Posts filed under Shared Work

Travel Podcast 'On She Goes' Breaks New Ground


A pioneer of content, Serita Wesley is one of the founders of popular travel podcast On She Goes. Unlike typical travel media On She Goes is a platform bringing important yet traditionally overlooked stories to center stage. The heart of the show is empowering women and non-binary people of color to experience, visit and explore new spaces.

On She Goes was originally created through Wieden+Kennedy’s publishing department, a newly formed department at the time. The founders’ backgrounds stretched from publishing to strategy. And while the podcast began as a work project, it quickly became something much more personal — the podcast’s essential structure compiled of stories telling of their own personal experiences and stories.

“We approached it with the question of ‘how can we be inspired by this to actually travel more,’ along with thinking of ways we could bring our own questions and experiences forward,” says Wesley.

We sat down with Wesley to learn more about her innovative podcast. Read more below then subscribe to her ongoing podcast On She Goes.

On She Goes  founder, Serita Wesley

On She Goes founder, Serita Wesley

Marmoset: Can you tell me a little bit about the origins of On She Goes and why you were inspired to create it?

Wesley: When we were starting On She Goes, we were trying to figure out what it was going to be. Is it going to be a podcast? Is it going to be a platform? Is it going to be video or social media? Is it going to be everything? And we did kind of ended up with everything.

We were working with Pineapple Street Media and Aminatou Sow who is the host of Call Your Girlfriend and we were trying to figure out how we can possibly do something or make something that is informative, educational but also entertaining. And so I had a lot of these really cool ideas and some really cool people in mind to interview.

And because Aminatou had all these really awesome friends in the community and in the travel space, we started with her then found that people were really interested in the firsthand perspective. Basically hearing stories about what we’ve done and what other people have done. So we started speaking from our own perspectives, interviewing people who we deemed as experts or people with certain experiences that we wanted to highlight.

M: There’s this recurring theme in the podcast of all-welcoming and empowerment for women of color to step into new kinds of spaces. How does that stretch over the content you’re currently creating?

Wesley: From the beginning we wanted to have content our audience could relate to. So even going back to the first episode of “We Belong Here” where it was several people talking about what that means to them, but also when it comes to travel and getting out there, being fearless and having the same opportunities everybody else gets. And that even though travel media is so white male and affluent, it’s for everybody — we’ve always tried to enforce that idea.

Even to this day, we’ve kind of morphed into this thing of travel but also lifestyle representation and etc. So we also get to highlight women of color who are doing extraordinary things that you mostly only see white men doing. Like we just interviewed a black female comedian the other day who was headlining the All Jane Festival which was really cool. We’ve also interviewed Georgina Miranda, the first woman of color to scale Kilimanjaro, went to Antarctica and has done so many incredible things in the outdoors.

It really ranges, we want to give women of color an opportunity to have their voices heard. Like we interviewed Alisha Ramos of Girls’ Night In, a space for women who are more introverted. And that’s a huge thing with travel, you know if you wanted to travel but want to be left the hell alone. I think we’re fully embracing the idea of a platform and giving people a place to have their voices heard — finding people of color, as well as non-binary people of color too.

“Condé Nast Traveler isn’t talking about being a woman of color who is queer and coming out to your family back home, you know what I mean? It’s super specific and they’re stories that can help a lot of people — give a lot of perspective and advise youth.”

M: Is there a particular episode that you’re particularly proud to share with your listeners?

Wesley: One of our favorite episodes is the one that we did on transracial adoption. We also had a story from a woman named Casey Lawrence on being adopted from Vietnam and then returning to Vietnam to find her birth parents. And that was a subscriber submission and it was really great and very inspirational, we got a lot of emails and feedback from people saying, “Wow, I’m so glad I got to share this.” We also had a Rebecca Hudson who is a transracial adoptee and consultant for people who are looking to adopt children of other races and transracial, transnational adoption.

