nervous on set. Okay. So I I'm gonna miss that opportunity, but like if I look at the text, did I really connect to it? Not really. So it's not that. So I think it's just like literally like what you said before, which is giving yourself and myself the time to feel my way through and think, okay, like what is upsetting about this? What is upsetting for me? It would be, if I was in your shoes, it would be like, I spent a lot of time and energy interfacing with these people.2 (24m 50s):Even if it was like, so if you, from when you submitted, even though that you weren't like thinking about it all the time, it was still hanging in the air for four months. Right? It's a four month long. Even if it's in the back of your, of, in the ethos, it's still there. Okay. So it's still like on the table. And then you finally have an interview with all these people, lovely people, whether or not it doesn't matter, you're still give, putting out so much fucking energy. And so what it feels to me, like, I would feel like, oh, like I did my best. I put myself out there, I made a case for myself and my work in front of a lot of people and I didn't get the thing.2 (25m 31s):And that just feels shitty.1 (25m 33s):It does. It just, and there's no way around it. Like sometimes things just feel shitty. And I did definitely wanna be picked the, the idea that somebody would, you know, the, like I'm a sucker for an opportunity to be picked for something. I don't, I don't necessarily like avoid things. I don't avoid things that could, you know, possibly lead in rejection. I, I, I approach those things or I try to, but it was the thing I said earlier, like, I just wanted, I just thought, oh, it'd be so fun to, to work on this, but upon reflection there are 1 million things I could be working on and would love to work on. And that would've prevented me from do, you know, for a period of time that would've prevented me from working on those things.1 (26m 16s):So it's a blessing and I what's for you will not go by you. I totally believe in that. And it was my, in fact it was my mantra that, you know, yesterday when I found out. So,2 (26m 26s):And, and, and, and to be fair, like you just found out. So like, if it was like three months from now, like I've had friends who, and I, I mean I may have had this too, where like it lasts more than 24 hours. This feeling of why did I get rejected? Why, why, why? What could I have done? Why didn't they like me? Look, it's been less than 20, you know, you're fine. Yeah. Like, you're not, Yeah. So I, I but rejection is something that is like the, the true, the true greats that I love seem to, their take on rejection is like, it gets easier the more you get rejected.1 (27m 13s):Today on the podcast, we are talking to Tina Wong, You are in for such a treat. Tina is amazing. Not only does she star and has starred on almost all of the soap operas, you've seen her in television film, She's an actor, a writer, a director, a producer. She does film television. She's a voiceover artist too. She does theater. She truly, truly, truly does it all. We really loved talking to her and we hope you enjoy our conversation with Tina Juan,0 (27m 47s):I'm2 (27m 47s):Not totally losing, losing it. Anyway, you survived and you went, you did a lot of things. I, I mean, first we're gonna get to it all, but can I just say, and I can because this is, this is, this is the platform to say it. I love that you were on two soap operas and more people, maybe more than two. Were you on more than two or just4 (28m 7s):Yeah, yeah,2 (28m 8s):Because Yeah, go ahead.4 (28m 11s):No, most recently just two, but yes.2 (28m 13s):Okay. So here's the thing about that is that I don't care. We went to theater school and I know a lot of people think that that is, or some people talk shit about soap operas in terms of acting. Yeah. I have never seen or heard actors work as hard as my friends that have been on soap operas. And in terms of the pace and the pacing and the, the amount of work that is required of, of, of actors at soap operas a stunning. So I just love it because I think that it is like, from what my, what I know about it, it's like a gymnastics routine that people are doing on those sets. So we'll go, I just wanna say that I like give full props to that because it's not a joke soap opera work.2 (28m 55s):It is not a joke. Thank4 (28m 56s):You. Yeah, thank you. I appreciate that. Shut2 (28m 58s):Out. Yeah, thank you.1 (29m 0s):So I'll just ask then, pursuant to that, because I think you are the first person we're interviewing who was on a soap opera, and I would love to know everything about the process of your audition and how you, Cause I've heard, I, I used to, I used to, when I was in high school, my show was days and I read soap, Opera Digest and everything. But I would love to know, like I've heard some people describe it as more of a, it can sometimes have a feeling of more of a regular job since it's like daytime hours, et cetera. But I would love to hear what your experience of just the work of being on a soap opera.4 (29m 34s):Well, first of all, I love everyone that I work with. I'm, I'm on days, so, but you're2 (29m 40s):Still on it. Oh my, my gosh.4 (29m 41s):I'm still on it. I'm still on it. So in fact, I'm like shooting six episodes next week. So I'm, I'm on a little break in Canada, just like here having a little vacation before we go.2 (29m 54s):Good for you. Oh my gosh. Six in a week. It's like Saturday Night Live. What's happening? Okay. How did you get on these? What was your first one that you were on, first of all? Was4 (30m 2s):It the first one? The first one I was on was I think days. And then when I first came to LA and then I did General Hospital and then I did Young and the Restless, and then I did, then I was on Bold and the Beautiful and Days at the same time during the Pandemic. And then now I'm on days Doing days.2 (30m 24s):Oh my Tina, Tina Bow Tina. This is, this is, this is incredible because what this tells me is that you are extremely obviously talented, but we know that because I've seen you on Rezo and aisles, all the things, but it's also, you are, it must be really wonderful to work with because people keep bringing you back and back and back. So you must be like a real sort of team player, which I bet is part of your theater tra like you are an ensemble. Yes. Right?4 (30m 53s):Yes. I think the best part about doing any of this is the collaboration part. You know, when people don't want, it's funny when people don't like notes and don't like getting notes. I'm always like, I love notes. Like I can't just do this on my own and act in a bag. Like I need, I need you to like tell me what's going on. What do you see that I don't see, you know, all of that is, that's the best part. The collaboration. Yeah.1 (31m 14s):So I'm still eager to know a little bit more about like how you, how it started with your audition and how you experience the day to day work of being a soap opera for actor Sure. As opposed to any other type of actor.4 (31m 26s):Sure. Well, I, I got the audition to, to go in for days and I read for Marni Satya, who, I hope I'm saying her name right, who's the casting director. And it went well. And she said, you know, we have a call back. And I said, great. I can't remember if that was the next day or if that was the same day. It may have been the same day. And she told me to just wait, I can't remember. Cuz the producers were upstairs and they wanted to do producer sessions right away and, or it may have been the next day and she, they sent sides, you know, again, but I just assumed they were the same audition and it was like 14 pages. It was like a lot of pages. But just so you know, soap scripts are, you know, one and a half spacing.4 (32m 9s):Oh yeah. So it's not single spacing, but2 (32m 11s):Still, still it's a dialogue. Listen, I, I'm like an under 10. I like always do an under 10 because that's my jam. I have trouble with that. I don't, Oh my, you must be, you're okay. So you get all these pages and you assumed it was the same, but I'm guessing it wasn't the same.4 (32m 27s):So I show up and she wanted just read all of us ladies that came back in to, to for the producer session and just like talk to us and all that kind of stuff. And she said, So you got the new scenes? And I said, New scenes, No. And then she said, Oh well we gotta go, we gotta go up to the producers right now. So we all walked up and she goes, Don't worry, I'll put you last, you know, don't hear the new scripts.2 (32m 51s):Oh my god. The new scripts. I'm peeing my pants right here. Okay, go ahead. And I4 (32m 56s):Don't remember how different it was, but I, I think it was quite different.2 (32m 60s):Like,4 (33m 1s):And she said, just take, you know, whatever time we'll put you last. And there was like maybe four, four women that, excuse me, my nose is running, but four women ahead of me and I just studied. Oh2 (33m 12s):My God. You were like, okay, nyu. Okay, tons of Shakespeare, memorization don't fail me now. Right. So, okay, so you go, were you nervous? Which it's4 (33m 23s):Harder when you get older.2 (33m 25s):No shit. Okay. Right. So you go in the room and there's producers there, obviously it's a producer's session. And is the casting lady still in the room with you?4 (33m 34s):She, she's still in the room and it was only one producer, the executive producer, so it's just him. But it was a big conference room. Anyway, when I was waiting to go in, one of the actresses, like, I guess they overheard what had happened and this, this another actor said, You didn't get the sides? And I said, No, you didn't get the new scenes. I said, No. And she said, That's sucks. That's terrible. I'm like, Yeah, I'm just gonna study. Yeah, I'm2 (34m 3s):Just studying like, be quiet. Like leave me alone. Right,4 (34m 7s):Right.2 (34m 7s):Not helpful. Not helpful. Not helpful.4 (34m 10s):I'm, I'm not that person. I don't compete with anybody in the audition room. I compete with myself and I think maybe that's part of my success. I just, I'm hard enough on myself. I don't need to add like everyone else has a distraction. But it was really interesting. So, so then he, they called me in and it went really well. I mean, it was just this huge conference room with a giant table in between us. So it was like, not like a theater setup or an audition room, A normal audition room. And it went really well. I mean, I think I sobbed, I think I was shaking, I think like all of those things. And maybe it was from the, that cold read sort of nerves that just let me just go with my, just go with my intuition, you know?4 (34m 53s):Yeah,1 (34m 54s):Right. No time to think and obsess and, and worry about it. Right. Do you get to, like, considering how much dialogue you have to memorize every single day for the next day's work, is there any room for improvisation or do you, are you supposed to say it word for word?4 (35m 9s):Supposed to say it word for word? I think there's a little bit of leeway. You know, the longer you've been on the show, they, they don't, you can't improv for sure. It's all written, but, you know, if you get a the instead of and or you know, those little things, the pace is so quick that they're not gonna redo the, and we usually get one to two takes. Right. We don't get multiple takes.2 (35m 30s):Oh my, my God.4 (35m 32s):It moves at an incredible speed. So when you said what you said about soap acting and soap actors, I really have a tremendous respect. I think a lot of people like to put judgment on high art and low art. And I, I don't really get the point of that, but, but they, people love it. People watch it, it gives them a sense of comfort. And the actors that I've met are so hardworking and so talented, like very good actors. They're just in the job that they're in. You know what I mean? And a lot of it's a lot of this soap acting is soap work has gotten better. So1 (36m 5s):Absolutely. I would go so far as to say that's probably a sexist thing that soap, soap operas have whatever reputation that they do because you know, anything that a lot of women like people tend to denigrate. Right. Okay. So did you always want to be an actor? Did you always want to go to theater school? What was your journey when you were picking colleges?4 (36m 33s):Wow. You know, I, being a Asian American woman, I didn't really see that it would be a possible career path for me. I was like a secret artist, you know, like inside I really wanted to be on the stage and I really wanted to act and all of that. But I didn't have examples really. I think growing up I had like for a short stint Margaret Show and, and Lucy Lou and you know, very few and then like Chinese actresses that I knew of. But it was a tough journey. So I secretly auditioned for LaGuardia music and art and performing arts in New York City. You know, the fame high school? Oh2 (37m 12s):Yeah. Oh yeah. I know that you went there and I'm wondering, like you seek, what does it mean to secretly audition where you didn't tell your folks and you were like, I'm out.4 (37m 20s):Didn't tell my folks. Yeah, I mean, how old are you when you start high school? I mean, I was probably, Oh yeah, what are we, 12? No, 13. 13.1 (37m 28s):13. I, No, 13. Really young, really4 (37m 30s):Young.1 (37m 31s):13. Do that on your own.4 (37m 32s):So I, you know, I grew up in New York City, so I took the subway up. I I applied to audition and, well first I was in the, the fine arts program, so, which they also didn't like. And I had an amazing art teacher in junior high school who mentored me to make, make a portfolio and all this kind of stuff. So I'd gone up and did the art test without telling my parents. And I, and I got into the art program. Wait a minute2 (37m 55s):Differently. You didn't get into the, you went for fine art. For, for and you, what do you mean the art test? What the hell is that? That sounds horrifying. What do you mean an art test?4 (38m 7s):So, well I didn't, I didn't audition yet for theater cause I think it was too scary at that moment for me. So first I did the art program because I was encouraged by a grown up teacher who was like, thought she saw talent in me, which was very amazing to have a teacher like that. And the art test was, you had to have a full portfolio, like at least 10 or 15 pieces in a portfolio. So you carry that big old thing. Like imagine a 12 year old kid carrying a portfolio uptown. I mean it's just, it's, it's crazy when I think about it. And then you get there and there's like a still life setup and there's all the, everybody sits around on desks and you have to draw, you have to draw the still life,2 (38m 48s):My god, all the pressure. And4 (38m 49s):Then they bring in, and then they bring in a model and then you have to draw the model2 (38m 55s):A. This is like my nightmare of like any kind of that where you're like, it's a test. Anxiety, high pressure, pressure, creativity, high pressure on the spot, creativity. I would've been passed out. I would've passed out.4 (39m 10s):I don't think so. I mean, look, we we're all, it's a good prep for like auditioning and callbacks and just we're al you're always under pressure. We're under pressure right now doing the podcast. But, but yeah, I mean I think growing up in New York you're constantly under pressure. So I, I maybe I was used to it for that reason. But2 (39m 30s):I do have to say Tina, Tina, there is something about you. Yes, ma'am. That is like super badass, tough, even just the way you present and your voice in the best possible way. So like, and I wonder if that is a mix of, you know, New Yorker, Asian American parents. My, my guess is I'm the par a daughter of an immigrant. Your daughter of an immigrants. Right. Of immigrants. Yeah. Okay. So there's like a toughness about you and like all I could, like you're a badassery. Do you think it is New York? What is it? Where does that come from? Because you should play, you, you should play an assassin and a like a, like an action hero in, in like huge films.2 (40m 13s):Why isn't that? We gotta make that happen today anyway,4 (40m 16s):So let's just call Kevin Fig and just let him know like, I'm available. Well, I, I think you touched on it. I think it's all those things that make up who I am. I, I, I am tough. I am tough but I like, I I, but I don't see myself necessarily that way. I'm like, you know, I think we've, I think I spent actually a lot of years trying to counteract that tough expectation by being like smiley and sweet and doing the things that I think women tend to do. Women identifying women tend to do, like by softening themselves and being smaller in the room. And I think over the years as you get older you hit 40 and you're like, fuck that.4 (40m 56s):Oh, am I allowed to curse on this? Okay. You just kinda like, absolutely, you know, I'm, I'm, I'm fucking over this. But I think it's all those things. I think definitely New York and always having your defenses up and always having an awareness around you and having parents that worked extremely hard and sacrificed a lot and knowing that I could sacrifice more. I think that's also part of like surviving as an artist. Like do I need to eat that fancy thing today? Do I need to have that new outfit? Like no, I, if I want to succeed then those are the things I need to let go of in order to invest in my career.4 (41m 36s):So yeah, I think a lot of it is identifying as an Asian American female, I think having immigrant parents for sure that work really hard. I think New York City and all of its dangerous that I survived. So I survived theater school and New York City and now I'm trying to survive LA1 (41m 56s):Yeah, yeah. Right, right. Lot of surviving happening. So at what point did you, well obviously you told your parents that you applied and that you got in for the fine arts program. Yeah. They obviously had to get on board with that at some point, cuz you're still doing it. But then tell us about the switch into acting.4 (42m 17s):So it was my first year as a, as the, you know, a drawing, painting, sculptor. And I just found it really lonesome. Like I, I I was like a little emo kid, you know what I mean? Like all this angst I had just had so much angst cause I grew, I had a rough childhood and I, I just found, found myself in a little bit of a depression as a freshman in high school, which is I guess not that rare, but I just kept looking at the theater department and seeing these kids getting to like fully express themselves and be around others like them. You know, painting is a solitary thing I think like writing, I don't know if you have that experience, the two of you. Cause I read that you're both writers and I write as well and it's a very different world you're in.4 (43m 3s):So I decided to just do it apply to the theater department and that process first it's like two monologues, right? Contemporary and a classic.2 (43m 14s):Do you remember what you did? Do you remember what you did? Oh, it's okay.4 (43m 18s):Oh boy.2 (43m 19s):I bet was great. Whatever it was.4 (43m 22s):The modern piece, I don't remember the name of it or, or where it was from, but it was, it was a girl witnessing her parents', her parents' divorce and, but going through her house and talking about how the home represented the family, you know, and, and like where things belonged in the house and how those things are gonna be moved and that means their family no longer existed, exists. So it was a really beautiful piece. I can't remember where it was from. And then the other one was Shakespeare and I'm sure I did a terrible job. It may have been1 (44m 2s):Saying4 (44m 2s):I don't remember the Shakespeare. Yeah, I don't remember the Shakespeare. That's funny.2 (44m 6s):Yeah. But I bet you know, you go, you know, you know4 (44m 10s):It was Porsche, the quality and mercy is not strange.2 (44m 14s):Oh yeah, that's1 (44m 15s):Exactly what I did. Terrible.2 (44m 20s):Wait a minute. So we have, wait a minute, wait a minute, wait a minute. I'm just picturing both you two for Gina. I'm wondering, I'm thinking it was to get into DePaul's theater school, right? Okay. And Tina, yours was even younger cuz you were, you were like 15, 14 playing Porsche. Yes. Oh that's fantastic. 