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After graduating from Berklee College of Music in 1998,[10] Djawadi garnered the attention of Hans Zimmer, who recruited him to Remote Control Productions.[11] Djawadi moved to Los Angeles and worked as an assistant to Klaus Badelt. From there on he made additional music and arrangements for Badelt and Zimmer movies, such as Pirates of the Caribbean: The Curse of the Black Pearl, The Time Machine, and the Academy Award-nominated film Something's Gotta Give. He co-composed the music for System Shock 2 (1999). In 2003, he and Badelt composed the score of Beat the Drum.[12]

In 2004, Djawadi went out on his own with Blade: Trinity, collaborating with RZA for director David S. Goyer. This was the beginning of his relationship with Goyer for both film and television. The following year, Djawadi continued making additional music for Zimmer in films such as Batman Begins and The Island, which was his last time working in the background of another composer. The same year, he composed the Emmy-nominated main title themes and scores for Prison Break and the related show Breakout Kings.[13]

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Djawadi composed the score for the 2021 Marvel Studios film Eternals, which marked his return to the Marvel Cinematic Universe (MCU) since 2008's Iron Man. Djawadi composed music for the trailer of Magic: The Gathering: Theros Beyond Death, a card game. Djawadi co-composed music with Brandon Campbell for the second episode of Apple TV+'s series Amazing Stories titled "The Heat". He composed music for the Disney+'s nature documentary film Elephant. Djawadi composed the score for Lisa Joy's feature film debut Reminiscence. He also co-composed the music for the Amazon Game's New World with Brandon Campbell.

He scored the music for Ruben Fleischer's Uncharted based on the videogame franchise of same name. He reunited with Game Of Thrones creator D.B Weiss and Tom Morello, scoring the Netflix film, Metal Lords, directed by Peter Solliet. He scored Sony's The Man from Toronto, directed by Patrick Hughes and the Game of Thrones prequel series, House of the Dragon.

Djawadi is married to Jennifer Hawks, a music executive in the film industry.[25] They are parents of twins.[26] According to Djawadi, he experiences the perceptual phenomenon known as synesthesia whereby he may "associate colours with music, or music with colours", and it allows him to visualize music.[27]

The event is generously supported by the Sammamish Arts Commission and will center around devotional music known as Bhakti. It will showcase the work of traditional poets, saints, and musicians from all corners of India, dating as far back as the 12th century.

Iyer grew up in South India and is trained in both Carnatic and Hindustani music. She will perform at the event, along with six other Indian classical musicians: Vibhuti Kavishwar, Anindita Das, Sheetal Patwardhan, Minal Guhe, Deepashri Joglekar, and Manoj Deshpande. The group has known each other for years and performs together often.

As to short speeches fron NCSG and NPOC - NO. We already have enough. What is not listed - and MUST be - in speeches from our sponsors. And the APRALO chair - sorry Satish - also gets two minutes max. This is a showcase event - and speeches stand in the way of what people are there for - networking and relaxing with food and drink. I'm REALLY not sure about Goran at the end - people will be too busy networking and drinking and won't want to go back for another speech. It also looks rude. (he also won't want to have to hang around til the end - or won't want to come to an event when half the audience will have left) CEOs and Chairs are up front. Then Rinalia (our region) and only a brief word from Alan. Then sponsors. As to NPOC and NCSG - we said they can meet and greet. If they must be acknowledged, Satish can do it. As to slide show, I think it should just be a loop of pics from APRALO Showcases - there for the start - then not on during speeches - then continuous for the rest of the time. The pics can be referred to by Satish - to show what we do and our diversity. Since it will be in the background, it doesn't need to sustain interest - people can view it when they want.

