You've only recently scored the short The Pact
- so do talk
about the filmscore, its style and its musical influences for a bit!
People familiar with low and moderate budget indie films will notice there
is definitely music in the movies, but generally itís going to be music
that fades into the background. This decision is almost always the
director requesting that style, or the composer creating that style and
the director being OK with it because thatís widely accepted.
I wanted to give The Pact a normal film score that could be from any major
theatrical film release and not overpower the story but not fade into the
background. Richard Wagner used to do this with his works: be as
theatrical as one can with telling the story through the music. The music
being its own character was the standard for the longest time until maybe
the 2000s, and by the 2010s it was whatever we have now that most
music is sort of there. People on this movie worked hard enough that they
deserved me to put an effort in. This with how I did not get into film
scoring work to do people a disservice of blandness is how this score came
one point in the getaway car scene, it sounds like an old Hollywood
orchestral work on purpose which is the flair I love, but we get into
horror and synths. Itís really a mix. At parts like the end, the really
wild strings are not what you find in a standard indie film.
plot was kind to me though, not its characters so much because it is
easier to find inspiration to score something that isnít of a pure
heart. Me taking on a sweet childrenís tale like a Dora the Explorer
wouldnít allow so much freedom to be evil.
track on the score uses a tool from UJAM called UFX Reverb, a nifty tool
that makes everything sound so much bigger. If you want one of the secrets
to massive blockbuster film scores, a good reverb tool is how you get
that. The final track uses UJAM Symphonic Elements DRUMS and BRAAASS,
which are Hans Zimmerís personal percussion and brass sounds for
everyday people to compose with. The products including those made for pop
and other genres are sold at accessible prices with discounts for students
and disabled musicians who belong to the Able Artist Foundation. Helping
promote the products is an absolute honour and Iíve long promised to
incorporate the products into the professional film scores I work on for
others to show how polished they make everything sound. For reference,
youíve heard these sounds from the Symphonic Elements like, which also
includes STRIIIINGS, on Mr. Zimmerís own scores. I used DRUMS on another
track in the middle of the film. Great stuff! UFX Reverb took my simple
horns sounds that were not by UJAM and made them super scary at parts, or
gave them this really expensive sound. The finale track with the actual
UJAM brass sounds is so polished and only got bigger.
you notice, most people who promote products donít really use them
outside of whatever theyíre supposed to, and I actually love the
products and the brand values that UJAM stands for, how everyone can
compose with any background, gender, financial resources and educational
background, so I really want people to know, yes you can compose with the
tools from this movie and make everything sound expensive and fancy.
How did you
get involved with the project in the first place, what drew you to it?
Sutton interview - click here], the director, asked me to be part of the crew, so I agreed. This was
before I ever saw a final cut of the film. I initially did not know much
about the story, then I got to see a rough draft of it. Very simple!
can you tell us about The Pact's director Paul Sutton, and what was your collaboration
sent me a mock-up of the unfinished film, and his film besides my score
defies whatever you think you know. When you say short film, most shorts
are a length, and weíre used to seeing them sort of come and go. Most
are cute plots or things calling attention to important issues, so Paul
has this story about women who in true equality, arenít allowed to have
to be nice all the time. Theyíre sick of people pleasing and want
revenge. I loved that. Because if you want equality for anyone, women come
in good people and villains, or that weird spot of good people whoíve
maybe lost it and are exhausted of lifetimes of having to be perfectly
sweet to everyone who troubles them. Society, you could say. The length
itself is probably closer to a feature cutoff than a true short film.
the mock-up, I stuck in ďtemp musicĒ, temporary music to use as
references that I sort of liked from mainstream movies. The funny thing is
I didnít really end up using them much. They were there to show him how
I liked synths mixed with orchestral and some scary things. He was great
with that. I waited and finally one day got sent a copy of the finished
hereís the fun part: I didnít know his deadline for festival
submissions was Halloween! I naturally work really fast anyway because my
teachers when I was 12 to 15 before I switched to online school across
every subject, music included with my private flute lessons, were so
great. My science teacher when I was 12 made us all have a student
schedule book and show her what we were doing in it. My music teachers
made me super disciplined. Then at one point I was when I was much younger
freelancing for one of the biggest American newspapers and some other
places where I had to have five to ten minutes tops on a phone interview,
turn it around and have a news article written in hours if not one hour,
turned in to be printed. Iím really good at getting things done fast.
thought I was ďslowĒ for my standards getting this score done because
my plan was to have the final eighth track sent back to Paul the next
week, a full orchestral track, only traditional instruments. My
placeholder for that seven minute ending was Danse Macabre, so my
mind was all, Iím going to need maybe a full day or two of working hard
nonstop to live up to something on that expectation. Maybe three.