14 year old Porsche's all around. Okay, so you must have, okay, so then what did you did, did it go on from there? Like you did your monologues? Oh,4 (44m 46s):So yeah, so then you do that and then there's a call back. So you go to another room with a different auditor and I'm trying to make sure I don't blend my high school audition to my college audition. But then we went from that callback to a screen test. So you to do a screen test and then wait,2 (45m 4s):Wait, A screen test for LaGuardia? Yeah. Like4 (45m 8s):At, at the time. At the time, Yeah. I remember that because I remember they said you have to go to good screen, so there's like a camera and you whatever on camera audition. And then from there, oh I, I remember there was five steps. I can't remember what the, I remember we may have had to go into the theater and do like a, like the theater exercises and movement stuff and then we had to do a interview one-on-one interview with the head of the department. So it was, you know, a lot of steps to,1 (45m 39s):This is so far tougher than it was for our, the audition. Like we had to do those other things you're describing. But we did not, I don't think we did a one-on-one interview.2 (45m 48s):No. Was1 (45m 49s):It nerve wracking?4 (45m 51s):Yeah, I mean as a kid I, I guess I didn't really like, I didn't, maybe didn't sink in that I was, that that's what was happening. But I just, you know, followed the line. I, whatever they told me where I needed to go, I just went and did it. So. Yeah. Yeah, I think it was a lot more steps than my college audition as well as well.2 (46m 9s):So, So you got in, did they just tell you I'm the spot Tina or were you, how did it work? And then were you, did you tell, did your parents know you were switching?4 (46m 20s):No, they didn't know. No, they didn't know. No, I think I, I think I just got a letter. I don't, I don't know if, I don't think they, I think they gave me the sense that it was a good fit, but I don't think I knew until later. Cause it's like thousands of kids in New York City, you know what I mean? Right, right. Yeah. Auditioning. So,2 (46m 39s):So1 (46m 40s):I'm curious about whether the, like what, what the pipeline situation was from LaGuardia to conservatories. Cuz a lot of kids who get training young or get working young don't go for theater school because they figure like, well I already know what I'm doing. So like what, what, how was it at LaGuardia? Did mostly kids go and pursue performing arts in college or what?4 (47m 5s):You know, I think a handful of us did. But honestly I, I think a lot of people didn't continue on. So it was kind of a weeding out process. You know, a lot of people went into who poli political science. A lot of people went into, you know, a lot of different things. I mean a lot of people I, I remember I went to high school with are doing amazing things currently. I mean, one of, one of the girls I was friends with, she's like a pundit on cnn, like, like one of the leading, she went into politics and then became like a on camera. So those two worlds sort of merged. But yeah, no, I, I think I ended up applying to four schools.4 (47m 45s):Four conservatories. So SUNY purchase Rutgers, I don't remember nyu. And what was,2 (47m 55s):I'm gonna just throw out Carnegie Mellon.4 (47m 57s):Carnegie Mellon. I think it was Carnegie. I, no, no, it was Boston University. I actually, it was interesting. I didn't, I didn't, I was so, I don't know. I just, I didn't do Julliard and I didn't do Carnegie Mellon. I don't know why. Oh, I know why Pittsburgh. I didn't wanna go to Pittsburgh. Sorry if, if either of you have a fondness for Pittsburgh, but I didn't wanna be there.2 (48m 23s):Never been. And also, I have a friend that went to the Carnegie Mellon program in NI started in 1993 and they weighed them at the, in their acting classes, they weighed them. So I'm glad we didn't go. I mean, you know, whatever. We missing, not missing out. Forget, forget Pittsburgh. Also the weighing, Fuck you. So, okay, so you, you auditioned, Did you do like the urda, like all of them at once, Tina? Or did you go, how did it work for your colleges? And then tell us how, how you made your choice.4 (48m 57s):So yeah, I think I did do them. You know, they, they set up the appointments to the different places. I remember that I really wanted to go to SUNY purchase. I do remember that because Israel Hicks was the head of the department then. And I remember thinking, oh he's an amazing teacher to study under. And it was such a small conservatory program. So I went up there that, that, by that point I did tell my parents I was gonna theater school and they were not happy about it. I mean, imagine they're immigrants, right? They came across the world not speaking the language, giving up everything, working very, very hard to make a better life for their children. And then their one child that didn't go to CO that is going to college wants to be an artist.4 (49m 38s):I mean that's like pretty brutal for them to absorb. But yeah, I, You were saying when you leave high school, like why, why go into the theater school? I, because I, both my brothers had not gone to college. My older brothers and my parents were, you know, had immigrated here. And like, I just, I felt like college was really important. I felt like getting an education was really important. And maybe, I remember thinking at the time, imagine being 17 and thinking I'm ruining my career. Cuz I thought it was gonna slow down my career because I did have one. We have an industry night at the end of high school and I got a manager, a New York City manager and I was freelancing with all these different agents and for like, the few months that I was not gonna leave New York.4 (50m 25s):And wait2 (50m 26s):A minute, wait a minute, wait. A I gotta go back here cuz I'm in awe. Gina, are you in awe? Cause I'm in awe that you, you had an industry night in high school and you got a manager from that. You're how old it did? 17.4 (50m 41s):17, Yeah.2 (50m 42s):You have a manager and you're freelancing. What did that feel like? I mean I'm like that. I'm like in awe. Were you like I am the shit? Are you like, this is just what I do. You're like a young, like a 17 year old professional actor. What in the hell?4 (50m 57s):I think, I think I was kind of like feeling like my dreams were coming true in a lot of ways, but I don't think I was secure in it. I definitely for sure was like, this could go away tomorrow. Am I doing the right things? You know, that manager at the time, she was lovely, but it, she did say to me like, you should move to Los Angeles. And at that point I just wanted to go to college and it, and most of the options were on the east coast that I wanted to, to, you know, except for Boston University. Well, Boston's east coast too. But she just said like, Well I just feel like if you move to the west to LA like later you're gonna be over the hill. I was 17, oh my god I was 17. God.4 (51m 36s):And2 (51m 37s):That's, that's such projection. It's such projection. It's all, I mean they mean even if they mean well, it's still projection. So you had this manager, but you were, and you were auditioning, I'm assuming in New York City. Yeah, Yeah. But then, but you really wanted to go to college and so4 (51m 55s):I really wanted to go2 (51m 56s):To college. Okay, so you wanted to go to suny. What happened there? Why, how did you end up at nyu?4 (52m 2s):Oh, so I got in to purchase, which was, which was a tough choice because SUNY purchases, like at the time was so cheap for in-state, like residents. And then, but I, I can't explain this to you at all, but I went, when I went and auditioned for nyu, I fell asleep at the audition. I remember in the waiting room. I just like, kind of not at often, I just think I just needed to be relaxed, you know? So cuz there was2 (52m 31s):All these like, what a power move.4 (52m 35s):I don't know if I was just like, you know, overwhelmed or, I don't think it was overwhelming, but I just felt like I just needed to relax. And there was like, you know, a bunch of young act New York City actors. And at the time NYU was a top conservatory. And I think I, there was like all these young actors that were like, like doing all the warmups, which I believe in a hundred percent. I do it before shows, but like, but it intimidated me in some way cuz I was like, well I didn't start acting until I was much older. I mean, I was young, but you know, in New York it felt like everybody's a kid actor that was enacting. So, I don't know, I, I fell asleep and then they woke me up and said, it's your turn.4 (53m 18s):I was like, Oh, okay. And I went in and I remember in all my auditions I did this weird thing, which, which I don't know if it's an an i, I took my shoes off in every audition. Like I, I felt like I needed to be grounded. Oh my2 (53m 31s):God. It's a power move. It's a power move. Listen to me, anyone, this is how I feel now watching youngsters. I mean, I don't hold auditions, but when, when someone has a specific bold take on, on how they're going to enter a room, they, they're yards ahead of everybody else. You made a bold move, Tina and I, I support it. I support it. You, it's like you, you had a take. Good for you.4 (54m 1s):I, I think I just needed to take care of myself. And I, I think at the time I didn't really have a lot of protection and people taking care of me in that way as a young artist. So I think I just had my own process, but part of that was being weird and saying, I need to take my shoes off and taking off my shoes. I've never told anyone that before. So Yeah, I did all my, It's1 (54m 23s):So related. This is some related to you being tough and a badass, because I think kind of what I'm hearing is however, the, I mean, I don't know necessarily the right way to say this, but you haven't waited for permission. Like you didn't wait for permission from your parents to audition for this school and you didn't, you know, ask them. Is it okay if I take you, You just did a lot, You've done a lot of things and maybe it's because you have felt like you've had to do it this vein on your own since you didn't have any family members who, who, who pursued this career. But I wanna know, Oh, sorry. You were actually, I interrupted you, you were in the middle of finishing your audition story.4 (55m 3s):No, I, I don't Where were we? I don't off.2 (55m 6s):Okay, so you That's ok. That's ok. We, I'm, I'm clocking. So you are there, you, you, you did all your auditions and you said you don't know how to explain it, but when you got into nyu, when you did your NYU audition?4 (55m 20s):Well, when I was waiting in the waiting room, when I fell asleep, that's where I was going. I just felt like I belong there. I just felt like I belonged there. I was just like, this is where I need to be. Even though purchase was my first choice and purchase at the time was very competitive. They took like 10 people in that year. And I, and it would've been cheap. Really ch that's one thing, NYU's not cheap, but I for sure, I just had this overwhelming sense that this is where I needed to be. And yeah, I, I did the audition for Beth Turner, who was amazing, amazing, I think she was a dean at the time, but auditor. And then she asked me what studio I wanted to be in and I told her Playwrights Horizons, or I think Adler is what I chose.4 (56m 11s):And she asked me why playwrights cuz she thought I should be placed in experi what was then called experimental theater wing, which is very physical. So I understand it now. She saw in me that I'm a very physical person and I told her, this is the hilarious part, I told her playwrights was my number one choice because you can study, directing, acting and design, which is what I ended up doing. And I said, I need a fallback plan, which is2 (56m 38s):Like4 (56m 39s):Directing and design, like great fallback. But2 (56m 43s):Here's, here's the thing, here's the thing, The other thing that I'm seeing is that you knew fallback plan or not, you wanted to study more than one thing. And most people go in there saying, Oh, I just wanna be a movie star so I have to go into Atlantic cuz David Mammo will cast me in. Like, you wanted a more broad sense of Yeah. You, you were like, we have several actors on the show like this where it's, they're like more renaissance people in terms of writing, acting, directing, and they're, and they're true. Like for me what it is, is a true artist instead of an actor. It's a, it's more of a collaborator and doing, making art in a collaborative setting.2 (57m 23s):And it happens to be for you right now, acting and maybe writing and maybe directing if you have or something. So I, I love that. And also my NYU audition, I went without having picked a, a studio. So they asked me where you wanna go? And I said, I have no idea. Well, they didn't let my ass in, nor should they have.4 (57m 45s):Oh, no, I, you know, I appreciate you saying that. I mean, I think when I say fallback plan, I don't really think that is what it is. Cause I didn't think, obviously, you know, it's all a risk that we're taking. It really is true that I was very, I'm very interested in all aspects of storytelling. And I did tell her that, She asked me why directing, and I said, I am, I am incredibly stimulated in a different way when thinking about directing and how a story can be told and how it's structured and, and all of that. And, and I said, but it's not necessarily my heart. My heart is acting, but my mind is very connected to directing when she asked me that question.4 (58m 29s):So yeah. So cool.1 (58m 31s):Yeah. So you mentioned earlier your manager and saying you're gonna be over the hill and so forth. So we spent a lot of time talking about the whack messages that we got, especially being, you know, nineties, mid nineties, late nineties about like what you can and can't do and who you are and who you aren't and how you come across. And, and sometimes those opinions are wildly off base and sometimes there's smack Right on. What, what about you? Where did you fall on that with terms of like the, the feedback people was were giving you?4 (59m 3s):You know, it's, I think I'm still dealing with that today. I mean, I I, the feedback was people couldn't tell if I was a leading lady or if I was a character actor. And I will say they probably thought I was a character actor just because I was a woman of color. You know what I mean? Like, you're gonna be the best friend,2 (59m 27s):Right? It's because they couldn't see beyond their own biases and the biases of the industry. And look, I think some of that is a product of the environment those people are in, but also nobody challenged. And that's what I'm ask. I feel like people are at least starting to do now challenged why someone couldn't do something. So Yeah, sure. So they told you, Oh, we think you're gonna be like, you know, Sandra Bullock's best friend or like, whatever, what the sidekick, because probably because you, you were an Asian American woman, you know? Yeah.4 (1h 0m 2s):Nice. Or you're the nerd or you know, put on some glasses and now you're like, network nerdy, you know? So it's, it's, it's, How did you ask me? How did I deal with it? Is that the question?1 (1h 0m 15s):I'm just curious. Like, people usually have an anecdote or two about like, you know, I just told it on the podcast last week that, you know, I went to this thing when I was in high school, like how to get in the business. And the only thing I remember the guy saying is, thin is in, and you're either gonna get thin or you're not gonna be in, Like, it was just very binary. And by the way, that was true. Like he wasn't, he wasn't saying anything that wasn't true, but it doesn't matter because I internalized that message and then I never wanted to be in film. Then I was like, I'll, okay, that means I can never be in film and tv. Yeah. And I never even thought twice about it until like two weeks ago. That's when I remembered that.4 (1h 0m 55s):That's so heartbreaking. That's so heartbreaking. Yeah. I mean, my parents even honestly said, you can't be an actor. You're, you're Asian, you know, there's nobody like you. There's no, there's not many women like you, you're not gonna be successful. You're gonna be hungry all the time. You're never gonna, you know, and you know, they weren't totally wrong. They weren't trying to hurt me. They, you know, they, I think they were trying to protect me, but ultimately it hurt me. Do you know what I mean? It hurt my confidence, it hurt, you know? So a lot of my defense mechanism is to have confidence, if that makes any sense.2 (1h 1m 28s):Well that's, that's what I'm getting is that in response to the binary, you were able to go, Well, no, I'm gonna actually take care of my own self and take my own shoes off if I want to. Actually, I'm still gonna move forward and be like, I just love the idea of a woman of color being on a soap opera as one of the, like a recurring main characters. Because soap operas to me, in terms of casting, have not in the past been known to really embrace all kinds of things. But here you are on like Americana, which is soaps to me. And I mean, you have telenovelas and whatever, but the, but American soap operas are a thing and you're on one.2 (1h 2m 10s):So I know the word trailblazer is so overused, but I feel like you're a trailblazer. And what people fail to remember about trailblazers is, is that it's dirty, sweaty, hard work because you're literally in the dirt forging a path for yourself and perhaps those that come after you. Do you feel like that when you're working, that you're, and it's not fair to put it on people like women of color or women or othered people, but do you feel like in some way you're blazing a trail for other folks? Or do you just are just like, No, I just, I wanna work fuck the rest.4 (1h 2m 46s):No, I'm, I appreciate that question. I, I feel hopeful that that's what's happening. Do I think about it consciously when I'm working? Not necessarily, but I do intend to, if I can give other people opportunities, like if I don't suit a role, if they're like, Well this person's Vietnamese, will you audition? I pass. And I usually, you know, I've played other Asian races before because there are limited amount of roles. But I also believe like you have to get to a certain level and have a certain level of accomplishments in order to open the door for other people. So I will, I have, like I said, I'm passing on this, but this is this actress that you should look at. And I've sent names and you know, things, little things like that within my power.4 (1h 3m 30s):And I'm not trying to say like I'm a trailblazer or anything like that. I'm just trying to do the work, like you said, and take the opportunities when I can and try to do my best at it. And then hopefully set as some kind of example. I don't know what, but it is a lot.2 (1h 3m 45s):And I think that like trailblazing is, is is done primarily because there is something doesn't exist, which we want to see existing. And so then we have to do it on our own. Like, I agree that like I never woke up and thought, Oh, one day I'm gonna be like, do doing all this work. I just thought, no, like why doesn't this exist? Why can't plus size or Latinas do this? And then I went ahead and tried to make that space. But yeah, I feel like most trailblazers I know and iconic class or whatever don't like have that intention, right?2 (1h 4m 25s):We're not like, Oh, I'm gonna change. It's more like, No, this shit is wrong. It should exist and I'm gonna participate in change, right? Like a change maker.4 (1h 4m 34s):I'm gonna take, I'm gonna take space basically and not be apologetic for it. And, and that's a very hard thing to, to come to, you know, It's like, it's still, I wanna apologize all the time, you know what I mean? But that's my instinct. But because I wanna be a fair person. But I think ultimately it's like, no, I, I should claim the space and not be apologetic for it. I mean, I had a teacher in theater school and you're saying, What did people put on you who said to me, Tina, he said something very complimentary about a project I had just finished and something like, you know, good marks or something and said like, you're, you're very talented or whatever. And then he said, What I love about you is that you shatter stereotypes and on the, the face of it, you would think that's a positive thing, but I think it put a heavy weight on me.4 (1h 5m 24s):I think I felt this sort of, that's not what I'm, you're you're putting, that means you're putting so much on me when you even look at me, there's a, there's an expectation of you have to be excellent all the time. You have to be so good all the time. And if you not, if you're not excellent, people are gonna go, Oh, Asian women can't act, or Asian women shouldn't be doing this. And so there was a pressure, like I felt, wow. Like I guess he was trying to say something nice, but ultimately it just put this sort of,2 (1h 5m 51s):No, it puts more work. It's more work,4 (1h 5m 54s):More work. And it also puts like, you see me as a certain lens. You can't just see my work. You're seeing something else. Yeah. You know what I mean