As people enter, sitar (or other musician) playing and slide show running. Alan and Satish and rep from NCSG and NPOC welcoming people. Also, promotional material from sponsors on a table at the entrance, along with our own material

Speeches - music off . I thing maybe slide show off so as not to distract from speakers. Brief intro from Satish - who also introduces the other speakers. Speakers: Goran, Steve, Rinalia, (if we must, Alan), sponsors. (It we MUST have something from NCSG/NPOC - one speech only from the GNSO , then no Alan, since Satish is the ALAC person

Start by setting the stage with white backdrop curtains to create a neutral background that allows the rest of your dcor to pop vibrantly. Hang the curtains on a sturdy backdrop stand, ensuring they are taut and free from wrinkles. The backdrop will serve as the canvas for your Diwali masterpiece. Line your backdrop with string lights to infuse a warm, magical glow into your space. The soft, ambient lighting will create a captivating atmosphere that's perfect for Diwali. Secure the lights along the curtain's top edge using clips or hooks, ensuring they hang elegantly.

Complete your Diwali experience by using a smart device like a Google Nest to play traditional Diwali music. The soothing melodies and festive beats will immerse your space in the authentic spirit of Diwali, creating the perfect atmosphere for celebration.

Negrn came late to the idea of composer-as-occupation. She was already supplying songs for the quirky indie electronic band Baln and studying at the University of Puerto Rico when she fell in love with film scores. That's when she realized writing out her musical ideas on paper was a thing, and that before her lay an entire world of living composers to admire and learn from. Today, she's had world premieres performed by the New York Philharmonic, the Los Angeles Philharmonic, the Dallas Symphony Orchestra and Kronos Quartet, and will debut a new piece at Carnegie Hall in December.

From her home in Brooklyn, with her lightly snoring Boston terrier Midi at her side, Negrn joined a video chat to talk about her relationship to home, the challenges of a rising career and the childlike wonder ingrained in her music.

I love to spend time with my dog, Midi, and not have anything in my hands except petting him or playing with him. I am a very sensory-driven person, so I like his fur and his warmth. I also love to go to stand-up comedy shows and drag shows; I think in the past two years I've been to more comedy shows than music shows.

With your background as a member and songwriter for the indie electronic band Baln, you come from a do-it-yourself ethic. With all these big classical commissions, has that mindset shifted for you?

Through those, I discovered more modern music, eventually leading toBang on a Can,So Percussion andKronos Quartet. I remember discovering Kronos' recording ofBlack Angels and the massive score of that piece in the conservatory library in Puerto Rico. Those moments really were the spark to doing what I do. I was making ambient music by myself, and making music with Baln, but I was not writing music down on paper. I thought those things were very separate. Then I realized that they could be combined, and that it was not just a hobby.

I wonder about that too. Maybe I would be living on a farm and not making music at all, or only making music with plants. What I can say is that being away from home, and having such a complex relationship to the idea of home as part of the Puerto Rican diaspora, has shaped a lot of how I move in the world and the work I create.

Reggaeton is now obviously part of global pop, so it's everywhere. But it's been with us for so long, especially in Carolina. A lot of the music that I wrote in the beginning, when I was in Puerto Rico, was trying to silence reggaeton, because it was always present even when you didn't want to hear it. But being away from home, I'm seeing reggaeton completely differently because I'm not in it 24/7. It becomes part of that pull to the island.

Given the times we're living in, you couldn't fault any composer for writing dark music. But in your pieces I hear beauty and joy, mixed with nostalgia. Even in the thick of the pandemic, in 2020, your piece for Kronos Quartet, Marejada, whisks us off to a Puerto Rican beach.

By normalizing the creating of music in educational settings and in public schools. Jon Deak, the founder of the Very Young Composers program, talks about how when we're young, we always play with colors and paint. That's just something normal, beginning in preschool. But with sound, it is very different. Often, early experiences with sound are through technique and learning an instrument; there's a right and wrong way of doing things. We rarely have early experiences in which we're just playing with sounds: What does this maraca sound like combined with the xylophone or this horn? Try it now without the horn, and can the horn be slower? Playing and exploring sounds is not normalized in curriculum. That would be a great first step, as easy as music teachers opening up spaces for students to be able to improvise and create.

I've never been asked that. My hope is that my music still sounds like myself. I hope that it's as cool as Tania Len or Julia Wolfe or Meredith Monk. Those are people who have so much edge and heart and meaning, and knowing all of them personally, I know it's because they're speaking truth to who they are through their music. So regardless of the sounds I end up using or the instruments or the mediums or any stylistic or aesthetic things, what I can hope for is that it is speaking true to who I am. e24fc04721