Paul was, ďThe deadline is on Halloween.Ē A Tuesday, as it was
Saturday! I got down to it and made the last track synth mixed with some
orchestral. Synths sound cool and really get things done faster, but
youíre able to with them sprinkle in traditional sounds, so I love that.
And technically, a deadline led me to creating a final track thatís
super cool and wouldnít have happened if I had gone with the original
So take us through the whole scoring session for The Pact, all the way from writing to actually recording!
track is the same process. I sit down at the computer, first step. Part
two, I place the cropped scene video into my software so I can visually
see where the music has to change. Testing the tempo, Iíll insert a
temporary beat to see how it needs to move. Then I will map out where the
changes need to be with chords that appear where things are moving along
and begin to compose over it. What makes it all easier is that I am able
to use the computer so well with this in this year 2023. I donít have to
guess and then pair it. The clip is embedded! I can mute the clip and
watch it as I have the music there, or I can turn the audio on for the
dialogue and notice if someone says something that requires a change.
time goes on, yes I would love to have live orchestral scores but an idea
that came to me from The Pact is, what if I can polish this so well that
entirely digital instruments perform my work and I can have the quickest
turnarounds with quality, realistic music and make directors and studios
happy? As time goes on, the instruments get so realistic and the way I mix
and match them, use that reverb and layer them is so perfectly done, I can
knock that out and if someone wants a few live musicians to add realism
and a human quality of people playing things, I can do that?
standard some follow is they have a digital mock-up thatís sloppy and
doesnít sound anywhere near a real orchestra after a month or more, get
a new person to orchestrate it, record until itís right and take a
while. This whole process is so time consuming. John Williams says he
writes every note that the orchestra plays. The younger composers arenít
doing that. Along the way, people keep splitting the job description into
a bunch of more jobs, orchestrator for this, a new job for that,
assistants, and pretty soon it snowballs into this greater expense and
more money spent.
Of course, if and when I ever someday work with a full live orchestra, I can
do my own orchestration and physically be there to record my own work with
them in whatever studio or scoring stage that is. I donít want to have
thousands of assistants around me doing different things slowing down the
work process. Maybe some assistants can be good for some people. I donít
know without being in that position right now. The phrase Iím thinking
to describe this, ďtoo many cooks spoil the broth.Ē
future projects you'd like to share?
I am working on getting Peter Pan and the Adventures of Dreams, my first
animated movie made with a real budget. SAG-AFTRAís strike is delaying
it a lot. Thatís OK, because maybe it is meant to leave space open for
me to do exciting new unforeseen things. When one door closes, one opens,
right? Itís temporary after all.
whole script is written with the works of J.M. Barrie stuck in my head. It
is the first ever Peter Pan-based on the collective writings of his, both
Peter Pan books, his letters, the poems, all of it. I want people to
really feel that the movie has input from J.M. Barrie himself to the best
of my ability but feel so personalised like me, my own spin on it. Itís
really different and will be animated professionally by Demente
All of what I make is working towards making The Time Machine by H.G. Wells
into a film trilogy like Peter Jackson would, and that in itself is hard
because you need to make the first film happen. You need all the right
resume checkboxes to get the financing for something that big.
What got you into
music first, and did you receive any formal training on the subject?
studied flute with regular school music classes daily and private lessons.
Whenever I played the flute, playing my own work was more fascinating.
Most people donít think being a film composer is an attainable job and
they push you to have a real job in whatever your parents were doing. My
dad is a physician and my question was always from strangers if I wanted
to be a doctor or nurse. In film scoring and classical music, people
presume someone without a music degree has never touched music before, so
that is a stereotype I really want to change.
schooling was a neverending mess, and all largely decided for me by other
people. I was a minor when I finished mostly online two year community
college and high school at the same time. My high school district was tied
to my mailing address in Illinois, in a city where I never really was
physically or wanted to be, and I hated the vibe of how real American high
school is nothing like those movies where the new guy is Heath Ledger
wanting to take you to a party and spoil you with his coolness. You have a
person planning your coursework in America called a guidance counsellor,
who literally is a counsellor and can if you need it advise you on mental
health. The only class I ever liked that my counsellor picked out was
cooking. The rest was kind of ok or meh, and my counsellors for the
community college and high school chose a ďreal jobĒ path I didnít
care for. Fun! Right?
