Posts tagged #Music For Picture

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

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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:

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Kingsley on Making Music That Makes Her

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Kingsley is an artist on the go; leaping into change and chance, she punctuates her music with a furtive attitude telling listeners her work is as much for them, as it is for her. Things naturally gravitate toward her and she doesn’t disappoint the universe’s beck and call—meeting probability face on.

Her ambitiousness is the undercurrent for creating and performing music. When signing on to be the opener act for SG Lewis, the production asked her to forgo performing with her band and instead do a DJ set; without skipping a beat, she said yes. Although unchartered territory, Kingsley remixed her songs specifically just for that night. It was a testimony for seizing every opportunity that aligns with her creative mission, not being afraid to figure it out as it goes.

Without a musical upbringing, Kingsley’s pursuit of songwriting can be traced back to when she was in kindergarten; her diary was a place for unleashing all her musings, her poems and eventual songs. She jokes that her upbringing was too supportive, a loving environment that didn’t spark a “artist’s angst” commonly found in so many successful artists’ lives.

Minus any great tragedy, Kingsley relents as a woman of color in a predominately white city. She doesn’t attribute her assuredness in identify and circumstances as growing to have “thick skin,” but to only care about the right things—meaning, relinquishing judgemental outside opinions.

“I think I’ve spent my whole life being black in a white setting,” says Kingsley. “But I just got to the point where I can either embrace it or I can spend my whole life tiptoeing around people. No, I’m loud. My personality is loud and my skin is loud.”

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This drive to be her authentic self, Kingsley admits she’s still exploring her sound—the unknown being more welcoming territory than falling into a genre others have decided on her behalf. In the past, producers attempted placing Kingsley into the R&B category, advising she stick with a “soulful sound.” Instead Kingsley embarked on reinventing a single EP through a different genre lens with each release. The heart of the production was to create freely while exploring what feels challenging but fulfilling.

“This is me, this is it. Going to an all white school, you know I had to know the whole Hannah Montana theme song and every Snoop Dogg album,” says Kingsley. “I got really comfortable with being like, damn I like all these things. With my music, I can say yeah, I wrote this song, I picked this beat for myself, this is what I want to move, this is what I want to sing along to.”

Kingsley’s work is an ongoing exploration of who she is, a reminder to never shy away from ideas that feel unfamiliar or uncertain; her music and presence is an example to never settle, to never be afraid of asking ‘what’s next?’


License and listen to Kingsley’s latest album, I Am Because I Dance. Then hit play on her Top Ten list to see what she’s currently listening to.

In Portland? Catch Kingsley live at Bit House Saloon on Saturday, July 20th. See you there!

Uncovering the Podcast License Pt II

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Our clients come from all walks of life—and industries—yet they all share a common mission: too find music that serves their content’s purpose.

We’ve spotlighted everyone from independent filmmakers whose work has premiered at Sundance to Tribeca and dug into the stories of music video directors and producers. But what about the non-visual creative projects that also make the world go ‘round?

Kicking off our Uncovering the Podcast License series last week, we looked at the number of ways music and sound can serve a podcast’s narrative and theme—how licensing the right music can intrigue listeners to tune into future episodes, while creating a signature experience for the show’s overall brand.

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Audio producer and podcaster, Megan Tan knows a thing or two about licensing music for her esteemed podcast, Millennial—a notable series on growing up and finding a place in the “real world.” While Tan wrapped up the series a couple years back, the show has been recognized by publications like The Atlantic, The Huffington Post and A.V. Club, it remains to be a relatable series that can be applied to today.

Now living in New York City, Tan is still a producer, working on Gimlet Media’s The Habitat, NPR’s Planet Money and on a Pineapple Street Media podcast. Through her podcast and productions, Tan has utilized music and sound design to cultivate an immersive environment strictly through audio.

We sat down with Tan to look back on her arrival in podcasting (when it was still new and expansive territory) and her experience in making the hit podcast, Millennial:


Marmoset: Could you give us a look into what it was like before you made your first podcast

Megan Tan: Basically I wanted to be a radio producer and I had an internship at NYC Radio Lab for a semester but I didn't actually make radio, I didn’t know how to make radio. And my background is in photo journalism—and in photo journalism, what you do is, you go out and you shoot, right?