Dixième et dernière émission de la saison 2020-2021, en compagnie de Eve Ben-Haïm, Inspirational Content Advisor chez Ubisoft.Émission diffusée le 6 juin 2021 sur Radio Campus Paris. Au programme :– les news de juin par Alexandre– le bilan de Jean sur ses chroniques nostalgiques– musique : City of Tears composée par Christopher Larkin et tirée de l'OST de Hollow Knight– entretien avec Eve Ben-Haïm par Émeline– musique : Perseverance composée par Berlinist et tirée de l'OST de Gris– le blind test sonore de Lazare sur les nazis zombies– la chronique musicale de Vincent sur les musiques de Yoko Shimomura pour la série Mario & Luigi– musique : Home Sweet Home composée par Christophe Héral et tirée de l'OST de Beyond Good and Evil La vidéo "Stop Normalizing Nazis - Socially Conscious Game Design" par le vidéaste Extra Credits. Casting :– Vincent Boutin, chroniqueur et programmateur musical– Alexandre Hanquier, présentateur des news– Lazare Jolly, chroniqueur, monteur et responsable technique– Jean Jouberton, chroniqueur– Émeline Maldant-Singeot, animatrice de l'émission et intervieweuse Production : Pixel Up! grâce au financement de l'université Sorbonne Nouvelle et en partenariat avec Radio Campus Paris