youíre 16, you cannot legally decide where to go to your university or
what classes you wanted to take. My parents didnít mind me going to
Manhattan but no, I wasnít allowed to got NYU or any school in Manhattan
so off I went to finish my last two years of education with a degree my
dad chose for me, journalism. And then when I wanted to transfer into
music, acting or the film studies areas, everyone at my university was
kind of snippy and rude about it. I was told after I said I wanted a music
composition degree that I should take the non-major band class for
students who wanted to play music for leisure. What the? The drama
department professor told me to get married to a rich man and move on as a
sort of Real Housewife when I answered his question if I studied acting, I
could learn to be a great director to my actors. Too many stories, too
many negative things.
back, studying science would have been my top choice for a ďreal jobĒ
university degree. Science is cool for a day job. A science background is
ideal for writing and directing great science fiction films.
telling you all this to explain, life hits people differently, and some
people in the film scoring world have certainly judged me on it. People
talk to me like Iím four years old. ďLearn sheet music,Ē says every
gatekeeper. Uh, I did. A long time ago. ďWhy donít you study
music and learn from it?Ē Yeah, Star Wars
was on my homework every year
since I was 12. It all feels really demeaning.
gets worse. I always had sort of minor diabetic issues I could mask or not
really get by with, like when I was 12 I didnít feel like disclosing to
some teachers who were convinced I was faking sickness that I wasnít
faking being nauseous and staying home from school. Following healthy
guidelines was hard for someone who felt like I disliked where I lived and
only wanted to be in Urbana with my great aunt and uncle, or on weekends
out of town with my parents who spent every free moment away from our
mailing address town because they never grew up in somewhere so far
removed from the next major city. OK. In my 20ís, things got bad. I
remember the first time I couldnít see, about a week after I turned 20,
and the blindness came on suddenly when I was forced to be meeting and
greeting lots of people. I was so confused and scared. The worst thing
happening to you at the wrong time, an event I did not want to be around.
The next day, it came off. Fine. Right? August 2007, my vision was here
and there. Under control again by September. All good. Around 21 going to
22? Yikes. Very bad. I remember the morning I awoke to go take a swim
without having any auditions that day, and by the time I was in the doors
of the gym on the other side of town, my vision was a fog. Always
pretending to be normal with a shy authentic smile, my method acting was
pretending I didnít have any problems when this happened. And as time
went on, 24, 25, my vision wasnít bad for a morning or a sudden dinner.
I would have bad vision for weeks at time, be good for months, wiped again
with foggy vision for days, so unpredictably. The worst ever was when I
had a patch of who knows now what, was it half a year straight? Being
either blurry sighted or flat out foggy window-visioned. No medical
professional knew what to do with me, and Iíd gone to absolute quacks
who insisted I was doing something bad all along as I was telling them,
ďThis is diabetes. DIABETES. Canít you do something about it? Stop
insisting I have an amoeba from a lake, I gotÖ!Ē The most demeaning
one is one doctor I saw when I had to go into the hospital as an emergency
one time was, this doctor insisted I got an STD of the eye and had to run
tests to be sure I didnít catch an STD and have it moved to my eye from
my hand. Like no, Iíve had diabetes forever, I know what causes it.
this, whatever I could do with my 20í when I saw OK enough, when I
wasnít nauseous all the time or headached where I would want to be in
bed with excruciating diabetes headaches, I was a severely underpaid
freelance journalist fighting to get work because pre-#metoo was horrible
for New York media and being shamed online by people who never met me for
being an agency model, modelling fully clothed with hair and makeup. I
mean, contradictions there! The stuff I was dealing with in journalism
work was so similar to the worst I heard about Hollywood, so my logic was,
whatís the point of a ďrealĒ job anyway? No one was hiring me to
score movies. What can I do to break into entertainment, 21 year old me,
armed with a university degree I got at 19 but no one believed I had one
anyway as the world insisted I was an idiot ready to shame for anything I
never did or never said?
