Podcasts about music editor

We are taking a deep dive into the world of Twin Peaks today with music editor Lori Eschler - who worked on the original series - and longtime David Lynch collaborator Dean Hurley, who did all kinds of work with him on numerous projects. It's an illuminating chat, shedding bright light on David's process and reminding us all what a seminal show it was and remains. 

Recorded live at Netflix HQ in Hollywood, this special FYSEE panel brings together the visionary sound teams behind four standout Netflix titles. This conversation explores how these sound artists crafted the unique sonic identities of each project and reveal how they worked with their directors, showrunners, and creators to craft the perfect balance of emotion, tension, and, of course, storytelling. Panelists include: - James Drake — Supervising Sound Editor, “Adolescence” - Wylie Stateman — Sound Designer, “American Primeval” - Anne Jimkes-Root — Co-Supervising Sound Editor and Music Editor, “American Primeval” - Brad North — Supervising Sound Editor, “Love, Death + Robots,” Volume 4 - Drew Webster — Re-recording Mixer, “Rebel Ridge” Be sure to check out each of these titles now streaming on Netflix, in Dolby Vision® and Dolby Atmos® — Adolescence American Primeval Love, Death + Robots, Volume 4 Rebel Ridge Please subscribe to Dolby Creator Talks wherever you get your podcasts. You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Shop with Lead And Be Legendaryhttps://leadandbelegendary.storenvy.comFor episode 63, Nametag holds a solid conversation with a well known Music Supervisor, Music Editor, A&R, and a specialist in Artist/Podcast Management…also known as the Lady With The Golden Ear; Carita Miller!Find more on Carita Miller https://linktr.ee/caritamillerMore on Nametag Alexander @https://linktr.ee/nametagalexanderNametag & Nameless: ‘For Namesake 2'https://ffm.to/eodjyqr

Fresh off the back of a successful Grammy Awards sweep, rapper Kendrick Lamar played his Super Bowl half time show today. Lamar's performance happened in the midst of an ongoing defamation suit over his song Not Like Us - with Lamar getting in plenty of digs in at Drake before he performed the track. The performance also featured special appearances by Samuel L. Jackson, Serena Williams and SZA. Variety executive music editor Jem Aswad says Lamar had to omit an infamous line from Not Like Us to avoid further legal action. "But he did all the rest of it, and he referenced it, he said something like - 'I want to play their favourite song but they always sue'. And at the end - not everybody noticed this - but in the audience with the light up wristbands, a bunch of fans were seated so it spelled: Game Over. Which it kind of is." LISTEN ABOVESee omnystudio.com/listener for privacy information.

Today, I am excited to welcome you to this conversation with Charlie Peacock. Charlie is a gifted musician, producer, and storyteller whose life and art intertwine in the most captivating way. In this episode, we're going to dive deep into the roots and rhythms that have shaped Charlie's remarkable journey. We'll uncover the hidden history of his family's racial identity, explore the formative experiences that forged his singular musical talent, and trace the sacred dance between his spirituality and artistry. This is a winding, improvisational odyssey - filled with moments of reckoning, redemption, and the irrepressible drive to create. And in sharing it with us, Charlie invites us to reflect on our own roots, to listen for the rhythms that course through our veins, and to consider how the very things that make us who we are might also be the wellspring of our most profound expressions. So get ready because we're about to embark on a journey through the landscape of a life fully, beautifully lived. So join us as we discover roots and rhythm.Charlie Peacock is a 6x Grammy Award–winning, Billboard Chart–topping music producer, composer, and recording artist. He is responsible for developing and producing the Americana-Folk duo The Civil Wars and the bands Switchfoot and The Lone Bellow. Charlie is a co-founder of the Art House, Wedgwood Circle, and founder/director Emeritus of the Commercial Music Program at Lipscomb University. He has produced music for film and television, including A Walk to Remember, Chris Cornell's "Misery Chain" from the soundtrack of 12 Years a Slave, and "Hush," the title theme to the AMC drama Turn: Washington's Spies. Named by Billboard's Encyclopedia of Record Producers as one of the 500 most important producers in music history, Charlie is also a three-time recipient of the Gospel Music Award for Producer of the Year. His songwriter credits include two multiplatinum evergreen songs, “Every Heartbeat” (Amy Grant) and “In the Light” (DC Talk). His books include Why Everything That Doesn't Matter, Matters So Much, New Way to Be Human, At the Crossroads, and a contribution to It Was Good: Making Music to the Glory of God. Charlie is the Sr. Music Editor for Christianity Today and host of the Christianity Today Podcast, Music and Meaning. Notably, Charlie's songs and productions exceed 25 million sales. Eerdmans will publish his memoir, Roots & Rhythm, on February 4, 2025. He has been married to author Andi Ashworth for nearly fifty years and they have two grown, married children and four grandchildren.Charlie's Book:Roots and RhythmSubscribe to Our Substack: Shifting CultureConnect with Joshua: jjohnson@allnations.usGo to www.shiftingculturepodcast.com to interact and donate. Every donation helps to produce more podcasts for you to enjoy.Follow on Facebook, Instagram, Twitter, Threads, Bluesky or YouTubeConsider Giving to the podcast and to the ministry that my wife and I do around the world. Just click on the support the show link belowEmail jjohnson@allnations.us, so we can get your creative project off the ground! Support the show

Jason Reitman's Saturday Night is a love letter to the counterculture minds that formed one of the longest running television series in history, Saturday Night Live. Reitman creates a deliberately, lovingly chaotic atmosphere packed with visual gags, nostalgic references, sounds, and iconic music that all collaborates to orient the audience in a very specific place and […] The post ‘Saturday Night' Music Editor Chris Newlin On How the Music Becomes a Character In the Film appeared first on The Contending.

The highlight track for September features Music Editor for the Shepherd Express Blaine Schultz.