It’s such an interesting topic and a lot of people weren’t talking about it on a larger platform, so we ended up getting a lot of people talking. That’s probably the episode we have the most comments on. We had a lot of people coming to us saying, “This really helped me and I don’t find this anywhere else.”

M: Seeing this kind of impact on your listeners, can you share a little bit about what your hopes would be for those who experience your content? What do you hope they’ll take away?

Wesley: Even with our stories that we feature on our site, our editorial stories, that’s super important because you don’t get to have content like that anywhere else. Condé Nast Traveler isn’t talking about being a woman of color who is queer and coming out to your family back home, you know what I mean? It's super specific and they’re stories that can help a lot of people — give a lot of perspective and advise youth.

M: Looking back on where you started, how do you think On She Goes has evolved?

Wesley: I think it's evolved way beyond what I thought it would already, to be honest. I had no idea it was going be as popular as it did. I literally have people who listen to it and then are like, “Oh my friend sent me your podcast randomly. And I was like, ‘Oh that's my friend. Serita!’ — it just kind of blew up way more than I was expecting and it’s a little intimidating because I’m like, damn I guess we have to keep this going.

M: And looking ahead, how would you like to see the podcast evolve?

Wesley: I really hope to be able to reach as many people as possible. It’d really cool to open it up to the public. I loved last year when we held submissions for storytelling and we were able to say, ‘Hey send in your stories if you’re interested in being featured and we’ll figure out a way to get you recorded and help in that way.’ That’s what I really love doing since especially when it comes to travel, everyone has something to say. I think that’s really awesome to help people be heard who wouldn’t usually have that opportunity. So hopefully we can continue doing that and the podcast can evolve in that kind of space.

M: We love how you’re always looking for ways to share your platform. How does your team approach selecting the content to create?

Wesley: We always like to find out what's currently happening and what’s new that we're not abreast of, you know. We try to stay away from like current events because thing sucks so badly, but then again, we always want to make sure we're tackling different perspectives and we're speaking to all the audiences we possibly can. I think we can definitely do better. I'm trying to reach out to like the LGBTQIA audience and making sure their voices are heard too. A lot of that stuff, we’re trying to make sure we’re covering everybody’s bases as much as we possibly can.

M: What’s a destination were you not expecting to like but did?

Wesley: New Mexico. I was not expecting to be into that place at all. I've watched Breaking Bad and I just thought, ah I don't know about this. It just looks dry and I wasn't super stoked about it. But the Airbnb we got was nice and I was going along as a team player, but it was actually really beautiful. I saw some of the best sunsets, sunrises and stars that I've ever seen in my life there. And I actually kind of like the Southwestern style more than I thought I would.

M: Can you share the top three destinations on your bucket list?

Wesley: I want to go to the Amalfi Coast in Italy. I also want to go to Tokyo and really want to go to Kenya. Those are my top three ‘out of the country’ destinations. It’s mostly visuals that drive me to those places.

M: As an experienced traveler, what would be one travel tip you’d pass along?

Wesley: If you can afford it, get premium class. Honestly, at this point I struggle when I don't have it, which makes me feel kind of weird because it's not like I'm a jet-setter. But I think if you can afford it, I would definitely get premium class.

Also, on the other side of that though too, my other travel tip is if you’re on personal travel, pack a lunch or pack yourself some snacks — because it gets expensive and airplane food is not delicious. Let’s be honest, you know they got to do something to it to make it stay fresh and I don’t know what that something is and I’m good on that.

A special thanks to Serita Wesley for sharing her story with us. Subscribe to On She Goes here to tune into new episodes.

Posted on October 24, 2019 and filed under Shared Work, Music Licensing, Music, Marmoset.

Thinx Asks What If We All Experienced Periods


There’s no shame in the period. That’s the message innovative New York based company, Thinx wants everyone to get comfortable with hearing (rightfully so).

Offering a line of products designed to help lessen the hassle of menstruation, Thinx is more than an alternative to tampons. A quick visit to their site is telling of their passion to debunk the everlasting taboo around menstruation. They want people to feel okay talking about it, to normalize something that’s a natural part of life.