Today's guests include: Christopher Larkin ( 1:36) the Chief Technology Officer at Concord Technologies and Eric Johnson ( 32:33) author of The Elements of Choice: Why The Way We Decide Matters

Show Notes Matt and Kris bring you the 7th annual Spooky Special, full of your requests! Useful Links Halloween Town from Kingdom Hearts by Yoko Shimmamora, original composition by Danny Elfman. Requested by Bedroth Area 4 from Blaster Master by Naoki Kodaka Indoctrination (The Tower) from Iconclasts by Joakim Sandberg. Requested by Matt Flammger Death and I from Hades by Darren Korb Nightmare King from Hollow Knight: The Grimm Troupe by Christopher Larkin. Requested by Bedroth Astral Coal Town (Buildup) from Night in the Woods by Alec Holowka. Requested by Durocpig Entering the Tombs from Gears of War by Kevin Riepl Silent Cemetery/Hidden Crypt from Rusty by Masahiro Kajihara, Kenichi Arakawa, Ryu Takami. Requested by Bedroth Fear Factory Returns from Donkey Kong Country Returns by Kenji Yamamoto Golbez Clad In The Dark from Final Fantasy IV by Nobuo Uematsu. Requested by Chronodin EMMI Terror from Metroid Dread by Kenji Yamamoto Background Music Other songs from the selected games Social Stuff WaveBack Overplay WaveBack Discord Support us on Patreon WaveBack Facebook Geekade Facebook Twitter Instagram YouTube Twitch Website Contact Us

Ed eccoci ad un nuovo episodio di GameRevs! In questo episodio vi portiamo un ospite eccezionale: Luigi Marrone della rivista Ludenz! Scoprite con noi l'analisi introspettiva del media e di come questo possa parlare all'animo di ognuno di noi e come quest'arte viene trattata e analizzata nella rivista Ludenz - Beyond The PlayVerse. Vi ricordiamo potrete acquistare la rivista per una modica donazione al sito www.ludenz.it. Inoltre vi invitiamo a seguire Luigi alla trasmissione "il pulsante rosso" su www.rtradioterapia.it ogni Martedì alle 21! Ricordate anche che ci potete trovare sul nostro sito http://www.gamerevs.it e su tutti i social dei quali avete i link veloci qui di seguito: Instagram Facebook Twitter Vi ricordiamo anche la pagina dei nostri amici Bit-Elloni a questo indirizzo Facebook: i Bit-Elloni Ed il loro sito web: https://ibitelloni.com/ E ci raccomandiamo: videogiocate, videogiocate, videogiocate! Il nostro podcast fa parte della Lega dei Videogiochi, qui sotto la lista di tutti i canali aderenti al primo grande network d'Italia!! GameRevs - La Voce del Videogiocatore ATARITECA Arcade Story Facciamo DOS Chiacchiere QuantiGigaAllaPanca? Intrappolati nel Retrogaming Retrogaming Lives CREDITS Celeste soundtrack - by Lena Raine, Hollow Knight Soundtrack - by Christopher Larkin

Interviews include showrunner Jason Rothenberg and actors Eliza Taylor, and Christopher Larkin talk about the ticking clock that is season four.