Inside this Episode with host, Mitch Hampton Christoph Schülren, one of the guests to whom I was so kindly introduced by pianist Beth Levin, will be the first time on our podcast that a musician whose professional career is devoted to the art and practice of conducting has been featured.  I thought it indispensable for many reasons to feature him: musical conducting is ubiquitous in many styles of music yet is perhaps little understood or appreciated outside of the worlds of music.  I was most happy with our discussion: he is quite articulate and able to get into the details of his craft in a relatable way to a most general audience and he has quite an intriguing biography as can be gleamed from our episode. Christoph Schlüren's Biography  “Uniting the well-known with the unknown” Conductor, Music Researcher,Musical Mentor, Music Editor, Program Adviser, Chamber Music, Coach  Christoph Schlüren studied with the late Sergiu Celibidache from 1981 to 1996. Other strong influences were the composers Anders Eliasson, Pehr Henrik Nordgren, and Per Nørgård, the musicians Paul Zukofsky, Sándor Végh, Murray Perahia, Juha Kangas, and many more.  As a conductor (Symphonia Momentum, Deutsche Kammerakademie Neuss am Rhein, St Michel Strings Mikkeli) Christoph Schlüren led first performances of works by Peter Michael Hamel and Anders Eliasson. Some of the lesser established composers he particularly favors are:Heinz Tiessen, Eduard Erdmann, Anders Eliasson, Jean-Louis Florentz, Paul Büttner, John Foulds, Vittorio Giannini, Nicolas Flagello, Giorgio Federico Ghedini, Peter Mennin, Bernard Stevens, Felix Draeseke, Heinrich Kaminski, Max Butting, Reinhard Schwarz-Schilling , Heinz Schubert, Philipp Jarnach,  Emil Bohnke, Matthijs Vermeulen, Harald Sæverud, Georges Migot, Eduard Tubin, Vagn Holmboe, Douglas Lilburn, Robert Simpson, Per Nørgård, Boris Tishchenko, Ketil Hvoslef, Pehr Henrik Nordgren, Tristan Keuris, Halvor Haug, Peter Michael Hamel, John Pickard, Håkan Larsson, and Juan José Chuquisengo.  He combines their works in dramaturgically correlated programs with the established great composers. Read more about conducting He is a music researcher, author and journalist as well (Frankfurter Rundschau, Gramophone, Tempo, Fono Forum, Crescendo, Neue Musikzeitung, Bayerischer Rundfunk, Deutschland Radio, etc.) and works as main editor and researcher on the rare music scores series Repertoire Explorer. Christoph Schlüren wrote the first basic introduction into Musical Phenomenology as it was created as a universal approach to music by Sergiu Celibidache developing further on. As a program adviser he collaborates with orchestras and conductors (Bavarian Radio Symphony Orchestra, Münchner Philharmoniker, Ostrobothnian Chamber Orchestra, Arcos Orchestra, Münchener Kammerorchester, etc.; Lavard Skou Larsen, Juha Kangas, José Serebrier , Mario Venzago, Christoph Poppen, Israel Yinon, etc.), and created commissions for the Musica Viva series of the Bavarian Radio Symphony Orchestra (Anders Eliasson's Fourth Symphony, Cynthia Lee Wong, and Onute Narbutaite, as well as arranging the world première of Artur Schnabel's Third Symphony). Read more essays and evaluations Christoph Schlüren works as a musical mentor with soloists and  chamber ensembles (Rebekka  Hartmann, Ottavia Maria Maceratini, David Frühwirth, Masha Dimitrieva, Omar Rahbany, Margarita Oganesjan, etc.). Read more about mentorship Links to more about Mr. Schlüren's beautiful works  www.christophschlueren.com #classicalmusic #music #opera #bartok #germany #progrock #rock #symphony #classicalmusic #orchestra #strings #brass #woodwind #percussion #piano #concert #theatre #fritzbrun #bethlevin #mozart #whiplash #donellis #tar #cateblanchett #leonardbernstein #brunowalter #frankzappa #contemporarymusic #modernmusic #romanticism #navarrastringquartet #igorstravinsky #antonbruckner #vienna #schoenberg #webern #serialism #tonality #meoldy #harmony #rhythm #baroque #earlymusic  --- Support this podcast: https://podcasters.spotify.com/pod/show/mitch-hampton/support

Music Journalist Lyndsey Parker is a fixture on the Los Angeles music scene. For more than two decades, she served as the Music Editor for Yahoo Entertainment, interviewing all our favorite music artists, including 80s icons like The Cure, Duran Duran, and Cyndi Lauper. You've seen her as a correspondent on AXS TV and Fox 11 News in Los Angeles, and as a moderator at the Grammy Museum. You can learn all about Lyndsey on her website, Lyndsanity! First and foremost, she is a music fan, and also a Valley Girl, which makes her the perfect guest to discuss the 80s and songs 20 to 11 from the 1987 year-end chart as featured on The World Famous KROQ in Los Angeles. Learn more about your ad choices. Visit megaphone.fm/adchoices

Music Journalist Lyndsey Parker is a fixture on the Los Angeles music scene. For more than two decades, she served as the Music Editor for Yahoo Entertainment, interviewing all our favorite music artists, including 80s icons like The Cure, Duran Duran, and Cyndi Lauper. You've seen her as a correspondent on AXS TV and Fox 11 News in Los Angeles, and as a moderator at the Grammy Museum. You can learn all about Lyndsey on her website, Lyndsanity! First and foremost, she is a music fan, and also a Valley Girl, which makes her the perfect guest to discuss the 80s and songs 20 to 11 from the 1987 year-end chart as featured on The World Famous KROQ in Los Angeles. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's episode of I Need to See That, we are joined by music editor extraordinaire Rebecca Shrand to find out all about what exactly a music editor does. This kicks off June Williams: a month long conversation about Music in Film and TV. Visit us at ineedtoseethat.com or email us at ineedtoseethatpod@gmail.com.

In this episode, Joaquin talks with Eduardo "Gualo" Jaramillo, the music editor behind the Netflix series Griselda. They discuss the complexities of music editing, exploring Eduardo's collaborative process with directors and editors, and the unique challenges of aligning music with visual storytelling. Eduardo shares insights into his creative journey and the orchestration techniques that bring the series to life, highlighting the importance of communication and teamwork in the fast-paced world of post-production.Eduardo provides a behind-the-scenes look at the making of the Griselda score by Carlos Rafael Rivera, blending classical influences with Colombian roots to create a unique musical identity for the series.  The conversation covers the technical and artistic aspects of music editing, offering valuable advice for aspiring music editors and fans of the show. Check out our free content and other resources! >>> SUBSCRIBE and leave a 5-star review on Apple Podcasts! >>>Original Music: "Apollo's Haze" and "Do You Want" by JesusdapnkFacebook: www.fb.com/jesusdapnkSoundcloud: www.soundcloud.com/jesusdapnkInstagram: @jesusdapnk

