Strange as it may sound, this story may have had the widest global repercussions of any story I’ve ever written for Variety. I learned that composer Alf Clausen, after scoring more than 550 episodes and winning two Emmys for his music, had been fired from The Simpsons after 27 years on the job. It was shocking, but after talking with Alf about it, we decided to go public on Aug. 30. I filed the story at 11:50 a.m., Variety posted it at 12:15, and within hours virtually every outlet in the world was repeating the news. It even made the front page of the BBC. Fox declined comment at the time, and was clearly unprepared for the worldwide outrage that would follow. Clausen is not only highly respected within the musical community, he earned nearly two dozen Emmy nominations for his work on that show alone — and is believed to hold the record for scoring the most episodes of a prime-time network series in television history.
Every year for Variety‘s late-summer music issue I prepare a chart examining every nominee in the Emmy music categories. This year the number expanded from five to six, with the new music-supervision category, so the “chart” now encompasses two pages instead of just one. We looked at the nominees’ past Emmy record, and created a line or two that gives a sense of the music, the song, the music direction and whatever else seems to be relevant. This content is rarely posted online, so here’s what they looked like in this week’s issue.
There is tremendous excitement among Marvel Comics fans about the upcoming Inhumans series on ABC, which has a a big orchestral score by Sean Callery (24, Jessica Jones). But, in fact, the Marvel TV universe encompasses a wide variety of musical sounds and styles, which I explore in a piece in this week’s Variety. In addition to Callery, I interviewed Bear McCreary (Agents of S.H.I.E.L.D.), Ali Shaheed Muhammad (Luke Cage), Jeff Russo (Legion), Trevor Morris (Iron Fist), Tyler Bates (The Punisher), John Paesano (Daredevil, The Defenders), Siddhartha Khosla (Runaways) and ABC music exec Dawn Soler.
The American Federation of Musicians, particularly its Local 47 and its Recording Musicians Association conference, has been struggling for years to lure recording work back to L.A.; much of it is now done off-shore, especially in London and other European cities, primarily because of the union’s insistence on residuals for studio musicians. Its latest tactic is now before the California legislature in the form of tax credits offered to films made overseas and low-budget independent productions. I explore this plan in a story for Variety; and followed it up a few days later with a report about a music-filled rally the union staged downtown in front of City Hall.
Nearing the end of his world tour, composer Hans Zimmer brought his live concert show to L.A.’s Shrine Auditorium, where 6,000 fans screamed and cheered to his iconic themes from The Lion King, Pirates of the Caribbean, Inception and many others. I attended the Friday-evening concert and filed this report for Variety the next day. The photo at left, incidentally, is the cover of the $10 “souvenir program” — which turned out to be worth the price for its set list, Zimmer interview and thoughts by several of the musicians performing with him.