We discuss the pilot episode of The 100, from the merits of sending down teenage delinquents to the ground, to how maddening it is to understand both sides of the story, to how perhaps the adults shouldn't be in charge.This week we discuss spoilers for the entire series of The 100! If you don't want to hear them, the spoiler zone begins at 1:20:50!Find us on Twitter: @inmyqueuepod • @adinaterrific • @karaaa_powellAnd Instagram: @inmyqueuepodor send comments, questions,  and show suggestions to us at itsinmyqueuepod@gmail.com!

Bentornati o benvenuti su Mangianastri, io sono Jonathan ed oggi parliamo della colonna sonora di Hollow Knight, un gioco pazzesco con una colonna sonora davvero interessante (checché ne dica Mangia).Se vuoi avere altre informazioni sul gioco ecco un po' di link interessanti:Approfondimenti Sul gioco - The Making of Hollow Knight https://www.gameinformer.com/2018/10/16/the-making-of-hollow-knight- Hollow Knight Wiki https://hollowknight.fandom.com/it/wiki/Hollow_Knight_Wiki - The metamorphosis of Hollow Knight https://www.nintendo.com.au/the-metamorphosis-of-hollow-knight-with-team-cherry-aussie-developer-interview - Hollow Knight official website http://www.hollowknight.com - Team Cherry official site https://teamcherry.com.au Approfondimenti sulla colonna sonora Video di 8-bit music theory - Storytelling trough music in Hollow knight https://www.youtube.com/watch?v=f2NEvQb2OeA - Atmosphere and Motivic development in Hollow Knight's soundtrack https://www.youtube.com/watch?v=wzOY3mxTBag&t=251s - Leitmotif in Hollow Knight's soundtrack https://www.youtube.com/watch?v=5IZ6ObjdkPA&t=926s - Inside Christopher Larkin's Darkly elegant Hollow Knight Score https://daily.bandcamp.com/features/christopher-larkin-review - How Hollow Knight composer Christopher Larkin got the gig https://www.pocketgamer.biz/interview/71748/how-hollow-knight-composer-christopher-larkin-got-the-gig/ - Hollow Knight soundtrack interview - Christopher Larkin official website https://composerlarkin.com :)

This weeks guest is straight fire and we could have chatted for hours! In this episode I have a conversation with Lanie Labens, owner of I don't do subtle entertainment (IDDS). IDDS is a celebrity management company and helps celebrities do appearances such as Comic Con. Lanie's list includes Ricky Whittle, Breckin Meyer, Christopher Larkin, DJ Qualls, Erica Cerra, Omid Abtahi, Richard Harmon, and Mechad Brooks to name a few. Ladies, her client list is full of good looking men! Lanie dishes about what it's like to be a female agent in a male dominated world. Lanie started this business in her early 20s and talks about how being naive worked to her advantage and she just went for it. She also gives us some "celeb gossip". Lanie talks about her difficulty childhood and how she found her confidence in dolls. Lanie never doubted that she would do amazing things, despite feeling out of place as a kid. Lanie has a youtube channel that showcases her dolls. She talks about what her dolls mean to her and how she was able to find her confidence with them. Lanie is a fearless in life, business and the pursuit of happiness and is not afraid to be who she is. Connect with Lanie: https://www.iddsmgmt.com/ https://www.youtube.com/user/Alysonsfriend https://www.instagram.com/lanielabens/

THIS WEEK: Peter becomes a light spirit to use the power of elements to bring the forest back to life in Ori and the Blind Forest and Joe uses his nail sword to dive into Hallownest and deal with its bug denizens with Christopher Larkin's work in Hollow Knight.

O primeiro episódio deste podcast se trata do jogo favorito da minha vida, o metroidvania que melhor herda as características chaves de seu gênero, tornando-se uma experiência de exploração sem igual. Vídeo que citei Música: Dirtmouth, Greenpath e City Of Tears por Christopher Larkin, versão Piano Collections de Materia Collective LLC. Twitter: @erickludico Instagram: @levelsecreto

Christopher Larkin's score for Hollow Knight is one of the most beloved soundtracks in recent games. I talked with arranger David Peacock and pianist Augustine Mayuga Gonzales about their project to adapt Chris' haunting music for solo piano. David says he appreciates Christopher's involvement in developing the arrangements. He says Chris advised him to use the lore of the game as inpiration for his arrangements. Augustine says he loved playing David's arrangements because they were challenging, but also allowed him to use his background as a classical pianist. The soundtrack is available through Bandcamp, and a vinyl release as well as a book of sheet music are also planned. Episode tracklist All tracks by Christopher Larkin, arranged by David Peacock and performed by Augustine Mayuga Gonzales Hollow Knight : Hornet; Greenpath; Resting Grounds; Dung Defender; Crossroads; City of Tears; Reflection; Radiance; Hollow Knight Follow Kate on Twitter Subscribe to Music Respawn in Apple

Adentre conosco o reino perdido Hallownest e, rumo aos seus recantos mais profundos, entenda como funciona o intrincado design de mundo, a progressão não-linear, o combate exigente e, claro, a lore dessa civilização à beira da ruína.E o que você tem a dizer?Deixe seu feedback acessando o post deste podcast, ou mande um e-mail para contato@jogabilida.deLinks Comentados: Canal de Lore: Mossbag Vídeo: Animação do Ari Gibson Jogo: Return To Booty Grotto Jogo: Lulanda Jogo: Hungry Knight Jogo: Tomb Cat Vídeo: Tenshi no Tamago DASH #108: Engines DST: Hollow Knight Quadrinho: Quirrel Vídeo: O Design do Mundo de Hollow Knight Blocos do Podcast: 00:02:34: Introdução 00:08:29: Pauta Principal Trilha do Podcast: "Lace" de Hollow Knight Silksong "Braai" de Christopher Larkin "Uncle Gael" de Dark Souls 3 (por Alex Roe) "Enter Hallownest" de Hollow Knight "False Knight" de Hollow Knight "Greenpath" de Hollow Knight "Truth, Beauty & Hatred" de Hollow Knight "Fungal Wastes" de Hollow Knight "City of Tears" de Hollow Knight "Soul Sanctum" de Hollow Knight "The White Lady" de Hollow Knight "White Palace" de Hollow Knight "Dream Battle" de Hollow Knight "Decisive Troupe" de Hollow Knight "Nightmare King Grimm" de Hollow Knight "Hornet Cover" por RichaadEB

We're closing out 2019 by recapping The Game Awards and looking back at the past year. We share our favorite games, biggest disappointments, and, of course, our favorite soundtracks! 0:00 - Introduction 2:18 - The Game Awards 2019 26:05 - Our 2019 In Review 57:37 - Soundtrack Spotlight Soundtrack Spotlight: "Lace" by Christopher Larkin from Hollow Knight: Silk Song https://youtu.be/zRs58D34OLY LINKS: - Subscribe to watch new episodes every Tuesday: (https://www.youtube.com/channel/UCi14dFb-OyPcOS2pt4ZKP7g?sub_confirmation=1) - Subscribe on podcast services: (https://teamchatpodcast.com/where-to-listen/) - Join our Discord (https://discord.gg/jkh48jk) - Support the show and get perks! (https://www.patreon.com/teamchatpodcast) - Like TCP on Facebook (https://www.facebook.com/TeamChatPodcast/) - Follow TCP on Twitter (https://twitter.com/TeamChatPodcast) - Follow Jerrett (https://twitter.com/jtwilson) - Follow Mogan (https://twitter.com/MoganATX)

Team Cherry's Hollow Knight, funded by a Kickstarter in 2017, is a prime example of the ongoing strength of indie games. Players quickly became enamoured with its masterful Metroidvania gameplay, brought to life at every turn by a strikingly unique visual style. It's a title you can truly lose yourself in, through its dark, atmospheric environments and dense sound design.Besides some individual character voices, the entirety of Hollow Knight's audio is the work of Christopher Larkin. His soundtrack for the game is a perfect reflection of the dank surroundings you explore, and it becomes all the more immersive as it subtly changes depending on your movements. This episode features Christopher in his first Sound Test appearance, discussing Hollow Knight's audio at length. His next episode, set for release in 2020, will cover Outfolded and Expand, two smaller games with their own fascinating tales to tell.Lee Tyrrell on Twitter:https://twitter.com/GreenT128Christopher Larkin on Twitter:https://twitter.com/composerlarkinTeam Cherry on Twitter:https://twitter.com/TeamCherryGamesNow available through:YouTubeiTunesSpotifyStitcherand many more...Support, early access, unedited interviews, backdated LIVE shows and more:http://patreon.com/_secretcave

Speaking from the first day of High Score 2019 (5th October 2019), Hollow Knight composer Christopher Larkin has to chats to Stefan about his career. How does a composer get jobs? And is there really a comparison between the music of Zelda: Breath of the Wild and Untitled Goose Game? Radio edit aired 21st October 2019. Recorded 5th October 2019 at High Score 2019. -- Player One is SYN's only video game radio show, every Monday 8-10pm AEST! FM Radio: 90.7FM Digital Radio: SYN Streaming: TuneIn (app), www.syn.org.au (online) Tweet at us! #PlayerOneSYN http://syn.org.au/show/player-one/ Facebook.com/playeronesyn Twitter.com/playeronesyn Omny Link Apple Podcasts Spotify Podcasts