Welcome to this conversation with two people who really inspire me, Andi Ashworth and Charlie Peacock. They provide ample hope from further down the road - having accumulated decades of wisdom in the public square as Nashville music producing influencers. Dare I say - few people have influenced our generation through music more powerfully than they have. I read their book, meaningfully titled “Why everything that doesn't matter, matters so much” and then awaited this conversation with giddiness, anticipation, excitement, a little bit of shyness. Maybe I was – and still am? – a little starstruck? I will let you decide. Have you ever asked, what can I do to mend the world, to mend my family or my own life? And if I could, is it worth it? Should I bother? Does my own small part in the world really matter? And so today, multi-Grammy-winner Charlie Peacock and his wife, delightful author Andy Ashworth, come to share their encouragement. Their book is a collection of 16 essays or letters. They are here to share their wisdom, calling us to discover and to join God's mission to love and care for a very hurting world. They are sharing with honesty, vulnerability, humility and wisdom from their own life experiences. They are beloved and trusted mentors. They invite us into a thought-provoking exploration of the many facets of the Christian culture care and culture-making in all areas - from the kitchen, hospitality, generosity, gardening all the way to Carnegie Hall and Grammy Awards.  They talk to us about the theology of imagination and creativity, a vocation that provides a framework for all of life. I've found them providing a model for expressing love in marriage, in friendship, in citizenship, and every kind of work, even in the midst of our culture of cynicism, fear, exhaustion, oppression. I have found that each one of these 16 letters is a gentle, wise, humble, vulnerable, and thought-provoking nudge in the direction of God's powerfully ordinary purpose for each one of us. It doesn't matter what the future holds because we're invited to participate fully in the beautiful redemptive work of Christ. Can you begin to see why I can't wait to share this conversation with you? I hope you join us. MEET ANDI ASHWORTH AND CHARLIE PEACOCK Andi Ashworth is the author of Real Love for Real Life: The Art and Work of Caring. She is Co-Founder of The Art House in Nashville where she served for over two decades through hospitality and mentoring, hosting a wide range of guests and organizations including Bono, Blood: Water Mission, International Justice Mission, The Gathering, and the ONE Campaign. Andi holds an MA in Theological Studies from Covenant Seminary in St. Louis. As Editor-In-Chief of the Art House America Blog she stewarded hundreds of essays from a variety of authors such as Tish Harrison Warren, Steven Garber, Sandra McCracken, Russ Ramsey, and Luci Shaw. Andi is most recently published in Wild Things and Castles in the Sky: A Guide to Choosing the Best Books for Children and A Book for Hearts & Minds: What You Should Read and Why. She has been married to Charlie Peacock for nearly fifty years and they have two grown, married children and four grandchildren. Charlie Peacock is a Grammy Award–winning, Billboard Chart–topping music producer, composer, and recording artist. He is a co-founder of the Art House, Wedgwood Circle, and founder/director Emeritus of the Commercial Music Program at Lipscomb University. Charlie has produced music for film and television, including A Walk to Remember, Chris Cornell's "Misery Chain" from the soundtrack of 12 Years a Slave, and "Hush," the title theme to the AMC drama Turn: Washington's Spies. Named by Billboard's Encyclopedia of Record Producers as one of the 500 most important producers in music history, Charlie is also a three-time recipient of the Gospel Music Award for Producer of the Year. His books include New Way to Be Human, At the Crossroads, and a contribution to It Was Good: Making Music to the Glory of God. Charlie is the Sr. Music Editor for Christianity Today and host of the Christianity Today Podcast, Music and Meaning. He has been married to Andi Ashworth for nearly fifty years and they have two grown, married children and four grandchildren. We invite you to check out the first episode of each of our series, and decide which one you will want to start with. Go to gospelspice.com for more, and go especially to gospelspice.com/podcast to enjoy our guests! Interested in our blog? Click here: gospelspice.com/blog Identity in the battle | Ephesians https://www.podcastics.com/episode/74762/link/ Centering on Christ | The Tabernacle experience https://www.podcastics.com/episode/94182/link/ Shades of Red | Against human oppression https://www.podcastics.com/episode/115017/link/ God's glory, our delight  https://www.podcastics.com/episode/126051/link/   The perfect gift for everyone - apparel, drinkware, stickers and more for all the women, men and kids in your life! https://www.gospelspice.com/merch Go to gospelspice.com for more, and go especially to gospelspice.com/podcast to enjoy our guests! Interested in our blog? Click here: gospelspice.com/blog Support us on Gospel Spice, PayPal and Venmo!

The United States Department of Justice is suing music promoter Live Nation - claiming it's using illegal tactics to hold a monopoly over live music. The Ticketmaster parent company has been accused of running an illegal monopoly on live music events in America. Variety Executive Music Editor Jem Aswad says it's unlikely if things will get better for fans, even if the companies are broken up "The real question is - even if they're broken up, will things get better for fans? And I don't really see a compelling case for that beyond the Justice Department's assurances." LISTEN ABOVESee omnystudio.com/listener for privacy information.

The United States Department of Justice is suing music promoter Live Nation - claiming it's using illegal tactics to hold a monopoly over live music. The Ticketmaster parent company has been accused of running an illegal monopoly on live music events in America. Variety Executive Music Editor Jem Aswad says it's unlikely if things will get better for fans, even if the companies are broken up "The real question is - even if they're broken up, will things get better for fans? And I don't really see a compelling case for that beyond the Justice Department's assurances." LISTEN ABOVESee omnystudio.com/listener for privacy information.

David, fresh off of a weekend with Donny Osmond talks about a lifetime of celebrities. Idolizing them, meeting them, interviewing them, befriending them and eventually making them stars once again on his grammy specials. We also talk Neil Diamond, Joni Mitchell, Frank Sinatra, and Phil Rosenthal plus a special surprise call from Brad Paisley! Bio: David Wild is a Peabody and Emmy-winning television writer and producer, a New York Times best-selling author and prominent pop culture commentator. Wild was a College Scholar graduate of Cornell University who then worked at Esquire and Rolling Stone where he served as Music Editor and wrote numerous cover stories for over two decades. Since 2000, Wild has also been writing and producing well over a hundred high profile TV specials including all of The Grammy Awards since 2001, working with Grammy hosts from Jon Stewart to Queen Latifah to LL Cool J to James Corden to Trevor Noah, as well as countless other award shows and network specials including The Academy Awards and The Emmy Awards. Wild has received numerous Emmy nominations for his work, and was most recently nominated in 2021 as a producer for The Grammy Awards, that same year winning a Daytime Emmy that same year as a writer for The Independent Film Spirit Awards. In 2021, Wild was also an Executive Producer for Shine A Light, CNN's acclaimed 9/11 tribute special hosted by Jake Tapper, marking 20 years since Wild received his first-ever Emmy nomination as Head Writer for 2001's Peabody and Emmy-winning America: A Tribute To Heroes.  Since 2022, Wild has co-hosted the “Naked Lunch” podcast with Phil Rosenthal — their “Lunch” guests have included Jimmy Kimmel, Jane Fonda and Keanu Reeves, to name just a few. And just before the WGA Strike of 2023, Wild served as Head Writer for hosts Dolly Parton and Garth Brooks on the ACM Awards. Wild has written numerous best-selling books both as an author and co-author, including New York Times best-sellers with the cast of "Friends" and Brad Paisley, as well as penning liner notes for artists including The Rolling Stones, Ringo Starr, Hall & Oates, Fleetwood Mac, LL Cool J, Aerosmith and Stevie Wonder. Wild lives in Los Angeles with his wife Fran and their two sons.From Straw Hut Media

It's a special bonus episode of NO ENCORE in honour of Taylor Swift releasing 11th studio album The Tortured Poets Department and everyone having an online meltdown about it. One such major talking point emerged via American publication Paste Magazine, which opted to withhold the name of the writer when publishing its review of The Tortured Poets Department. The move provoked a lively reaction and a lot of debate, from critics, commentators, and hardcore Swifties alike.On this episode, Dave Hanratty speaks with Paste's Music Editor Matt Mitchell to learn about what went into the decision-making process, and hear Matt's take on the state of music criticism in 2024, particularly with regard to the online hardcore fan bases that seek to police it. Dave also sits down with Clare Martin, Assistant Comedy Editor at Paste, who reviewed Taylor Swift's Lover album in 2019 and subsequently received threats of violence because of it. Clare reflects on her experience, and gives her thoughts on Paste's call to anonymise their latest critique of the biggest name in music today. Don't forget, you can get this and every new NO ENCORE episode 24 hours early and ad-free, AND additional bonus audio content by signing up to Patreon.com/NOENCORE.-Paste Magazine's WebsiteFollow Matt Mitchell on XFollow Clare Martin on XView Paste Magazine's Tweet about The Tortured Poet's Department reviewRead Paste Magazine's review of Taylor Swift's The Tortured Poets Department Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Rael's musical background, rooted in classical training, began at the age of 6. He graduated from the Tonmeister Course with First Class Honors, winning both available prizes for composition. Rael has worked on a variety of roles in film, including: Composer, Music Producer, Orchestrator, Music Editor, Music Programmer and Session Musician. Rael's film work includes: Les Miserables, Alan Partridge, Suite Française, My Cousin Rachel, Oasis: Supersonic,, Mrs. Harris Goes To Paris, The Sound Of 007, Role Play, and Seize Them. Rael's television work includes: Sherlock, Ill Behavior, Harlots, The Salisbury Poisonings, The Kings, and Ten Percent.