You Take photos and you create a portfolio and then people can see your work and then they can hire you. So I guess I just took that idea and decided to apply it to this new industry and Millennial started out almost like a portfolio piece; because the closest thing that I had was my life. I just wanted to practice collecting audio, interviewing people, writing scripts, mixing, making episodes and making radio stories.

M: What did it look like leading up the Millennial gaining more momentum and attention?

Tan: The whole idea was that all the work that I was doing would be a portfolio to get me a job in public radio—which is dead. I ended up getting a job at New Hampshire public radio. There I was continuing to make Millennial, I had like almost two full-time jobs. I was making this podcast and then I was working full-time at a public radio station.

And then at one point the podcast started getting more praise and press than the shows at the public radio station. And I just kind of decided to make this leap and dedicate myself to doing it full-time.

M: Did you ever view making Millennial as a way of connecting with other people through your own experiences?

Tan: You know, that wasn’t the goal, because at the time—I don’t know how many podcasts there were, maybe 250,000—I mean, right now the market is really saturated, but even then you’re like ‘who’s going to listen to them?’ Right, so yeah and to be honest, because it was built from the ground up and a lot of the press was organic, I didn’t think anybody was going to listen.

Yeah, so when people were listening, I was like oh shit. A friend of mine just said to me last night, you know, sometimes the best dancers are the people who dance as if no one’s watching. I feel like that’s how Millennial was created. Where it was created in this way where I just spoke into a microphone like no one was listening.

M: Looking back, what did the evolution of Millennial look like from its creator’s standpoint?

Tan: It did evolve because it had to become more sustainable. That’s why there are multiple seasons, if you keep listening, we’re really trying to find our footing after we get past the first season. Instead of it just being a ‘Millennial, a podcast about maneuvering your twenties post-graduation captured in real time,’ it just becomes ‘Millennial, a podcast about coming of age.’

And so that is broader and the purpose was for it to encompass a lot of people’s stories. But the problem with that is, you know, once you give an audience a very specific character to care for—which was me— the less personal you become. It was also the identify that was changing in real-time, as well.

The purpose also changed. It was no longer a portfolio or a personal essay about growing up or a personal documentary. It also has to become a machine, had to be able to live off it full-time and pay people—it became a business. So the mission had to kind of change a little bit. 

M: What did the ‘making of’ such a successful podcast look like story-wise? How did you decide what content to focus on as a millennial yourself?
Tan: We had a bit of a formula but each episode was different, you know? Hopefully the entry was some sort of peg to my life. Whether it was long distance relationships or being Asian in a very white setting.

And then we would try to branch off, maybe do other people’s stories sometimes—it was still my story. And I would just collect tape all the time. Like if I was still making Millennial, I would say, ‘hey do you mind if I record our conversation?’

M: What’s an episode that stands out in your memory as one of your favorites?

Tan: I really enjoyed making “Brunchies,” which is the third episode, because it’s purely sound. I lavved myself when I was doing a shift one day, so I have sounds basically from an entire work day compressed to like two minutes of audio. It was just kind of fun to create that scene with all of that tape.

M: We know you’re busy plugging away in New York—what kind of projects do you have in the works right now?

Tan: Since wrapping up Millennial, I’ve helped produce Gimlet Media’s The Habitat, then there’s also Pineapple Street, they did Missing Richard Simmons; I helped them produce a couple of those shows. I helped them produce Going Through It with Ann Friedman of Call Your Girlfriend. And then also another show called The Unwinding of a Miracle and worked at NPR’s Planet Money. And just recently reported on a piece for NPR’s All Things Considered.


A big thanks to Megan Tan for taking us behind the scenes in making Millennial—it’s just one example of great podcasts utilizing music and sound to create an immersive audio experiences. Check out the full series here and more of her work here.

Music in Film: StudioFest Filmmakers Make Their First Feature

Souvenirs is StudioFest’s debut feature film that follows a murderabilia shop clerk who discovers her own family’s dark history when asked to sell souvenirs from a crime not yet solved.

Souvenirs is StudioFest’s debut feature film that follows a murderabilia shop clerk who discovers her own family’s dark history when asked to sell souvenirs from a crime not yet solved.

When Jess Jacklin and Charles Beale kicked off StudioFest last year, their mission was to redefine traditional film festival processes—to award the winning filmmakers not just with a temporary status or accolade, but with means of creating their first feature work.