Speaking from the first day of High Score 2019 (5th October 2019), Hollow Knight composer Christopher Larkin has to chats to Stefan about his career. How does a composer get jobs? And is there really a comparison between the music of Zelda: Breath of the Wild and Untitled Goose Game? Radio edit aired 21st October 2019. Recorded 5th October 2019 at High Score 2019. -- Player One is SYN's only video game radio show, every Monday 8-10pm AEST! FM Radio: 90.7FM Digital Radio: SYN Streaming: TuneIn (app), www.syn.org.au (online) Tweet at us! #PlayerOneSYN http://syn.org.au/show/player-one/ Facebook.com/playeronesyn Twitter.com/playeronesyn Omny Link Apple Podcasts Spotify Podcasts

In this exclusive online clip, Hollow Knight composer Christopher Larkin reveals what he will be doing at PAX Aus this year! Keep tuning into Player One on your radio and the podcast for more from Christopher Larkin! Full interview coming soon... -- Player One is SYN's only video game radio show, every Monday 8-10pm AEST! FM Radio: 90.7FM Digital Radio: SYN Streaming: TuneIn (app), www.syn.org.au (online) Tweet at us! #PlayerOneSYN http://syn.org.au/show/player-one/ Facebook.com/playeronesyn Twitter.com/playeronesyn Omny Link Apple Podcasts Spotify Podcasts

In this exclusive online clip, Hollow Knight composer Christopher Larkin reveals what he will be doing at PAX Aus this year! Keep tuning into Player One on your radio and the podcast for more from Christopher Larkin! Full interview coming soon... -- Player One is SYN's only video game radio show, every Monday 8-10pm AEST! FM Radio: 90.7FM Digital Radio: SYN Streaming: TuneIn (app), www.syn.org.au (online) Tweet at us! #PlayerOneSYN http://syn.org.au/show/player-one/ Facebook.com/playeronesyn Twitter.com/playeronesyn Omny Link Apple Podcasts Spotify Podcasts

Wir hatten die Ehre, die Comic Con Berlin 2019 besuchen zu dürfen - und natürlich haben wir es uns nicht nehmen lassen, ein paar spannende Interviews zu führen! Trefft mit uns Cam Gigandet (Twilight), Ralf David (u.a. die Stimme von Luke Cage), Christopher Larkin (the 100), Kristian Nairn (Game of Thrones), Christian Zeiger (u.a. die Stimme Spidermans), Melly Mew (Künstlerin) und Pixie Cold (Künstlerin)!

In one of the most requested topics in recent memory, Karl & Will finally explore the beautiful and restrained score to Hollow Knight! The guys discuss how composer Christopher Larkin was able to create a unique and emotional musical experience. Enjoy!

"Whackin' people off" - In this critically and commercially successful "gem", the guys engage a divisive conversation pertaining Hollow Knight's gameplay. All the while, the game receives universal praise from the group regarding the aesthetics especially the music which was wonderfully composed by Christopher Larkin. Enjoy the episode!

Welcome to Game Composure, an interview podcast series featuring people who work in and around video game music!This episode features Christopher Larkin, composer of the 'Hollow Knight' series, the 2017 documentary 'Barbecue', ABC's 'The Adventures of Figaro Pho', plus many other projects. We talk about his background in music and games, his creative process and advice for getting into professional composition.Remember to rate the show on your favourite listening platforms, share with others and subscribe! Also follow me and the show on Twitter: @ManJell0 / @GameComposure

We’re finally here at the end of the longest year in the history of long, bad years. We barely played any games this year, so pulling together our favorite songs was a mighty task, but we weren’t going to let you walk away empty-handed. Also, let’s be real, it’s way harder to find ten good games than games with good music. Good game music is easy. You here me, Capcom?? EASY! THERE’S NO EXCUSE FOR MEGA MAN TO SOUND LIKE THIS!*ahem*Please enjoy these hours of music and best of lists, and I hope everyone has a great end to the year from hell. May the hell be lessened and the games better in 2019. Thanks everyone, for everything.A few notes: you can find our episode for the music from games we played for the first six months of the year on Abnormal Mapping 79. Also, to enjoy this episode in higher quality than our hosting can support, please consider listening to it on YouTube if you're sensitive to that sort of thing!As always you can find Abnormal Mapping on iTunes, Stitcher, and Google Play!All of our shows, and this entire network, is Patreon supported! Please consider pledging to keep Abnormal Mapping going into 2019! Thank you so much!THE TRACKS IN THIS EPISODE, IN ORDER!Prelude by Hidenori Maezawa from Castlevania IIISoldiers of the Sea by Lucas Pope from Return of the Obra DinnLoose Cargo by Lucas Pope from Return of the Obra DinnThe Doom by Lucas Pope from Return of the Obra DinnThe Alexandrian Pleiad by Sarah Schachner from Assassin’s Creed: OriginsMysterious by Yugo Kanno from NiohGarbage Day by Daniel Koestner & Ben Esposito from Donut CountyMain Theme by Jason Graves from Murdered: Soul SuspectEvery Day is Night by Michael Kelly from VA-11 HALL-ADanganronpa V3 Opening by Masafumi Takada from Danganronpa V3God of War by Bear McCreary from God of WarI’m Yours Forever by Noboru Mutoh from Tetris EffectLook Up by Noboru Mutoh from Tetris EffectRed Flag by Dan Le Sac from Subsurface CircularChecking In by Lena Raine from CelesteHouse Building Theme by Woody Jackson from Red Dead Redemption 2Nuts and Bolts by Joakim Sandberg from IconoclastsNever Stop Sneakin by Hyperduck Soundworks from Never Stop SneakinMain Theme by Motoi Sakuraba from Mario Tennis AcesMemories of Mother by Bear Mccreary from God of WarMain Menu Theme by Joris de Man from Horizon Zero DawnSimple and Clean by Utada Hikaru from Kingdom HeartsHollow Bastion by Yoko Shimamura from Kingdom HeartsBeats in my Head by Hideki Okugawa from Street Fighter IIIJazzy NYC 99 by Hideki Okugawa from Street Fighter IIIKen’s Theme by various artists from Street Fighter VPale Court by Christopher Larkin from Hollow KnightThe Grimm Troupe by Christopher Larkin from Hollow KnightSealed Vessel by Christopher Larkin from Hollow KnightMinsky Dub by Dan Le Sac from Subsurface CircularWily Stage by Marika Suzuki from Mega Man 11Chapter 2 by Joel Corelitz from GorogoaClassic 1989 Theme by Noboru Mutoh from Tetris Effect City of Tears by Christopher Larkin from Hollow KnightMain Theme by Marika Suzuki from Mega Man 11Obelisk by Gavin Allen from The Mummy: DemasteredTitle Theme by Gavin Allen from The Mummy: DemasteredNate’s Theme 4.0 by Henry Jackman from Uncharted 4Overworld Theme by Mahito Yokota from Super Mario 3D LandCibele by Decky Coss from CibeleMain Theme by Koji Hayama from Ape Escape 2Find Me by Szjerdene from TacomaSnowdin Town by Toby Fox from UndertaleSpear of Justice by Toby Fox from UndertaleMetal Crusher by Toby Fox from UndertaleMegalovania by Toby Fox from UndertaleFloating Tower by Yoko Osaka from CrystalisMt Sabre by Yoko Osaka from CrystalisWorld of Sea by Unknown from AthenaReprise Medley by Gavin Allen from The Mummy: DemasteredTitle Theme by Toshiyuki Kishi, Hiromi Mizutan et al from DragonBall FighterZHangar Theme by Unknown from Gundam Breaker 3Main Theme by Koji Hayama from Ape Escape 2The Farthest by Kow Otani from Shadow of the ColossusPilots by Goldfrapp from Vampire: the Masquerade - BloodlinesHollywood by Rik Schaffer from Vampire: the Masquerade - BloodlinesTRAIN-TRAIN by The Blue Hearts from Taiko no TatsujinNext Chapter by Noboru Motoh from Tetris EffectMain Theme by Yugo Kanno from NiohYuna's Theme by Noriko Matsueda from Final Fantasy X-2The Opened Way by Kow Otani from Shadow of the ColossusBeginning by Yoshinori Sasaki, Jun Funahashi et al from Castlevania III: Dracula’s CurseLavender Town by Junichi Masuda from Pokemon RedLavender Town by Shota Kageyama from Pokemon Let’s Go!SS Anne by Shota Kageyama from Pokemon Let’s Go!Pallet Town by Shota Kageyama from Pokemon Let’s Go!Katamari on the Wings by Yuu Miyake, Yoshihito Yano from Katamari Forever

It's an unofficial Nintendo Switch themed episode as the team discuss Nintendo's new multiplayer service, Nintendo Direct announcements and Jake gives early impressions on Broken Sword 5 Switch edition. For all the latest gaming news head to https://www.trustedreviews.com/gaming Exit music: Hollow Knight - Main Theme. Composed by Christopher Larkin.

Christian and Bailey discuss one of their favorite games that they've been playing recently, Hollow Knight. The guys talk about how this game is worth way more than fifteen dollars as well as some of their favorite characters, enemies, and moments in the game. The opening song is the song from the Mantis Lords boss fight by Christopher Larkin https://christopherlarkin.bandcamp.com/track/mantis-lords If you like the show, give us a rating or share the show with some of your friends! You can find our website at icandigit.blog or you can find us on twitter @icandigitpod, @iChrisRomero, and @dukeozombies.