I had the opportunity to listen to a great album titled Basso Profondissimo 2  back in May of 2022 and I am pleased to finally chat with the musician behind this unique body of melodies, Richard Ford. Richard plays bass and composes, produces, and is an Emmy award-winning music editor. You might have heard his work while watching your favorite movies or television series.Join me as we hear about Richard's musical journey, his work on the Bass Profondissiom series, how he gets his sound, and his plans for the future.This interview first appeared in Bass Musician Magazine in April 2023Go to jazzguitartoday.com and bassmusicianmagazine.com more interviews and lessons.

On this episode of Sound Up! with Mark Goodman and Alan Light, we discuss a ton of music news including the recent Madonnafan lawsuit, the 2024 Songwriters Hall of Fame inductees,Billy Joel announces his first new music in 17 years plus Billboard Magazine's Senior Music Editor Lyndsey Havens joins us to help break down the 2024 music festival season and the consolidation of Pitchfork.com.  And if that's not enough, Mark, Alan and Lyndsey each give us their new music picks! Are festivals worth it for the fans and for the bands?  Hear what we have to say right now on episode three!  We want to make you part of the conversation. Leave us your comments via text or audio message at connect@sounduppod.com https://www.instagram.com/sounduppod/https://twitter.com/sounduppod

We have two powerhouse women joining us this week! Heard of a film called Barbie? Suzana Peric, the film's Supervising Music Editor and NYWIFT Muse Honoree, tells us all about working on the smash-hit film. Director/Producer Sonia Kennebeck discusses filming her fascinating new documentary Reality Winner (about a young NSA translator charged with espionage), in real time over five years. We also celebrate NYWIFT Members at DOC NYC! To be featured on the podcast email us at communications@nywift.org. For more great content go to NYWIFT.org. Special thanks to Elspeth Collard, the creator of our podcast theme song. Social Media: NYWIFT: IG @NYWIFT / Twitter/X @NYWIFT  /  #NYWIFT Sonia Kennebeck: Twitter/X: @soniakennebeck / IG: @soniakennebeck DOC NYC: @docnycfest

Emmy-nominated composer Vinicius Barbosa Pippa Worked on Netflix's "Love in the Villa" Contributed to the score of Fox's "Empire" Composed music for Nike's "I Got Next" commercial Involved in the single-player video game "Meridian Squad 22" Scoring coordinator for all 54 episodes of Disney's "Star Wars Galaxy of Adventures" animated shorts Provided music for the Millennium Falcon: Smugglers Run ride at Disneyland Worked on the sound of the VR game "Blade Runner: Revelations" to bridge the events of Blade Runner and Blade Runner 2049 Emmy-nominated for his work as Music Editor on the animated kids' show "Go! Go! Cory Carson" on Netflix Collaborated with a team of composers to create an original score for Harold Lloyd's 1922 silent film "The Freshman" Toured the US with an orchestra to perform the score live alongside the film --- Send in a voice message: https://podcasters.spotify.com/pod/show/composerclass/message Support this podcast: https://podcasters.spotify.com/pod/show/composerclass/support

Composer Vinicius Barbosa Pippa has held many jobs as a musician working in media. In addition to his work in games and film, he garnered an Emmy nomination for his work as a music editor on an animated show called Go! Go! Cory Carson. And he was the music supervisor on a different animated show that aims to introduce Star Wars to kids called Star Wars Galaxy of Adventures (definitely check this out if you haven't, they're fabulous shorts!). I loved chatting with Vinicius about his music, his projects, Portuguese and more! You can support Level with Emily on Patreon. Join us on Discord for free. Find this conversation on YouTube and Twitter. Patrons have access to exclusive merch, Discord events and special guest playlists. PLAYLIST by Vinicius Barbosa Pippa unless noted otherwise 00:00 Night Life 16:20 Lemon Tea 23:32 Clues 29:49 One Last Time 32:37 The Intercept 33:52 Blood Vow 43:58 Graveyard End Credits (From the film Graveyard) 48:16 Idee Fixe II 50:05 Dream Come True 50:31 Other Sprouts by Sam Keenan

THNX: A Feelgood Podcast is re-releasing our interview with friend of the pod John Nova Lomax, who passed too soon on Sunday, May 21, 2023.  John Nova Lomax was a journalist in Houston, Texas for 20 years. After graduating from Belmont in Nashville, Tennessee, he had a variety of jobs including oyster shucker, landscape gardener, British Telecom clerk, and field hand in Israel. John settled down in journalism at the Houston Press, where he reviewed and introduced all types of music to his readers as a Music Editor and Staff Writer for nearly 12 years. After working briefly at Swamplot.com, he was a Senior Editor at Texas Monthly for almost 4 years. John is survived by his children.

Tom Kramer, Music Editor, joins Susan and Ben to discuss his work on The Queen's Gambit, a 2020 television series. Tom shares what it's like having a career editing music for Avengers: Endgame, Ladder 49, and Mulan (1998). He discusses how music editing fits into the production schedule, how to experiment when “temping a film,” some of the more unique edits he's done, and traveling globally with the Fantasia 2000 live orchestra. Tom also provides behind-the-scenes insights on the music of The Queen's Gambit. Tom plays our “Movie Games” game. Follow Tom on IMDb. Watch Chupa and The Queen's Gambit on Netflix.  Rate and Review on Apple Podcasts to help us reach more listeners. Find out about our guests and upcoming events by following us at Facebook, Twitter, or Instagram, contribute to our Patreon, or shop at lifeinthecredits.com. Life in Our Credits Hosts: Susan Swarner and Ben Blohm Executive Producer: Michelle Levin Logo Art: Melissa Durkin Music Composer and Performer: Steve Trowbridge

Today I talk with legendary Music Editor, Suzana Peric.  She's worked on some of my favorite films with some of my favorite directors and composers!  She talks about her amazing life, and how she found her way into the arts.  We talk about her lifelong relationship with the incomparable Jonathan Demme, working with Ennio Morricone in Rome, and how she still has an insatiable passion for music and films and life itself.  It's a beautiful conversation with a truly beautiful artist and woman.  Please listen, enjoy, and share! Link in Bio! Learn more about your ad choices. Visit megaphone.fm/adchoices

#45: Our guest today is Adam Kallibjian, who is a composer and music editor based in Los Angeles. He has worked on projects such as The Last of Us 2, Call of Duty: Modern Warfare, Spider-Man: Miles Morales, and much more.    In this episode, we talk about what a music editor does, how to break into this field, and how there are countless different ways to get to the career of your dreams in music or sound.    Find Adam Kallibjian here: LinkedIn: https://www.linkedin.com/in/adamkallibjian/ Twitter: https://twitter.com/adamkallibjian   And if you're interested in making music and sound for games, I have a newsletter and free courses that will get you started, and help you find paying work in games. Just go to http://www.bit.ly/soundbizpod  

Nick Carter is countersuing two women who have accused him of sexual assault. PEOPLE's Dory Jackson takes us through the latest celebrity romance news. James Cameron commissioned a scientific study to discover whether Jack really could have survived in Titanic. PEOPLE's Music Editor, Jack Irvin tells us what to expect from this Sunday's Grammy Awards ceremony. For these stories and more, head to PEOPLE.com. Follow on Instagram: Janine Rubenstein - @janinerube Dory Jackson - @dorienne.jackson Jack Irvin - @jackirvinwho Learn more about your ad choices. Visit megaphone.fm/adchoices