I was sexually assaulted and given drugs by a man I knew for networking
purposes in a public space when I was 22! Absolutely sucked. I couldnít
tell anyone about it or pursue this because everyone thought I was an
idiot who was really weird and everything bad. People were bullying me
online, bullying my pen names to where I had to use menís names or go
anonymously by ďstaffĒ because everything I did was wrong. Winning an
assault case was definitely not going to happen. I kept it to myself for
the longest time until the anxiety from it really began getting to me and
I felt horrible mentally from blindness atop that.
stay-at-home parents who took off time to raise kids and deal with gaps in
their CVs deal with, I get. If I donít explain how my 20s were wasted
on bad health and not having enough opportunities, Iíll get that resume
gap question. Why didnít you pursue film scoring in your 20s? Oh,
right! Why didnít you get a music degree? Maybe because my university
didnít take me seriously regarding it when I wanted to transfer in?
Maybe because I had no power over my educational decisions because I was
under 18? Being female, Iím already treated like Iím stupid by people
half of the time who try to explain basic music or simple life things to
me as if Iím a chicken hatching out of an egg.
life, and every job, film scoring is only one, you deal with being
punished for life decisions that arenít really a big deal. Taking this a
step further, I see how people place a deeper scrutiny on anyone who has
zero formal music education and comes from a mainstream music background
or a rock band. You always have something to prove. Which is why, bringing
things back to the beginning of this interview, I love UJAM and its goal
of teaching people that anyone can compose music and do an outstanding job
at it. Because if I get this with a flute background as a person who used
to compose my own little work when I was 12 and 13, what hope does someone
from the inner city with zero opportunities in his youth have? Thereís
always something against you. Gender, race, sexual orientation, something,
or you have to explain yourself about a non-existent issue like having had
health issues ruin patches of your life or not my case like Iíve said
but worrying with how mean people are regarding it, a parent raising
children and returning to follow your dreams.
remark I heard several times was I was never going to get a record deal or
as they are now with streaming changing things, a music distribution deal
with a major label system. So I for years waited until I was ready and
when I was, went out and got one! I am very happy with my formal music
distributor AWAL! Their artist base is so eclectic with individuality and
pushing people to be the best. I release mainstream music, random music
that I wanted to record when I was 13, instrumental work and film scores
through AWAL under my CinematNIC Music and Lucky Pineapple Films
AWAL believes a lot in equality so they bring on lots of people of colour,
women, LGBTQ people and those who blend between those categories, but there
are also really cool men within it like Finneas. Itís a great program
where you own the rights to your music and get the bulk of your income,
something we see artists with old world deals like Taylor Swift now
year, I began the slow process of part time working for ready to go music
called production music libraries, where someone who has a commercial,
film trailer, TV show or film, studio level or indie, wanting quality film
scoring can get it without waiting. You have to compose for a mood or
genre and itís all like acting because you audition. A publisher within
the larger scale of BMG or whatever the music house is likes the audition.
You have to supply every variation of the tracks to the boss, so say you
hit it with a great trailer for British action movies, and yes British
versus American styles are so different in what consumers want, then you
have to give the percussion, brass, strings, so on, then groups, then the
underscore, then a 30 second version, a 60 second version, the full one.
Fully mastered beautifully. You get rejected. Or you win some. Itís
really competitive, and most of my competition is men 45 to probably 70.
audio dramas I score, and now recently act in, has been great fun. You
canít go too crazy with the scores like you do for films and TV shows
because the music has to really support the work and without visuals, so
you need to let people hear what the actors are saying extra well. The
voices carry the work. You canít overwhelm it. And itís great fun,
because I get to have all kinds of tools and trickery up my sleeves in the
would you describe yourself as a composer and musician?
a 19th century person alive in this time period! Pen and paper,
traditional orchestral work was always my main train of thought as a young
person scribbling on sheet music. Had I had access to all these wonderful
programs like Logic Pro, UJAM, Spitfire Audio, my superhero
laptops doing so much, I would have been in heaven. I never really grew
up. The me I am is the same me I was at 13 or maybe 15 tops. Sort of
between the world of adulthood and childhood who had a bit of both the
maturity and immaturity of being a dreamer. When youíre 13, you think
you will someday grow up with that briefcase and go to an office, like
Peter Pan says, and what if that never happens? When I was 13, my dream
job was one where I could wear basic clothes like workout athleisure or
jeans, composing music, working in cinema as well. It wasnít, ďWhen
Iím older, I want to sell insurance, do a job where I come home with
spreadsheets about corporate life. Donít want to bag groceries, no, not
be a nurse.Ē I wanted all of this. A teacher laughed at me for it who
was cool when other students said things they wanted to do. Being good at
music was always something I thought was really cool, and the only time I
saw people switch into being nice to me when I was a younger person was
when I was studying stuff I didnít care to study because I felt it was
so easy and boring for my computer of a brain, and all of our brains are
computers, graduating really early, following the good girl plan of what
nice young ladies do. Breaking away from that again once I graduated to
work somewhat as a model and to pursue things I wanted, strangers online
and offline, everyone Iíd ever met, was mean to me again. Because music
or entertainment work isnít work to them. Those careers arenít real to
them. Centuries ago, actors and actresses were seen as trash, and I fear
that internally not much has advanced from that. Someoneís movie healing
someone inside for a moment who is sick and dying of cancer or AIDS means
nothing because someone selling insurance has a ďrealĒ job.
