Dolly Parton’s childhood came to life on NBC this past December, drawing the biggest viewing audience for an original television movie since 2011. “Coat of Many Colors,” watched by 15.5 million viewers, is based on Parton’s early years growing up in the Great Smoky Mountains of Tennessee. Continue reading
At once slickly modern and touched by nostalgia, The Bridge Recording stands true to its name as a testament to bridging past and present. Sparing no effort or expense, owner/engineer Greg Curtis opened the doors of his dream vision in 2010. The 6,500 square foot scoring and mixing facility houses an 1,800 square foot stage with 23 foot ceilings, two large ISO rooms and a spacious control room. Among the equipment and decor are various nods to the past, none more prominent than the behemoth Neve 96-channel console with provenance from Paramount’s historic Stage M.
Besides being the home of the USC scoring sessions and the likes of Adele and Idina Menzel, the studio records a host of today’s top TV shows including “Da Vinci’s Demons,” ”Once Upon A Time,” “Constantine,” “The Simpsons” and “Marvel’s Agents of S.H.I.E.L.D.” to name just a few. At a recent “Person of Interest” scoring session, Curtis welcomed interviewer Linda A. Rapka and photographer Erik Rynearson to share how The Bridge in just a few short years finds itself as one of the hottest recording spots in town.
Tell me how you became involved in the recording industry.
I’ve been a lifelong musician, a trumpet player, since 5th grade in Oshkosh, Wisconsin. That would set the trajectory for my life in music. I still play a little bit, but I spend so much time here and am mainly at home with my family and three kids, ages 3, 5 and 7. That’s prime time for me. I want to give them as much time as I can while I can. That’s a luxury to have.
Clausen reflects on 25 years making music for TV’s favorite dysfunctional cartoon family
When “The Simpsons” first aired in 1989, no one expected it to become the longest-running situation comedy ever on TV — especially not composer Alf Clausen, who almost didn’t take the job. Clausen, who this year celebrates 25 years with the show, was initially more interested in composing for dramas and repeatedly turned down requests from Fox producers and show creator Matt Groening to compose for the show. After much cajoling, he signed on with “The Simpsons,” starting off with “Treehouse of Horror,” the third episode of season two, in 1990. He’s been with the yellow-skinned dysfunctional family ever since, and to date has scored 534 of the 550 episodes, receiving two Emmy awards and 21 additional nominations for his work on the show along the way. Clausen speaks here with Linda A. Rapka about spending the past quarter century with “The Simpsons.”
Your “Simpsons” music was just performed the TV Academy’s Score! concert. What was it like to hear it live?
“I thought it was great, it was so inspirational. I know the crowd really enjoyed it too. The orchestra played it beautifully.”
I love that you chose “Stonecutters Song” from “Homer the Great” – a personal favorite of mine. Whose idea was it to change the lyric from “Who makes Steve Guttenberg a star” to “Kim Kardashian”?
“And ‘Oscar’ to ‘Emmy.’ That was producer Mark Watters’ doing. It was really funny.” Continue reading