Preorder the THIRD EDITION of How to Make It in the New Music Business here: https://book.aristake.comShirley Halperin is an Executive Editor at Variety, where she spearheads music coverage for the print magazine and Variety.com. Through her 20-year career, she has held staff positions at Entertainment Weekly, Teen People and Us Weekly and was also a regular contributor to Rolling Stone. A two-time Los Angeles Press Club winner, Shirley joined the Hollywood Reporter as Music Editor in 2010, later adding sister magazine Billboard to her resume. Until 2017, she oversaw music news coverage for both publications. She is the author of three books: 2008's “Pot Culture: The A-Z Guide to Stoner Language and Life,” 2010's “Reefer Movie Madness” and 2011's “American Idol: the Official Backstage Pass.”04:00 Welcome12:29 The focus of Variety Magazine's music department17:13 Is Variety covering the subculture?21:08 Variety's readership and purpose of music journalism24:10 Interpolations explained28:09 Challenges for journalists versus consumers42:02 Who holds the most power, editors or algorithms?45:54 Where the music industry is heading47:25 Lyrics being used against rappers in criminal trials50:18 Concert cancellations and navigating cultural outrage54:35 Final questionSubscribe to The New Music Business: https://aristake.com/nmbAri's Take Academy (use code NMB for 10% off): https://aristakeacademy.comWatch more discussions like this: https://bit.ly/3LavMpa Connect with Ari's Take: Website: https://aristake.comAcademy: https://aristakeacademy.comInstagram: https://www.instagram.com/aristake_TikTok: https://www.tiktok.com/@aris.takeTwitter: https://twitter.com/ArisTakeYouTube: https://www.youtube.com/user/aristake1 Connect with Ari Herstand: Website: https://ariherstand.comInstagram: https://instagram.com/ariherstandTwitter: https://twitter.com/ariherstandYouTube: https://youtube.com/ariherstand Connect with Shirley Halperin: Website: https://variety.com/author/shirley-halperinInstagram: https://instagram.com/shirleyhalperinTwitter: https://twitter.com/shirleyhalperinLinkedIn: https://www.linkedin.com/in/shirley-halperin Edited and mixed by Maxton HunterMusic by Brassroots DistrictProduced by the team at Ari's Take Hosted on Acast. See acast.com/privacy for more information.

Ever wonder why some songs and scores make a scene great and others fall apart? Well, this installation of our explained series dives into the processes of how the music comes together in the edit. Today's Nerds Explain: The Film Industry with Music Editing and friend of the show Will is going to take us on that journey. Listen to our first installments on your favorite podcatcher app before listening to this episode of NERD ON! Join the Nerd On! Nation Today - https://nerdon.tv/Patreon Twitch - https://nerdon.tv/Twitch Twitter – https://nerdon.tv/Twitter Facebook – https://nerdon.tv/facebook Instagram – https://nerdon.tv/instagram Comixology Affiliate Link - https://nerdon.tv/ComiXology

How to become a singer-songwriter, producer, music editor, author, and podcast host with Michael Gungor Gungor is the epitome of creativity and authenticity. Created by Michael Gungor, a nondual spiritual teacher, author, and podcaster with two podcasts underway. One that is award-winning called "The Liturgists," which, at its height, had millions of downloads, and the second podcast is called "Loving THIS." Michael has been featured in USA Today, NPR, and more, and fans can hear his music featured in different commercials and trailers. Michael is now thriving with the upcoming relaunch of his band "Gungor" and album, "Love Song to Life."