“Independent short filmmakers and screenwriters desire one thing: to make their first feature,” says Beale. “We have aimed to align the skew, bringing talented filmmakers straight to their first feature. The project has grown to include so much talent and enthusiasm and we can’t wait to share the film.”

Winning director, Anna Mikami and winning screenwriter Matthew Sorvillo walked away from the festival experience with a newfound professional partnership. With Mikami in the director chair and Sorvillo spearheading the script, Souvenirs was the product of creative collaboration, perseverance and a tried-and-true indie kind of resourcefulness.

A still from StudioFest production, Souvenirs

A still from StudioFest production, Souvenirs

Produced under a 1M micro-budget, the StudioFest collaborative proved it’s possible to churn out a high quality production even when a big studio isn’t at the helm. Partnering up with Marmoset to equip the production with the music rights for their feature film, a dream soundtrack was no longer out of arm’s reach.

Proving it’s possible to find songs for commercial use on a budget is what Marmoset’s music licensing team does daily. But when partnering up with other community organizations like StudioFest—to help outside projects license music for video—it’s a commitment to our community; to give what we can from our side, while always ensuring our artists receive their share and exposure for their work.

Thanks to the pioneering film festival that’s examining the leaps and hurdles every filmmaker faces, Souvenirs is no longer an aspirational idea—it’s a film slated to premiere in Fall 2019.

“The winners we chose compliment each other in a way we are very excited about. As we get into our second week of filming, there’s an air of enthusiasm shared with everyone involved,” says Jacklin. “Although we’re working with a micro-budget, the caliber of talent from cast, crew and sponsors adds a tremendous amount of value and we couldn’t do it without their dedication and vision.”


Stay tuned as we cover the release of Souvenirs and the making of its soundtrack.

Say Hey to Jené and Diana: Talking Diversity and DJing with Noche Libre

Creative Music Coordinators, Jené Etheridge and Diana Suarez — photography by    Kale Chesney

Creative Music Coordinators, Jené Etheridge and Diana Suarez — photography by Kale Chesney

Jené Etheridge and Diana Suarez are two of Marmoset’s Creative Music Coordinators by day, swooping in to support clients with music searches and clearances for every kind of project under the sun. By night, the two host one of the most buzz-worthy dance nights in Portland —Noche Libre.

Assembled of Jené, Diana and six other DJs, the Latinx collective’s mission challenges Portland’s mainstream nightlife scene, where typically only a small demographic is made to feel seen, welcome and safe. Instead Noche Libre cultivates community, creating space for Black, Brown and Indigenous groups.

Illustration by Noche Libre collective member,    Yuriko Xolotl

Illustration by Noche Libre collective member, Yuriko Xolotl

Spinning everything from cumbia and quebradita to dancehall and perreo, the inclusivity starts with the collective’s music selection. “We’re not super genre specific,” says Jené. “We definitely have a vibe but we’ll still play hip hop and a lot of different genres, there’s really something for everyone.”

It’s a reflection of their own musical tastes, everything they enjoy jamming to while also encompassing and honoring their Latin heritage and upbringings.

“I think what's really cool about something like Noche Libre is it’s just part of Latin culture — to get together and listen to music with your family and friends,” says Diana. “I really feel like it just feels like family get-togethers, everybody's just here for each other and here for a good time.”

The importance of Noche Libre’s presence — other than hearing mixes en fuego — is its movement toward building opportunities and spaces for artists of color within the music industry. With Jené leading Marmoset’s internal Diversity & Inclusion Team and Diana supporting the team’s overarching initiatives, their mission is to disrupt problematic systems to pave way for new processes.

From redefining how composers are brought onto creative projects to integrating diversity focused mixers into marketing trips — the team leads objectives that not merely benefit the underrepresented, but the entire company. It’s endless work, but indicative of genuine desire for positive change within an industry that upholds barriers for those who are non-binary or people of color.

Jené and Diana daily facilitate interpersonal conversations with other teams, including music producers and members of leadership (among community leaders). There’s a lot of work to be done, but it’s mindful development toward progression.

