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And, of course, the global pandemic, mass death and joblessness puts teenage dreams in perspective. 2020 proved to be both our most fortunate and disappointing year.
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We had an excellent experience and a great deal of creative license in scoring Bateman’s Violet, which was set to premiere in SXSW’s narrative feature competition before the entire world buckled under COVID-19 and SXSW was abruptly cancelled. We were approached by Justine Bateman to score her debut film, Violet, and landed sync placements in Netflix’s Messiah and the film Materna, which premiered at Tribeca 2020 and was awarded Best Cinematography and Best Actress. In 2019, right as we were approaching the apex of adulting, opportunities started to flow in. What did we choose? We made the decision to scale back, but stay in while we were simultaneously, aggressively making moves away from music: studying for the GRE, taking new job opportunities, developing businesses, and other measures to try and become proper grownups as we were ripley crossing the threshold into our 40s and had little other than albums, artworks and children to show for it. How will you know if this was the right choice? You probably won’t. Make it manageable and take opportunities as they come your way. Keep Going? Give Up? If it’s something you really love to do and you can do so without compromising your responsibilities, stay in. Ironically, he was one of the few who delivered! Overall, however, our experience in the music industry, peppered with devoted music fans, dedicated DJs, sycophants, hard working musicians, narcissists, impressively talented people and human barnacles, ultimately lead us to decide that negotiating the bureaucratic web of scene administrators and label keyholders operating somewhere between legitimate enterprise and racketeering proved too expensive and too socially complicated for us to maintain. This ever so prescient set of letters was later reiterated by a PR agent moments after we handed over our scraped together, meager savings to him in exchange for blog writers to tell the world how much they loved us. Scott Spaulding, friend, brother from another mother, and drummer in our band, VUM, introduced me to the popular aphorism ‘expectations are future resentments’ as I was railing against the pay-to-play system of promotions, transactions, negotiations and promises entrenched in the business of being a band. Hi Jennifer, any advice for those thinking about whether to keep going or to give up?
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We had the good fortune of connecting with Jennifer Pearl and we’ve shared our conversation below.