This week's Times Will Tell introduces Lena Glikson, the Russian-born, Jewish music editor who was part of the 2022 Emmy-winning editing team for Netflix's hit series, "Stranger Things." Lena speaks about her work in Season 4's scene featuring Kate Bush's "Running Up That Hill," editing the music to picture and helping slingshot the 80s song into a viral hit. She talks about her journey from Russia to the US a decade ago, the distance from her family and friends, and experiencing the onset of Putin's war against Ukraine from afar. She also examines the development of her own Jewish identity as a teenager, discovering and exploring her Jewish roots and facing a turning tide of anti-Semitism in her native land as she left for the US. Glikson talks about Israel, her hopes to work on Israeli films and productions, and her efforts to study Hebrew as part of her own personal journey. The following transcript has been very lightly edited. The Times of Israel: Lena, welcome. We're so happy to have you here with us. Lena Glikson: Thank you, Jessica, for having me. It's such a pleasure to be a part of your podcast. I think we're going to have to start with Stranger Things. Tell us when and how you joined the Stranger Things music crew and a little about development of music for this show. So, season four of Stranger Things is my first season on the show. I've been working as a music editor in Hollywood for the past six years at this point. Receiving this email from David Claude, the music editor for all the seasons of the show, was kind of surprising. And I couldn't even believe it because I actually was a big fan of the show and I watched all these seasons and I was one of the people googling the release date for season four. I literally saw that and thought it was a junk email. That's funny. And, yeah, it was real. And apparently the Duffer brothers were looking for the second music editor because the episodes in season four are so long, many different processes were happening in parallel. So while one episode was dubbed, meaning the sound for the episode was mixed, the Duffer brothers were already cutting and working on the following episode. So poor David, the music editor, would have to be in two places simultaneously. And the Duffer Brothers needed someone who would be actually working with them in the cutting room every single day. And that person was me. And it was just an amazing experience. I was spending a lot of time with the Duffer Brothers and we were working very closely on the music, both the score and the source pieces. And of course, “Running Up That Hill” was one of the songs that we worked closely on and it was just amazing. And they gave me so much creative freedom and just things to experiment with. And they trust me to a point where they can just bring up a few pieces from the previous seasons and tell me, can you cut this one over here or is that one over there? I kind of had to take pre-existing piece of music and then place it in a new scene and actually make it work in that context, which is always a very, very fun thing to do. And the entire crew is just so lovely and amazing. And the vibes you're getting from the show, it's so interesting because these positive, friendly vibes, they actually live in the cutting room, which is a very unique thing, I think, even from my experience. Talk to us a little bit about how the music gets chosen. What is it like to work as part of the music editing team and to make the decisions about various songs? Many of the songs are already scripted. At some point it becomes about licensing. How much money do we have to spend on the music and where can we save a bit if we can pick certain alternatives for some of the songs? But when it comes to big songs, I think most of them are kind of predetermined and it's a combination of director's work and showrunner's work. And we also have our amazing music supervisor, Nora Felder, who helps us providing alternatives for certain songs. And also she does all the licensing for the show. And in terms of picking and choosing songs, basically if we need some options, then Nora would come up with a number of different songs and I would be the person cutting them into the scene. Basically, and showing them to the Duffer Brothers because obviously all the songs are different tempo, different length. And my job, just as a music editor in general, is to make a particular piece of music work syncwise and dramatically within a certain scene and make it all very musical so that it develops beautifully and works with a picture. And then sometimes we're just narrowing down the choice to two or three different pieces and then go from there. I'd like to dig in a little bit to Running Up That Hill from Kate Bush. We're going to listen for a moment to a snapshot of the scene in season four in which Max, played by Sadie Sink, is able to overcome the powerful curse, spoiler alert for those who have not gotten to season four yet. And she's able to overcome the curse by hearing her favorite song. https://www.youtube.com/watch?v=bV0RAcuG2Ao It becomes such an indelible moment in the season. I know that that was supposed to be a very, very big moment. And when I saw the song for the very first time, it was instructed and told that, okay, so this is the scene, this is our feature song. Please be super careful about cutting it. Make sure that it all works. And the way it works, really, in the movie world, is that the songs and the music is being cut to picture, and very rarely it works vice versa. So the song always has to be adjusted in one way or the other. And to be honest, there are so many different stories about how the song was picked for the series. One of them is that it was scripted. The other one is that the director of that particular episode, Sean Levy, brought it in. But the way it was originally cut, it was cut by Dean Zimmerman, our picture editor. And it was just a very kind of rough shape of the song. And my job was basically just making it work within the scene and making it develop in a certain way. And we actually even had to adjust the picture a little bit to kind of make the song shine, which happens very, very rarely. It just tells you about how important this song was for the episode and for the season. And for me personally, the other interesting experience was cutting the same song in episode nine during this big epic montage where it's not just the main version of the song, but it's the remix by the artist Totem. And that one was fun because originally in that scene, we were supposed to have the score and then the Duffer brothers just brought it in and said, oh, we have this cool version of the Kate Bush song and it's a remix and let's try cutting it in. And basically I had all the separate instruments and elements for the remix. So just assembling such an epic version of that song for that scene was amazing. And when the Duffer brothers saw it, they really loved it and it was just such a happy moment for me when they actually fell in love with something that I did and I was the first person who kind of tried doing it. So it was very, very cool. And that sequence actually also lives on YouTube, I believe, as a separate video, because, again, it's a very rare thing, I think, when a song and the sequence, the video sequence, they live together and you can actually watch them separately from the episode, which kind of shows that people also like that one and were interested and it was cool reading the comments on YouTube. Let's turn to you now. You trained in piano and voice and did a lot of classical music training, and then made your way to sound editing. Was that always your goal? Well, as a child, my dream was actually to become a professional singer. And I think I started playing piano mostly because I wanted to be a singer and there was no official way of studying voice back in Russia. And I was always doing the two things in parallel and also because there was nowhere to study jazz vocals or pop vocals when it came to choosing like a career path when I was still living back in Russia. It's surprising and it's a bit weird, but out of all the options that I had, I picked classical music theory. And I think partially it's because my parents are programmers. And there was something about that, just like the specific way my brain works and kind of the logical component to the artistic component. And just that particular major appealed to me simply because it was a combination of both. But my goal was still to become a singer. So that's how I discovered Berklee College of Music in Boston. How many years ago did you come from Russia to the US? Ten years ago. Ten years ago? So not that long. Yeah, but that's still the third of my life. Okay, so most of your education was in Russia, and where in Russia did you live? Voronezh. It's a city really, really close to Ukraine. It's pretty much on the border with Ukraine. I was also considering a Rimon School of Music in Israel and kind of choosing between the two in a way, but also kind of thinking that maybe after a couple of years at Rimon, I would probably be able to go to Berklee. But the thing was that I didn't speak Hebrew, and I thought that that was kind of a bigger issue. I spoke English, so that was one of the main reasons why I actually went to Berklee, just to be able to absorb as much knowledge as I could. Well, what I realized at Berklee was that my dream of becoming a singer was a lovely dream, but I just had way too much classical background to kind of forget about that and only concentrate on performance. And because Berklee has to offer a number of very unique majors, and one of those was film scoring, I felt like that would be an amazing way of combining my more technical and logical side with a very, very creative, orchestral writing and just kind of using all my knowledge, basically. And that's why I came to Los Angeles, because with such a degree, this is kind of the number one place. And because music editing was one of the classes that we had to take as film scoring students, I considered it as one of the options for myself. And the first internship that I found was with the music editor, Nick South. And I already had kind of all the knowledge about creating a score for movies and how it all works and who is involved and had the basic technical skills. But I needed those specific skills for music editing. And my mentor, Nick, taught me pretty much everything he knew and he was just amazing in terms of explaining not only the technicalities, but also the political side of the job because that's another very, very important side of it. What is the political side? A music editor is a person who lives between all the parties involved in creating the music. And we act as some sort of a bridge between the director and the composer and the studio. Our job is to save the composer from being fired or save the movie from all the music being thrown away. And it has a lot to do with just understanding people, feeling the room, making sure you are protecting everyone that needs to be protected, making sure that we stay on schedule, communicating with a movie studio, communicating with the director. And sometimes the composer, let's say, sends me a piece of score. And I know that the director is in a really, really bad mood and I know that I can show that piece of score to the director at the moment. So I need to figure out a way to find the best time to do that. And it's a lot of figuring out what you can say, what you cannot say, how to save this person, how to protect that person, and problem-solving, troubleshooting and just resolving conflicts. I imagine there is a sense of satisfaction from what you do now, even though it is a long road from where you began. Is there? For sure. Of course. I kind of miss the performance element a bit because I just don't have the time to do that anymore. But I feel like there are no skills that are completely abandoned and unused because in one way or the other, even my singing skills, because I often work in musicals and, for instance, now I work on a remake of The Color Purple and there are many, many songs in that movie. So just having that background, knowing about vocal position, knowing about just how to use your voice helps me a lot as a music editor when I'm working on musicals, and of course, all my classical background helps me with the editing bit of it. And yes, it's been a very interesting journey, and I probably could never imagine working in Hollywood and doing what I do when I was little and when I was dreaming of being on stage and performing, but it's still very exciting. There's been a lot of upheaval in the last months, with the war in Ukraine. Where has that put you in terms of your own personal life and what you're thinking about both in terms of career and home? For me, what happened on February 24 when Russia attacked Ukraine was a personal tragedy in a way. I do not have family in Ukraine, but just the fact that the city where I was born is so close to the border with Ukraine and you know, especially in my town, it's actually very hard to say, oh, this person is 100% Russian and that person is 27% Ukrainian. It's all very, very mixed. And I have many friends from Ukraine, and I thought, okay, so now the Russians are going to actually see what happened and what our government is like. But that did not happen. And that made me feel devastated, to be honest. Like the whole world started crashing and burning. And when I was living in Russia. I was kind of suffering a bit with my identity because I was born with my Dad's Jewish last name, which is Glikson. But when I turned three years old, my mom changed her last name and my last name to her maiden name, which sounds way more Slavic. And that's actually still the last name that I have in my passport. Mostly because swastikas were all over the city and antisemitism was kind of flourishing. So I was growing up with this idea that I was Jewish, but I kind of had to hide that from everyone, living in a pretty conservative society where the Russian Orthodox Church is still kind of a big thing, and all the kids in my class were wearing crosses, and kids would ask me, so have you ever been baptized? And I've never been baptized. And it just felt very uncomfortable. And I had this feeling that, okay, I need to hide my identity. And when I became a teenager, that was already in the late 2000s, the climate in the society started changing a bit, and the Jewish community in my hometown started having different activities and celebrating high holidays. So it started to feel like it's not as dangerous as it used to be to be Jewish and to be kind of open about it, but it was still very difficult because we had so many decades of that part of who we are kind of being hidden. And the generation of my grandparents was the first generation who started experiencing that and started hiding their Jewish identity because they couldn't really celebrate any high holidays. That's why the generation of my parents grew up completely Soviet as opposed to having their ethnicities kind of cherished and respected. And when I started feeling more Jewish, that's when I started discovering more things about my Jewish heritage and learning more about the Holocaust, because that's an important part of my family history. My grandfather, he left Poland in 1939, and his family was exterminated in one of the first extermination camps in Poland. So for me, that was this generational trauma that was living very, very deep inside. And for many years, I was reading a lot about it, was reading a lot about the Holocaust, trying to understand that. Circling back to February 24, just from my personal experience, knowing so much about the war, knowing so much about what happened with the Jews and even living in Russia. It's not just me. I have my personal story with the Jewish heritage in the background. But going through the Second World War for all the Russian families was also devastating. And everyone has ancestors who died in the Second World War and served in the army. And it's this huge tragedy, and people all of a sudden were manipulating into saying that, okay, we have such a great past, and we won over the Nazis in 1945, and now we're going to do the same thing again. And for me, the two dots, they don't connect. The Nazis they were fighting against in 1941 to 1945 are not the same Nazis they're fighting against today. And the fact that it was so easy for the society to believe this huge, huge, huge lie just made me feel like I don't feel connected to the place where I was born anymore. Your parents are there? Yes. My dad passed away a couple of years ago, but my mom still lives there. And for me, it's very difficult because, you know, even during the pandemic, it was very, very hard for me to travel just because I'm not a US citizen. I'm here on a work visa. And Russia has a horrible relationship with the United States, so getting a visa in Russia is impossible. All the other countries in the world would only issue visas to their own citizens. And when my dad passed away, I wasn't even able to go back home for his funeral. And just I always feel stuck between all these different factors. And again, like this war in Ukraine, there are so many things that I don't support that have something to do with the politics, of course, and with the government and I can't be associating myself with that place anymore. And because I have so many ties to my Jewish heritage and I've always been thinking about becoming a part of Israel because again, it's a very important part of who I am and my identity. And only when I came to the United States, I felt like, okay, I can finally be more open about being Jewish. When I was at Berklee, most of my recitals were actually me singing Jewish music and Ashkenazi music. Wow. And I would never be able to do that in Russia. And for me, this was an incredible opportunity, just exploring who I am, exploring the music, and I feel very, very connected with that music. You've had a lot of different journeys, this professional journey and a very personal, familial and individual journey. Where does that put you personally and professionally? Right now, I'm kind of at this place with my career where everything keeps changing and I keep seeing different opportunities and everything keeps developing so, so fast. Of course, long term, I would love to work on an Israeli movie as well. I think language is a very big thing, and I am learning Hebrew right now, even though I'm not in Israel. But I do feel like it's a very important thing and it's something that, again, brings me back to my roots and connects me to my ancestors, even though my grandparents, they spoke Yiddish. But still I feel like it's just an important part of who I am. And as soon as my Hebrew basically turns into something that I can use professionally, then it would be much, much easier and more convenient for me and the filmmakers to work on, let's say, Israeli movie. And I know that there are many Israelis working in Hollywood, and I would love to get to know them and potentially collaborate on a project that would actually be amazing. Right now, the world is just changing so fast, and every day something new happens and I'm trying to kind of protect myself, protect my family where I can, and just basically watching the world change every single second. So I hope that very, very soon we'll come to a point where things will stabilize and hopefully the war in Ukraine will stop as soon as possible. And I will be able to kind of take a breather and just absorb everything that's going on and plan accordingly. Right now, everything feels like chaos. Yes. It's hard to avoid that feeling these days. Let's turn back to the beginning of the conversation a little bit and tell us a little bit about your musical dreams. Finding that balance between work that's very, very crazy and very intense and art. Before the war in Ukraine, I also used to write music for a local theater in my hometown, which was an amazing way of just self-expression and artistry. And I do miss that. I don't think it's possible to do the same thing, keep doing it. And especially, again, considering everything else that's going on in the world at the moment, it's just unsafe for both parties, me and the theater I used to work with, to collaborate. But doing something like that and finding the time for it is definitely an amazing thing. And I was also recording songs for those theater productions. And this is kind of the dream job in a way, where you don't have to do it for the money. You can just do it for the sake of artistic pleasure, basically. And, you know, in terms of the movies, of course I can work even on bigger shows. And yes, I definitely have certain topics. Like, for instance, Schindler's List is one of my favorite movies and working with, let's say, Steven Spielberg or working on a movie about Holocaust. Because as I already mentioned, it's a very, very, very important part of my identity. And it's a very unique type of music and type of score that a movie like that requires. And maybe not necessarily even editing the music for a movie like that, maybe writing music for a movie like that, that would definitely be a big dream for me. Lena Glikson, we hope that you get to fulfill these dreams. And final question, next season of Stranger Things, are you working on it yet? Have my fingers crossed! Times Will Tell podcasts are available for download on iTunes, TuneIn, Pocket Casts, Stitcher, PlayerFM or wherever you ghttps://vimeo.com/751681395et your podcasts. IMAGE: Lena Glikson, music editor for "Stranger Things" (Courtesy)See omnystudio.com/listener for privacy information.