In their latest campaign, Thinx asks what if everyone experienced periods? Posing the thought that perhaps then, we’d all be a lot more comfortable talking about them. With “Shine On” by Marmoset artist Instant Karma! guiding their montage of scenarios, the campaign is something to talk about. Watch below.

Thinx also champions puberty education and better health access issues through their GiveRise program — giving back to the communities through education initiatives while advocating for menstrual equity. Read more on what they’re up to here.

Posted on October 17, 2019 and filed under Music, Marmoset, Music Licensing, Shared Work.

Evoke's Creative Campaign on Why Equality Can't Wait


What does true gender equality look like on a global scale? It’s a topic that stretches across a large terrain such as political representation, harmony in the workplace, healthcare, fundamental human rights and sometimes simply existing. But apart from what equality represents, reaching it will take 208 years to achieve.

It’s a confronting and eye-opening statistic dished by the World Economic Forum, uncomfortable to sit with, to simmer in and actually understand the significance of such a timeline. Naturally it’s caught the attention of many people, including Melinda Gates whose foundation Evoke stepped in to bring the issue into the spotlight.

Incorporating the hashtag, #EqualityCantWait their latest campaign not only address the timeline on equality, it produces hope and entices action. It’s not just to alarm or be affronted, it’s to act now to achieve gender equality within our lifetimes.

Evoke’s “Equality Can’t Wait, No Joke” video features well-known comedians, actors and actresses as they put on their games faces, addressing the bleak statistic through quick witty jabs. They’re pros as they navigate the topic with satirical ire, intentional poking at the absurdity of the whole situation.

The not-so humorous video required music that wouldn’t diminish the seriousness of the topic while enhancing the snappy delivery lines. “Rhythm Mischief” by Cold Storage Percussion Unit fit the bill, the song customized even further to hit the right moments while maintaining the steady pace.

We’re proud to stand side by side with Evoke, to partake and contribute through our music services. And to strive toward reaching equality within our lifetimes.

Learn more here about Bill and Melinda Gates’ foundation Evoke and learn more how you can be part of the change.

Storytelling that Matters — Lyft's Driver Community Shares Their Stories


Everyone has a story to share. Yet as humans we’re inclined to stick with what we know, to stay in our lane of what feels familiar. It’s a mode of avoidance that works well until we’re required to see beyond our own experiences. But it’s a cycle we can break and should.

To do just this, the creative studio powered by filmmakers, Even/Odd teamed up with Lyft to create “America is an Idea, Not a Geography” — a stirring series incorporating photography and filmmaking to amplify the voices and stories of immigrants.

The project circulates around immigrant families of different national backgrounds, all connected through Lyft as a means for generating a living wage.

A big “conversation” on how immigrants fit into the economic picture continues to exist — American born citizens equating the influx of immigrants to less job opportunities across the board. But one piece of the discussion rarely is addressed: how immigrant workers are carrying the weight of the burdensome, more intensely laborious work. They’re showing up for the work many are rejecting and refusing to own. Most importantly, many are sidestepping the human rights portion.

Lyft’s short film series tackles this very notion in the most ambitious way possible, by passing the mic to their community — the drivers who uphold the services, the oil and wheel to their machine.

The series “Nine Numbers” film, directed by Mohammed Gorjestani and Andrew Batista, follows Cesar Virto’s life as a business man/writer/Lyft driver — he happens to be undocumented. A recipient of the Deferred Action for Childhood Arrivals (DACA) program, Virto’s story has a weight of unpleasant truth; his youth plagued with barriers due to his undocumented status.

The project features background music from Marmoset artist, Drew Barefoot. The licensed song “The Forest in Bloom” sets the stage for this complex, heavyhearted issue. The song is meandering and reflective — Virto’s story isn’t of defeat but is the glimpse of a long journey, contrasting moments of highs and lows.