Kirk's back from vacation and raring to talk about games. What kinds of games? VIDEO games, baby! He and Jason start off discussing what they've been playing, covering God of War's New Game+, Prey: Mooncrash, Destiny 2, The Messenger, and Dragon Quest XI. Then they talk a bit about the glut of indie games en route to the Switch and share some thoughts on that super-slick Cyberpunk 2077 E3 gameplay demo, which CD Projekt Red finally released to the public this week. After that, Kirk has a chat with Ari Gibson and William Pellen, the Australian duo behind the wonderful side-scroller Hollow Knight, before he and Jason bring it home with some TV, book, and music recommendations. Links: Team Cherry Blog, Team Cherry on Twitter Tim Rogers's Dragon Quest XI review Cyberpunk 2077 48-minute E3 gameplay demo Jason on the victims of the Jacksonville shooting Kirk on learning different combat moves in God of War's New Game+ Kirk tries to explain Destiny 2's new weapons system "How Goop’s Haters Made Gwyneth Paltrow’s Company Worth $250 Million" by Taffy Brodesser-Akner Interview intro music: "Greenpath" by Christopher Larkin from the Hollow Knight OST

Your Video Game Grooves crew returns with new music to captivate and delight! In this episode, we are joined by Simon Jones of Minimum Records, to ride shotgun on our space-parkour journey through video games, vinyl records, video game music, and video game music on vinyl records. We begin, with somber yet adorable disposition, with Hollow Knight by Christopher Larkin and Ghost Ramp. This not-on-PS-Vita metroidvania roguelike has captured the hearts and imaginations of gamers across multiple platforms, including our own Anthony John Agnello. Anthony describes the game's style and vibe, and illustrates it with a couple of selections from the spooky-sad-cute score. Don't let any maggots near your records! We continue our high-speed topsy-turvy journey begins with Lightfield, from Minimum Records. This electronic, sometimes amelodic soundtrack by Zanshin, both challenges and enthuses us from a listening standpoint, and the presentation is oh-so-pretty! We explore the unique aspects of the game and the music it employs. Simon gives us a few insights into the production of this release and a few little details that make it special. We continue our discussion into the "omg now-time" of the gamemusicvinylverse, picking out some special releases of note, what's currently shipping, and what you should look forward to! Finally, we put Mr. Jones under the hot lights for a look at Minimum Records. This little indie label has some interesting beginnings, with a tie to one host's past! Simon tells us a little about his curation process, we ruminate on the "regionality" of record labels, and at the risk of his VERY LIFE, Simon lets us know one (and a half?) of his upcoming and heretofore unannounced releases. Twitter - @vg_grooves, @walnutsoap, @jeremy_lamont, @ajohnagnello, @minimum_records  minimumrecords.net Outro: "Pynnocchyo's Pyrrhusmite" - Lightfield, by Zanshin Endless Space 2 (G4F) Gradius (Ship to Shore) Ittle Dew 2 (Gigantic Noise) Dead Cells (Laced Records) Death Squared (The Yetee) Arrow Heads (The Yetee) Slime Rancher (Fangamer) Hollow Knight Gods & Nightmares (Ghost Ramp) [20% off affiliate link] Hollow Knight Bundle (Ghost ramp) [20% off affiliate link] The Norwood Suite (Ghost Ramp) [20% off affiliate link] From_. (Qrates, crowdfunding) Another World (US, blue variant) (full price now) Another World (EU, blue variant) (full price now)

This Episode of W.A.R.T. Radio is all Switch game tracks!  Just one song per game! Listen to it on the go and at home!  Catch DJ Deku Skrub at I play Games Switch meet up at Emporium Logan Square on July 24th!!! www.nintendomainpodcast.com   Tracklist: Intro: 0:00 Super Mario Odyssey: Fossil Falls (8-bit) Composed by Naoto Kubo, Koji Kondo, and Shiho Fuiji 0:54 Robot Roller-Derby Disco Dodgeball: 8 Bit Adventure Composed by Adhesive Wombat 5:26 Pac-Man Championship Edition 2: Babylonian Rhapsody Composed by Tanku Inoue, Toshio Kai, AJURIKA, Hiroshi Okubo, Mitsuhiro Kitadani, Hiroyuki Kawada, LindAI-CUE, Ryo Watanabe, Rio Hamamoto, and Junko Ozawa 10:29 Fast Rmx: Neo Kyoto Composed by Bjulin, Martin Schioeler, and Manfred Linzner 14:30 Kamiko: Last Battle Composed by Misoka 15:40 Pokemon Quest: Expedition Composed by Teruo Taniguchi, Takahiro Eguchi, Fumihisa Tanaka, and Shinji Hosoe 19:14 Labo: RC Car Fight Music Composed by Unknown 22:00 Arms: Ribbon Girl Composed by Atsuko Asahi and Yasuaki Iwata 25:02 Splatoon 2: Octo Expansion: Showdown Composed by Toru Minegishi, Ryo Nagamatsu, Shiho Fujii 27:16 Wonder Boy: The Dragon's Trap: The Danger Zone Composed by Shinich Sakamoto 29:42 Double Dragon: Slums (Arrival of the Black Warriors) Composed by Yamane Kazunaka 32:40 Street Hoop: Hoop King (Naming) Composed by Tatsuya Kiuchi 34:23 Shovel Knight: Specter of Torment: Facing the Task (Lost City) Composed by Jake Kaufman 40:26 Hollow Knight: Greenpath Composed by Christopher Larkin 44:01 Xeodrifter: Title Composed by Roth Sothy 46:43 Night in the Woods: Knife Fight Composed by Alec Holowka 51:59 Dragon Quest Builders: Menu Composed by Koichi Sugiyama 53:12 OctoPath Traveler: Title Screen Composed by Yasunori Nishiki 55:41 Ys VIII: Lacrimosa of Dana: Sunshine Coastline Composed by Hayato Sonoda and Takahiro Unisuga 58:54 Xenoblade Chronicles 2: Gormott Province (Day) Composed by Yasunori Mitsuda, ACE, Kenji Hiramatsu, and Manami Hyodo 1:05:43 Legend of Zelda: The Breath of the Wild: Battle (Shrine) Composed by Manaka Kataoka 1:07:12 Street Fighter Alpha 3: Balrog Stage Composed by Takayuki Iwai, Yuki Iwai, Isao Abe, Hideki Okugawa, and Tetsuya Shibata 1:10:08 Mega Man 2: Dr Wily Stage 1-2 Composed by Takashi Tateishi 1:12:37 Ikaruga: Trial Chapter 2 Composed by Hiroshi Iuchi 1:17:46 Celeste: Confronting Myself Composed by Lena Raine 1:21:54 De Blob: M Sprint Guitar Composed by John Guscott and Liam Price 1:24:00 Wild Arms Reloaded: Armored Train Composed by Hiroyuki Iwatsuki and Haruo Ohashi 1:25:56 Donkey Kong Country: Tropical Freeze Composed by David Wise, Daisuke Matsuoka, Minaka Hamano, and Shinji Ushiroda 1:28:18 Kirby Star Allies: Inner Sanctum Composed by Hirokazu Ando, Jun Ishikawa, and Yuuta Ogasawara 1:30:57 Mario Tennis Aces: Temple of Bask Composed by Matoi Sakuraba 1:34:02 Mario Kart 8 Deluxe: Battle Course 1 Composed by Shiho Fuji, Atsuko Asahi, Ryo Nagamatsu, and Yasuaki Iwata 1:36:02 Super Mario Odyssey: Steam Gardens Composed by Naoto Kubo, Koji Kondo, and Shiho Fuiji 1:40:22 Mario + Rabbids: Kingdom Battle: Bowser Returns Composed by Grant Kirkhope 1:42:17 Doom: Vega Core Composed by Mick Gordon 1:50:17 Sonic Mania: Intro Composed by Hyper Motions 1:53:55 Bayonetta 2: Moon River Composed by Henry Mancini and Lyrics by Johnny Mercer Covered by Keeley Bumford 2:02:23 Outro Super Mario Odyssey: Honeylune Ridge Escape (8 Bit) Composed by Naoto Kubo, Koji Kondo, and Shiho Fuiji

On November 11th 2017, Opera San José brought Puccini's classic ‘La rondine’ to the stage of the California Theatre conducted by Christopher Larkin and directed by Candace Evans. In Episode 4 of the 2017 / 2018 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with Conductor Christopher Larkin and Stage Director Candace Evans to discuss theatre, influences, and of course ‘La rondine.’

On November 11th 2017, Opera San José will bring Puccini's classic ‘La rondine’ to the stage of the California Theatre conducted by Christopher Larkin and directed by Candace Evans. In Episode 4 of the 2017 / 2018 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with singers Elena Galván (Lisette) and Mason Gates (Prunier) to discuss theatre, influences, and of course ‘La rondine.’

On November 11th 2017, Opera San José brought Puccini's classic ‘La rondine’ to the stage of the California Theatre conducted by Christopher Larkin and directed by Candace Evans. In Episode 5 of the 2017 / 2018 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with singers Amanda Kingston (Magda) and Jason Slayden (Ruggero) to discuss theatre, influences, and of course ‘La rondine.’