The music of Stranger Things haunts living rooms across the globe, and at times steals the show. It takes a professional touch to properly integrate music to serve the goal of a scene, and of a moment. Be it for signaling tension, to call back to a previous season, to ratchet up the thrills, or to bring comic relief.Creating the right music offers the opportunity to elevate a scene. But getting the timing just right is what makes it so. Because it's not just what music plays—it's when.To learn more about the films and TV series David Klotz has worked on, check out his IMDB page.CreditsCurious State is a Quick and Dirty Tips podcast hosted and produced by Doug Fraser.Find Curious State on Twitter, Instagram, and Facebook, or subscribe to our newsletter for the latest updates.Podcast Manager - Adam Cecil Podcast and Advertising Operations Specialist - Morgan ChristiansonDigital Operations Specialist - Holly HutchingsMarketing and Publicity Assistant - Davina TomlinIntern - Kamryn LacyThe Quick and Dirty Tips network is a division of Macmillan Publishers in partnership with Mignon Fogarty, Inc.Have a question? Or a topic you'd like covered on the show? Maybe you just love sending emails? Whichever shoe fits, tie it on and send me a message at curious@quickanddirtytips.com.

Ever wandered what the creative process is behind the films, tv shows and theatre productions you watch? Well, Crew Chats is a podcast going behind the scenes and chatting to the crew that help make these productions. Episode 50's guest is music editor Clare Batterton. After having completed a Music degree at the University of Liverpool and a masters in the same at Oxford University, Clare knew she wanted to be a music editor. It was with this intention that Clare got in touch with music editor Laurence Love Greed and had the opportunity to learn from him whilst shadowing before going onto become a freelance music editor. Clare has worked on projects such as, Netflix's Top Boy, Made in Italy, His Dark Materials and the upcoming The Witcher prequel, The Witcher: Blood Origin to name a few. Clare's Reccomendations: Ted lasso Final space The Mitchells vs the Machine

Micha sits down with his old boss Lori Slomka and discusses her unique Hollywood career. Lori takes us on a journey from growing up with a dad who was himself a legend in Hollywood sound through her own career as one of the busiest music editors in town to eventually becoming the boss of the entire post department as a post production producer. Micha and Lori discuss the differences between being a music editor now and in the old analog film days and explore how the technology has changed the way we tell stories.

Rael's musical background, rooted in classical training, began at the age of 6. He graduated from the Tonmeister Course with First Class Honors, winning both available prizes for composition. Rael has worked on a variety of roles in film, including: Composer, Music Producer, Orchestrator, Music Editor, Music Programmer and Session Musician. Rael's film work includes: Les Miserables, Alan Partridge, Suite Française, My Cousin Rachel, Oasis: Supersonic, and most recently, the acclaimed, Mrs. Harris Goes To Paris. Rael's television work includes: Sherlock, Ill Behavior, Harlots, The Salisbury Poisonings, The Kings, and Ten Percent.