19th century dramatic style, called romantic, is my favourite ever and
always finds its way into my work. I love writing anything depressing,
horror, almost Swan Lake if I can is the goal. Pick a composer from this
time, and Iíll be inspired by him. Have to say him because female
composers were not largely encouraged then or their work published. Do you
ever wonder if any more male composers you think are men really are women
from the past, as they were with printed books?
I am so used to meanness and people not giving me opportunities before for
really much, I am so grateful and work extra hard when I get them.
I said I was a composer, people would tell me ďgo be an actress.Ē I
got the same line from people when I sought journalism jobs. Yes, my
younger self without any IMDb credits was going to walk into a room so
Emma Stone would be fired from a film? People are really ignorant of what
an acting career is about with the time spent, marketing, hard work and
all of it, and demeaning me through this time as if I were so stupid and
untalented for whatever they thought, my only choice was to go be in a
ďdumbĒ career of acting.
of my life, people told me to be an actress. Not once was it ever viewed
as a choice for me. You can choose to believe this story or not. Please
reference, Iím someone who if I had to choose a ďrealĒ job would be
a scientist. I donít always have these things happen. Right before I
turned 35 in 2022, my then only laptop, since fixed, broke and I had
nothing to do for almost a month as I was waiting for my new laptop Iíd
been gifted by my parents who were really noticing how sad I was that my
laptop broke. Which had my work, my life on it. One night, when I was
going through my spree of watching films like the X-Men series and all of
these action movies since I couldnít work, this information came to me
from whatever you call that ďscientistĒ out there, the universe,
science, God, that I wasnít meant to be known as a composer/director
like Iíd been trying to do. I was supposed to be a composer/movie star.
My first huge movie I was supposed to position all my goals of stepping
towards was not an animated film about the Big Bad Wolf. It was my remake
of The Time Machine, the one I planned out when I was 14 years old and had
come home from watching the first Lord of the Rings on the weekend it came
out. Iíd plotted out the whole remake of mine in my notebook and kept
rewriting it throughout the years in my head. Still rewrite it. And I was
to play the lead in it. I was to be a film star, in my own power, choosing
my parts, defining myself as I wanted because acting can be a powerful
thing when it is your decision making the whole way in. Sure, I was going
to write and direct my own work anyway, but more importantly, my calling
was to act because this is how I would change the world with my art and
the messages in it. I could call attention to things off camera with the
power that comes with the attention grabbing job title of actress. Acting
was going to be how I would secure financing for all of my future movies.
A very life changing moment. Since this happened to me Iíve googled, and
Reddit is full of stories like this where people feel God or the universe
has told them something, no scientific explanation. Oprah Winfrey calls
these ďGod whispersĒ, who knows what they really are. And Iíve woven
this into my Time Machine remake plot with a difference in the information
that my character gets.
Iím happy to be here working on music!
music, you also have your hands in many other aspects of filmmaking, from
screenwriting and directing to animation and acting and whatnot - so what
jobs do you enjoy the most, which could you do without?
hate animating my own work. Can I get that off my chest? Iím someone who
gets things done right away, and for me to sit there, slide, slide, slide,
it is so Ferris Bueller with the teacher waiting for class to be done.
Having input in the designs and working with a formal animation team,
which is what I hope to be doing after this SAG-AFTRA strike is done and I
can get to work on that in 2024-2025, seeking a cast and financing for
Peter Pan and the Adventures of Dreams and animated it with Demente
Studios in Mexico who do work for Hello Kitty and other big brands and
networksÖ yowza! Thatís going to be a blast!
how to draw with Stan Winston School was really beneficial to me, and I
can now sew and design wigs, so all of that is going to come handy with me
in directing feature films with real budgets.
is aimed to set me up regularly, besides scoring movies primarily, as
someone who directs and writes The Time Machine into a full trilogy. I
dream of being Peter Jackson and Hans Zimmer rolled into one because both
men inspire me so much with their careers and how much they love what they
do. Acting in films that I love will be very exciting if and when people
finally hire me. Iíve had a few near misses with studio films offered to
me, and it always ends up that itís me against some woman who comes off a
major Emmy show or big deal movie thatís hit pop culture, and guess who
gets the job? Letís change that!
can you tell us about your filmwork prior to The Pact, in whatever
Iíve made some self animated and live action short and feature films for the
web. Self animating is so time consuming and slow, it isnít for me.