A floral shrine created by Diana (IG photo credit: @    stoneanvil     )

A floral shrine created by Diana (IG photo credit: @stoneanvil)

When not attending workshops and programs like Partners in Diversity’s Say Hey night or DJing around town as Noche Libre, Jené and Diana keep busy with their side creative missions. Diana being an experienced florist, she’s responsible for cultivating Y La Bamba and Sávila’s dreamy stage designs — the floral arrangements while laborious, only add to the feat of strength that both Latin American musical groups deliver through their performances. You can also catch Jené co-hosting Everyday Mixtapes on XRAY.FM every Saturday night from 5:00-6:00PM (PDT) — listeners will be pulled in with a mix of throwbacks from R&B, hip hop to funk and vintage gems.

So if passing through Portland and catching Noche Libre in action, what can one expect when out on the dance floor?

“We find a way to fit it altogether. Like I’ll play an Asian psych song and then a chicha song, which leads to a cumbia song,” says Diana. “Because we’re all so different and made up of so many different experiences, that’s what makes it interesting.”

Part of Noche Libre’s mission statement is “to celebrate our family’s roots and rituals by carrying on the tradition of puro pinche pari” — it’s an embodiment of finding strength in identity and to not only live in it, but to celebrate it.

The Music Behind Givenchy's Spring Summer Campaign

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Givenchy’s Spring + Summer 2019 Campaign is a blend of avant-garde and retro culture — a crisp black and white landscape, where the characters look as though they were plucked out of Andy Warhol’s studio, the Factory.

Alongside the androgynous collective, Givenchy features Marmoset artist, Damon Boucher’sK I N” as its musical backdrop. Electronic synth beats, the music ensures the seasonal campaign reaches full circle. To learn more about Boucher’s musical journey, the fashion undercurrent of his LP — N K I and where he’s headed, we connected with the artist earlier this month.


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Marmoset: Could you tell us a little bit how you first got into making music?

Boucher: I grew up taking classical lessons, and performing contemporary music in a Pentecostal Christian church. In church, I learned to improvise pop music, although church also kept me closeted. But, I’ve been writing music since that time. I played and wrote music all throughout college; then began to produce music after I graduated in 2008.

M: Listening through NKI, your music has such a dreamy kind of presence along with an energetic pulse to it. How would you describe your music to listeners? What kind of visuals come to mind?

B: I try to make it watery, but clean. Clean can sometimes mean dry and airy which plays off the watery thing. Visually, I always think of clean, stark contrasts; light and dark meeting in balance. I think of an ocean horizon, fashion runways or queer nightlife culture.

M: Do you collaborate with your work or do you tend to flourish more as a solo creator? Yes! Most of my work is collaborative. My main project for the past few years has been producing music for Chanti Darling. I’ve also worked with The Last Artful, Dodgr, Maarquii, Natasha Kmeto, Nafisaria, The Portland Cello Project, Ripley Snell, Neill Von Tally, DJ Sappho, Pocket Rock-it and many more. (Click here to listen).

I’ve also had a chance to teach and collaborate with several of my students over the years. I’ve taught piano and composition at School of Rock since 2010 and have directed over 40 shows there; and since they let me keep my studio inside their building, all of my projects are made out of there. I call that studio Zip Zap Studios.

I’m super proud of the work I’ve done with others. However, even though I’m often in collaborative environments, I find that I work best alone. When producing music with others, I oftentimes meet to record, then polish the songs when I’m by myself. There’s less pressure when I’m alone so I find those times to be more experimental and fruitful.

M: Who are some artists you've been listening to this year?

Current new stuff from: The Internet, Roisin Murphy, Against All Logic, Travis Scott.

Older stuff from: Missy Elliott, Gary Numan, Four Tet

M: What went through your head when you heard your music being featured on the Givenchy Spring/Summer campaign?

I sincerely wanted that music to be used for fashion so I was excited to see it used in that capacity! A lot of the track names on N K I have fashion related titles, all for the reason that I imagined this record being used just as you now see it.

M: What inspires you about the Portland music scene?

Someone once described Portland to me as a great “incubator” for creative ideas, which I think is both bizarre and accurate. It rains forever so I want to stay inside and work on music until the weather’s good. I am completely privileged to be able to work on music with the setup I have in Portland and I am forever grateful for that. I would not be able to do that in a variety of other places or lives.

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The Spring Summer 2019 Campaign