Episode 324."Stranger Things"David Klotz.David Klotz is a Composer and Music Editor and his filmography includes Stranger Things, American Horror Story and Iron Man. Welcome, David Klotz.Instagram: Monday Morning Critic Podcast.Facebook: Monday Morning Critic Podcast.Twitter:@mdmcriticEmail: Mondaymorningcritic@gmail.comYouTube: Monday Morning Critic Podcastwww.mmcpodcast.com

Shirley Halperin is Executive Editor of Music at Variety, where she spearheads music coverage for the print magazine and Variety.com. Through her 20-year career, she has held staff positions at Entertainment Weekly, Teen People and Us Weekly and was also a regular contributor to Rolling Stone. Shirley joined the Hollywood Reporter (THR) as Music Editor in 2010, later adding sister magazine Billboard to her resume. Until 2017, she oversaw music news coverage for both publications. Shirley is the author of three books: 2008's “Pot Culture: The A-Z Guide to Stoner Language and Life,” 2010's “Reefer Movie Madness” and 2011's “American Idol: the Official Backstage Pass.”

In this 1077th episode of Toronto Mike'd, Mike chats with Richard Trapunski about his years writing for Chart Attack and being the Music Editor at NOW Magazine. Richard explains in great detail what happened at NOW Magazine and why he's no longer there. Toronto Mike'd is proudly brought to you by Great Lakes Brewery, Palma Pasta, Canna Cabana, StickerYou, Ridley Funeral Home and Duer Pants and Shorts.

Koyomi's New Song https://www.bandlab.com/otakugeek/new-project-2ce3d503?revId=0c906179-24d0-ec11-997e-28187831e8a1 === This program is recorded in my Discord group "NihonGO Japanese Language School", we offer group lessons for free, almost every day! Feel free to join the server and our lesson anytime ;) "NihonGO Japanese Language School" https://discord.gg/WEMKCAGhxA === #nihongopodcast #japanese #日本語 #giapponese #日文 #日语 #일본어 #ญี่ปุ่น #japonais #japonés #japonês #nihongo #hiragana #katakana #studyjapanese #learnjapanese #japanesephrases #japantrip #japantravel #jlpt #日本語能力試験 #kanji #japaneselanguage #japanesepodcast #にほんご #ひらがな #カタカナ #japan

Music Editor at MTV Patrick Hosken talks about the Nü-Metal-to-DMB pipeline, hating Twitter, and the greatest song he's ever heard in his entire life, "You Turn Me On, I'm A Radio" by Joni Mitchell.   You can find Pat on twitter @PatrickHosken or at patrickhosken.com   @gr8songpod on twitter, instagram, and tiktok @InterranteScott on twitter @ScottInterrante on tiktok Theme music: "Kratos In Love" by Skylar Spence Mixing by Michael Isabella Creative Production by Katherine Mohr

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JVDOT (Jay-Dot) is an American DJ and Music Editor from Greensburg, PA. Having grown up in a family deeply tied to music of all types, he developed a passion for music unmatched by anything else in his life. Now a full-time open-format touring DJ, JVDOT uses his love for music as a way to connect with the crowd, energize the dance floor, and create a memorable experience for all who attend his shows.Follow JVDOTTwitter: @jvdot570Facebook: facebook.com/jvdot570Instagram: @jvdot570Soundcloud: soundcloud.com/jvdot570

On The Outside is taking a rest, but we're excited to share an episode from another podcast that we think you'll like!THIIIRD Waves is one of the outputs of THIIIRD magazine, a platform that amplifies marginalised voices through print, events, and on the airwaves with their podcast. The show explores the intersections of culture and activism, and brings their listeners interviews and discussions with guests who have knowledge and lived experiences on the topic they talk about.This episode was first released in July 2020, and Hosts Daniela, Rhona and Tryb explore things like how communities are affected by tourism and what a more conscious approach to travelling might look like, with stops at Mount Everest, Venice Island and more. Then Daniella speaks to Tom Selwyn who is professorial research associate at the department of anthropology and sociology at the London Middle East Institute. He is widely published in the field of anthropology of tourism and pilgrimage. He also founded the MA in The Anthropolgy of Tourism, Travel and Pilgrimage at SOAS in 2010.THE THIIRD TEAM:Rhona Ezuma, Editor in Chief - @roena Daniela Hornzkov Sun, Producer - @dhsun Trybe, Music Editor - @trybe_official CALL TO ACTION:Follow THIIRD on Instagram @THIIIRDMagazine and listen to the THIIRD Waves podcast Sign up to the On The Outside newsletter to keep up to date between episodesYou can become a cheerleader of On The Outside on Patreon.RESOURCES MENTIONED: Sign up to the newsletter to find links to all the stories mentioned, extra resources, information about future episodes and more! ontheoutsidepodcast.co.uk/newsletter Share you opinions with us by emailing ontheoutsidepod@gmail.com you can send a DM on Instagram @OnTheOutsidePod, and you can send a voicenote or message via Whatsapp to 07883905336.In an aim to be accessible, we have transcripts for episodes on our website. ontheoutsidepodcast.co.uk/transcriptsYou can support the show on Patreon! All our Patreon money is offered to panellists for their time and expertise. Visit patreon.com/ontheoutsidepodcastCREDITS: Produced by Francesca TurauskisPodcast Art by Sophie NolanSocial Media Assistant is Anesu Matanda-MambingoMusic is Bassbeat by Alex NortonOn The Outside is part of the Tremula Network.

Welcome to "Inside The Juno Reactor" Podcast Episode 1: Zig (Music Editor for The Matrix, Spider-Man) SYNOPSIS: Juno Reactor & Zig talk about Zig's background as a Music Editor, his involvement in The Matrix, and how they collaborated together on The Matrix sequels, "Reloaded" & "Revolutions", majorly focusing on "Revolution" final credits track, "Navras". GUEST BIO: Zigmund "Zig" Gron is known for his work on The Matrix (1999), Spider-Man (2002) and Star Trek: Nemesis (2002). GUEST LINK: https://www.imdb.com/name/nm0343065/ Produced by Kenji Productions - www.kenjiproductions.com Discover more at: https://www.junoreactor.com

This week I am joined by Beth Kirkbride, the Founder of The Indiependent. Beth has a wealth of experience as a Journalist with bylines in Cosmopolitan and the Metro, and Editor as she is the Music Editor for The Indiependent alongside her full-time job. Here, Beth shares her advice for aspiring journalists from how to manage your side hustle alongside a full-time job to how to deal with the inevitable rejections. If you want to become a journalist, but are unsure how to break into the industry, Beth's advice is invaluable. Follow Beth on Twitter and Instagram Follow The Indiependent on Twitter and Instagram Hosted by Jess Bacon.  Hosted on Acast. See acast.com/privacy for more information.

Episode 6 Pt 2 talks to Tallah Brash about her time as a booker, rep, DJ then director at The Electric Circus in Edinburgh and her current position as Music Editor of The Skinny Magazine.

The subject of Episode 6 is the Music Editor of The Skinny, Tallah Brash. In pt 1 we talk about Tallah's early musical interests, getting into working for Fresh Air Student Radio, Cabaret Voltaire and then DJ'ing/promoting shows.  

Jake sits down with Composer and Music Editor, Shie Rozow to discuss his work on "Wu-Tang: An American Saga," and much more. Sit back and have a listen!