Hello everyone and welcome to the very last Abnormal Mapping of 2017! The year is over, we're all bundled up in the tepid cold of this global warming reality playing whatever we decided to get done over holiday break, and that means it's time for us to bring to you the lengthy catalogue of games we played in this hell year of two thousand seventeen. In this THREE (3) [III] hour podcast we have an array of music for you to enjoy during this down week between observed days off. We'll also run down our favorite and least favorite games played in this year, along with some special guests.A few notes: you can find our episode for the music from games we played for the first three months of the year on Abnormal Mapping 65. The Hellblade article we reference in this episode can be found here. Also, to enjoy this episode in higher quality than our hosting can support, please consider listening to it on YouTube if you're sensitive to that sort of thing! As always you can find Abnormal Mapping on iTunes, Stitcher, and Google Play!To support our shows, suggest topics, and vote on games, please check out our Patreon. Any amount of support helps a ton!Special guests this episode include Jen Unkle, Nate Ewert-Krocker, Ryan Persaud, Allen Ibrahim, Amr Al-Aaser, and Heather Alexandra. Big thank you to everyone, see you in 2018!The Tracks in This Episode, In Order!Die House by Evan Skolnick from CupheadLevel Complete! by Robert Prince from Wolfenstein 3DGet Them! by Robert Prince from Wolfenstein 3DLegacy by The Gone Jackals from Full ThrottleSurface of SR388 by Daisuke Matsuoka & Kenji Yamamoto from Metroid: Samus ReturnsQuantum Immortality by John Halpart from Heat Signature Opening Stage by Setsuo Yamamoto, Makoto Tomozawa, Yuki Iwai, Yuko Takehara, and Toshihiko Horiyama from Mega Man XA Picture in Motion by Waveshaper from FuriMain Theme by Marc Canham from Driver: San FranciscoMedium Intensity A by Gordy Haab from Star Wars Battlefront IIHigh Above the Land by Jake Kaufman from Shovel KnightIn the Halls of the Usuper by Jake Kaufman from Shovel KnightA Thousand Leagues Below by Manami Matsumae from Shovel KnightMermaid Falls by Jake Kaufman from Shantae: Half Genie Hero Main Theme by David Earl from HeadlanderDantooine by Mark Griskey from Star Wars: Knights of the Old Republic 2: The Sith LordsTower Ascent by Mick Gordon from Doom 4Main Theme by Andy LaPlegua and David García Díaz from Hellblade: Senua's Sacrifice Soul Sanctum by Christopher Larkin from Hollow KnightDirtmouth by Christopher Larkin from Hollow KnightMind of Hero by Shinichi Sakamoto and Michael Geyre from Wonder Girl: The Dragon's Trap The Monster's Lair (Daimyo Temple) by Shinichi Sakamoto and Michael Geyre from Wonder Girl: The Dragon's Trap See You by Saves the Day from Forza Horizon 3 Heart of Fire by Kinuyo Yamashita and Satoe Terashima from CastlevaniaTheme of Tara by Iku Mizutani, Shigehiro Takenouchi, and Motoaki Furukawa from Metal GearKamatari on the Swing by Shigeru Matsuzaki from We Love KatamariThe Starlit Wilds by Jake Kaufman from Shovel KnightLewis' Coronation - Palace by Jeff Russo from What Remains of Edith Finch The House by Jeff Russo from What Remains of Edith Finch Character Customization by Kemmei Adachi, Yoshio Ueno, Tadashi Yatabe, Hirofumi Sasaki from Everybody's Golf The Elephant Song by Burning Planet from Yono and the Celestial Elephants And the Earth Did Not Yet Bear A Name by Austin Wintory from ABZUWalter's Bunker by Jeff Russo from What Remains of Edith Finch Defiance Bay by Justin Bell from Pillars of Eternity The New Order by Toby Turner from Wolfenstein: The New OrderEnter Hallownest by Christopher Larkin from Hollow KnightWeird Autumn by Alec Holowka from Night in the WoodsMaeBea by Alec Holowka from Night in the WoodsSnow by Alec Holowka from Night in the WoodsMain Theme by Chris Remo from TacomaGregg by Alec Holowka from Night in the WoodsMain Menu by Bandai Namco Sound Team from Gundam VersusLife Will Change by Shoji Meguro from Persona 5Beneath the Mask -rain- by Shoji Meguro from Persona 5Game Character Course Selection by Takushi Hiyamuta from Neo Turf MastersBlue Lagoon Golf Course by Takushi Hiyamuta from Neo Turf MastersGame Over by Takushi Hiyamuta from Neo Turf MastersPeach's Castle by Grant Kirkhope from Mario and Rabbids: Kingdom Battle Rabbid Kong Rumpus by Grant Kirkhope from Mario and Rabbids: Kingdom Battle The Phantom of the Bwahpera by Grant Kirkhope from Mario and Rabbids: Kingdom Battle Side Crawler Dance by Shinichi Sakamoto and Michael Geyre from Wonder Girl: The Dragon's Trap Main Theme by Jack King-Spooner from DujanahCity Ruins (Medium) by Keiichi Okabe and Keigo Hoashi from Nier: AutomataWindy Hill Zone 1 by Tomoya Ohtani and Takahito Eguchi from Sonic Lost World Deadly Six Theme by Tomoya Ohtani and Takahito Eguchi from Sonic Lost World Aqua Road by Tomoya Ohtani, Takahito Eguchi, and Douglas Robb from Sonic ForcesFist Bump by Tomoya Ohtani, Takahito Eguchi, and Douglas Robb from Sonic ForcesFun Puyo Puyo Hell! by Hideki Abe from Puyo Puyo TetrisElasmosaurus Platyurus by Austin Wintory from ABZUMain Theme by Asuka Hayazaki, Atsuko Asahi, Hajime Wakai from Pikmin 3Slide by Koji Kondo from Super Mario 64Edith's Theme by Jeff Russo from What Remains of Edith FinchBob-omb Battlefield by Koji Kondo from Super Mario 64Delfino Plaza by Koji Kondo from Super Mario SunshineSteam Gardens by Naoto Kubo and Shiho Fujii from Super Mario OdysseyReplay Music 5 by Stuart Ross from Dirt RallyMain Theme by Baths from Dream DaddyMaureen by Peter McConnell from Full Throttle RemasteredSonic Mania Green Hill Zone Act 2 by Tee Lopes from Sonic ManiaHyrule Field Horse (night) Manaka Kataoka Yasuaki Iwata from The Legend of Zelda: Breath of the WildFriends by Hyper Potions from Sonic ManiaMirage Saloon Zone Act 2 by Tee Lopes from Sonic ForcesStudiopolis Zone Act 1 ~Lights, Camera, Action!~ by Tee Lopes from Sonic ForcesStardust Speedway Zone Act 2 by Tee Lopes from Sonic ForcesTitanic Monarch Zone Act 1 by Tee Lopes from Sonic ForcesHoneylune Ridge: Escape by Naoto Kubo and Shiho Fujii from Super Mario Odyssey

This is the second episode of Let Me Ascertain You is drawn from “Flops, Failures and Fiascos,” an original cabaret that explored and celebrated disasters of all shades as told by those who have survived the shame, horror and glory of failing big. “Flops, Failures and Fiascos,” was curated by 2015-16 R&D Group directors Sanaz Ghajar and Colette Robert and featured interviews conducted by the Civilians’ Field Research Team. This episode features two original songs and a story about extra special flops that live on as spectacular stories Maria-Christina Oliveras performs “The Only Time,” written by Eric March about an extra bloody production of "Hamlet". Next, we hear Cindy Cheung perform “Lament for a Tuesday (or, Aftermath,” a song written by Sam Chanse and Christopher Larkin that tells the tale of a Tinder date gone spectacularly wrong. Finally, the episode closes with Nic Cory portraying Michael R., a theater critic whose sharp tongued response to a production of "Fiddler on the Roof" garnered him a blow to the head. “Flops, Failures and Fiascos” was performed live at the Metropolitan Room on February 23, 2016. Sanaz Ghajar and Colette Robert directed a cast that featured Ally Bonino, Cindy Cheung, Nic Cory, Cornelius Davidson, Alex Grubbs, Jen Kwok, Nedra McClyde, Maria-Christina Oliveras and Chris Tyler.  The cabaret featured songs written by Adam Cochran, Jo Lampert and Matthew Marsh; Julia Meinwald and Gordon Leary; Eric March; Sam Chanse and Christopher Larkin; and Trevor Bachman. Featured musicians included Trevor Bachman, Alex Grubbs, Cheeyoung Kim, Eric March and Greg Tock.

This episode of Let Me Ascertain You is drawn from Flops, Failures and Fiascos, an original cabaret that explored and celebrated disasters of all shades as told by those who have survived the shame, horror and glory of failing big. Flops, Failures and Fiascos was curated by 2015-16 R&D Group directors Sanaz Ghajar and Colette Robert and featured interviews conducted by the Civilians’ Field Research Team. In this episode we hear two original songs and a pair of intertwined monologues all surrounding epic fails. First, Jen Kwok, Ally Bonino, Cindy Cheung, Nic Cory and Alex Grubbs perform “Go For It,” written by Adam Cochran, Jo Lampert and Matthew Marsh. Next, we hear Ally Bonino sing “Lost and Found,” written by Julia Meinwald and Gordon Leary. This original song draws upon an interview with a woman who flirts with disaster, but makes it by with a little help from her friends. Finally, the episode closes with Maria-Christina Oliveras and Chris Tyler portraying guests at two different, but equally calamitous, wedding celebrations. Flops, Failures and Fiascos was performed live at the Metropolitan Room on February 23, 2016. Sanaz Ghajar and Colette Robert directed a cast that featured Ally Bonino, Cindy Cheung, Nic Cory, Cornelius Davidson, Alex Grubbs, Jen Kwok, Nedra McClyde, Maria-Christina Oliveras and Chris Tyler.  The cabaret featured songs written by Adam Cochran, Jo Lampert and Matthew Marsh; Julia Meinwald and Gordon Leary; Eric March; Sam Chanse and Christopher Larkin; and Trevor Bachman. Featured musicians included Trevor Bachman, Alex Grubbs, Cheeyoung Kim, Eric March and Greg Tock.To hear more of these podcasts, subscribe to Let Me Ascertain You here on Soundcloud, or on iTunes: itunes.apple.com/us/podcast/let-m…cast/id477971690

Thought we were finished with OIC 2013? Not even close.  Our coverage continues with: What's Trending in Retail? Christopher Larkin, ModeratorTodd Lard, Charles Schwab & Co.Brian Overby, TradeKingGary Sjostedt, TD AmeritradeFrancisco Tirado, E*TRADE Financial