Virto’s story is ongoing, he still faces many questions of his status as a DACA recipient. We invite and encourage you to watch & listen to his story here.

Stay informed and know your rights:

Resource Library

Learn more about FWD and community partners supporting individuals like Virto:

FIFA Trailer Brings "The Best" by Fritzwa and J. Brodsky


Announcing the latest FIFA game means getting soccer fans — or football fans, depending on where you’re reading this — and video game enthusiasts revved up. Searching for music that triggers good ol’ competitive sports induced adrenaline, our creative licensing team knew what FIFA’s latest video game trailer called for.

Turning to the energetic and upbeat anthem of music collab, Fritzwa and Jeffrey Brodsky, “The Best” drives home the rivalrous spirit of the game.

Frtizwa and J. Brodsky’s bouncy beat is strong enough to standalone, a perfect example of artists making music they love — the kind of music that pops up on your Spotify playlist but also happens to license on epic video game trailers too.


Music for Film: Finding Music for Tribeca Film, Clementine


When making a movie, music inspiration can arrive at any stage imaginable — maybe it’s when using temp music while editing. Or maybe it’s getting hooked by a timeless vintage love ballad and upholding the song as the film’s inspirational axis.

In the case of Tribeca film, Clementine music inspiration struck early, Writer & Director Lara Jean Gallagher working closely with Marmoset’s Film & TV Music Licensing Team early on to find music for her independent film.

While Clementine was still being filmed, Marmoset’s Jackie Westfall stepped in as the movie’s Music Supervisor. In the midst of production, earnestness fueled the music searching process, Gallagher’s clear vision for the film’s narrative—and how it would sound via its musical components—the compass for Jackie’s music supervision.

Clementine being Gallagher’s first feature film, the writer/director is no novice in grasping how music’s presence (or lack thereof) can shape a scene — her past work includes a slew of music videos she’s directed, showcasing at SXSW and published on Pitchfork. One look through Gallagher’s portfolio is telling of her recognition of both art forms, a usage of compelling visuals and music/sound to tell a unified story.

”Gallagher had a very distinct vision for the film, how she wanted it to sound and look like,” says Jackie. “One of the interesting things is she wanted music to only play in scenes organically. So if you saw a radio or if you were in the car or somewhere you knew that music could play out of — that was an original idea that she had.”

Like any creative project, there’s an unlimited number of ways production details can go awry. Getting music rights for a film doesn’t have to live in the same vein. Jackie at the music supervising helm and Marmoset’s Jamie McMullen offering support as music coordinator, the collaboration kicked off with an in-depth spotting session. It’s the kind of channel for getting filmmaker and music supervisor on the same page, to dig deep into the philosophy behind music placement in film.


“There’s nothing like sitting in the room with the creator, writer, director to really get a peek behind the curtain of what would you like to say?” says Jackie. “It’s a lot of exploring what the characters are thinking in a scene or asking what do you want the audience to know and then making suggestions through music.”

Forging ahead for licensing the right music for the film, Jackie applied her previous film supervision experience (a music coordinator for two Noah Baumbach films) to deliver the best undiscovered music songs for commercial use to Gallagher. There’s a harmonious balance within this kind of creative exchange, Jackie mindfully inquisitive within her communication style, leading in her music expertise but never imposing on the filmmaker’s vision.

This kind intentionality and awareness in upholding creative integrity is what any filmmaker can expect when collaborating with Marmoset’s music team. There’s an active understanding between art forms, visuals and music mutually integral to one another.

With Clementine and other notable films, music supervision can punctuate the story without losing sight of what’s unfolding visually. Experts like Jackie note the importance in knowing how to exercise music as a tool in aiding any narrative.

“It’s about elevating the art that’s already there,” says Jackie. “You don’t want your film or project to sound like a music video. It shouldn’t be that the story is in service to the music, it should be the other way around.”

Clementine premiers at the 2019 Tribeca Film Festival on April 24th and is being showcased through May 5th. Learn more about festival times and the film here.