Truly. But itís a step I needed to get through in life to learn things,
score my first work and nab my first IMDb composing credits, get my career
going, because you need that to be hired as a composer for other works.
Some directors compose. Some actors have composed. I like explaining, I am
a composer who does other things. I am a composer who directs. A composer
Musicians, filmmakers, whoever else who
career loves of my life are Hans Zimmer, Peter Jackson, James Horner and
James Cameron, probably in that order. I also love the Wachowski sisters.
When I was 13, I promised my math teacher when I was older, I was going to
have a film about the matrices/matrxi math homework we did inspired by The
Matrix, and I finished that in 2001! Peter Jackson is my favourite
director. James Cameron is my second favourite, only because Peter Jackson
is someone I want to give a hug someday and film on his Wellington, New
Zealand lots he co-owns where he made The Lord of the Rings. All I want to
do is meet him and say hi. I got in touch with the Wachowskisí team some
years ago to let them know Iím in career love with them, because the
worst horror of my life was that I always wanted to meet James Horner and
that never happened, so now Iím like the Love Actually boy at the
airport who has to tell people how he feels!
can verify this, for years Iíve said how in love I am with how Mr.
Zimmer is a whole person. He isnít about only having good music or only
having brands around it. He really loves what he does and obsesses over
it. I relate to a lot of what he talks about with music curing his anxiety
issues lessening from it. His work ethic is evident because he is so
established, he could be like how some filmmakers live off something they
did decades ago. No, he keeps on working passionately, winning that Oscar
again for Dune. Setting up European tours. Doing whatever he can, 100%. He
lives for music. And Iíve always wanted that. One thing I have always
wished for is not to be literally him as most fanboys of film scoring do,
not to write like him, all I want is a long term career like his and the
passion from it when Iím older. He has the burning passion for music of
a 13 year old starting to dream of Hollywood film scoring.
Your favourite movies?
not because of Mr. Zimmer whose music for it I love, itís because I am
stubborn like that and always love seeking revenge. My form of revenge,
one of them, is in outlasting everyone who ever wronged me and proving
them wrong about my talent and great achievements. The dream would be
winning an Oscar and quoting Legally Blonde, ďWhat? Like itís hard?Ē
and of course, films you really deplore?
donít publicly express a distaste for anything because I want to work
and someone may have been a part of that movie, so it could hurt
social media, whatever else?
a music product collection by Peter Gorges, Hans Zimmer and Pharrell
Williams - UJAM.com
Anything else you're dying
to mention and I have merely forgotten to ask?
really good at making toasted veggie sandwiches and all kinds of vegan
food. My great aunt now in her 90ís who is not blood related to me but
by marrying my great uncle, and she and he were like my grandparents, is
from Okinawa, Japan so I know how to make things like different Japanese
tofus and if you want a vegetarian not vegan cheat, stirring scrambled
eggs with chopsticks. Can absolutely bake a no sugar added, lard free pie!
Whatever you want. Part of my auntís job as a nutritional science
professor was researching foods and that involved cooking them and growing
veggies! She taught me a lot before I went into taking cooking classes on
my own terms.
Feeling lucky ?
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The links below
will take you
is really similar to making music with how you blend things together and
take old world tastes making them new again, or fusion cuisine. For the
longest time, faced with types of freelance journalism I could do, I
didnít want to offend anyone or be mean. Yellow journalism is not in my
blood. Yellow blood? Do you think Iím a lizard person from outer space?
No, I chose food journalism and entertainment news whenever possible
because food is great fun to cover.
fun, I like going out and doing normal things or being at home watching
TV. People donít think going out to run errands is fun. I do. My great
aunt taught me as a child to see the fun in it because she took me out to
Target and other stores, or to go pick up flowers. The Midwestern part of
the USA is all about being normal and cherishing it. Seems Okinawa, where
she grew up, is also.
for the interview!