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‘Blood & Treasure’ composer Kyle Newmaster reveals why the CBS show was a ‘dream gig’ for him



Kyle Newmaster has been a movie, tv, recreation, and live performance stage composer for over fifteen years. His newest mission, CBS’ ‘Blood & Treasure’, is a tv sequence sees an antiquities professional staff up with an artwork thief to catch a terrorist who makes use of stolen treasures to fund his assaults. With components starting from action-adventure to drama to romance all with a tinge of sophistication and comedy, the show definitely poses a problem for anybody scoring it, one which Newmaster completed with ease.

Not solely did the composer handle to create a rating that captured the show’s essence brilliantly, however he was additionally capable of document stay musicians all through the season, a rarity with TV composing these days. Newmaster had a full union orchestra for episodes one and two, in addition to 22 strings and extra brass gamers on the closing two episodes. Different stay gamers had been used all through the remainder of the season. The musicians are virtually like the hidden treasures of the sequence, escalating the music and show to a different stage.

MEA WorldWide (1) bought to talk with Newmaster about his work on ‘Blood & Treasure’, the problem of attempting to create throughout a pandemic, and what he has deliberate subsequent.

The social distancing directives of the coronavirus pandemic have given composers their fair proportion of recording challenges, but you managed to document stay musicians, even a full orchestra, for ‘Blood & Treasure’. How did you handle to tug that off?

Fortunately for ‘Blood & Treasure’, season one started in 2019, and we completed all of our recordings lengthy earlier than the lockdown. Even previous to Covid-19 although, pulling off stay orchestral classes on a weekly TV schedule was fairly the problem. Nonetheless, because of the quarantine, a very massive variety of musicians have realized the talent of distant recording from a dwelling studio. It’s one thing that’s been occurring for years, however in the previous, solely a small proportion of the musician pool was arrange for that sort of recording. Recording individually and layering won’t ever substitute the magic of getting full ensembles of musicians in the identical room, nevertheless it’s a workaround. With the rigors of TV schedules, usually issues occur very quick and so it’s very handy to have the ability to ship out a pdf sheet music half and a recording and get again a nice efficiency shortly by distant recording.

How did you first come to work with ‘Blood & Treasure’ creators Matthew Federman and Stephen Scaia and the way did you first go about formulating and ideating that traditional sound for the show?

I first met Stephen Scaia again in 2014. He had a Kickstarter marketing campaign for a brief movie mission he was creating in-between his varied TV producing and writing jobs. I noticed the Kickstarter video and thought it regarded superb and so I despatched in a demo to the contact e-mail. You by no means know with sending unsolicited demos, however I was thrilled when Stephen e-mailed me again and requested me to attain that mission. It turned out we had very comparable tastes in movie music and movies typically which was very cool. We turned good pals, and thru Stephen, I met Matthew Federman as effectively. They’re each very gifted, inspiring, and simply all-around nice guys.

When ‘Blood & Treasure’ was introduced in 2017 I knew it was going to be superb and I mentioned with Stephen the greatest approach to demo for the job and the sort of music he was wanting for. He described the music type as ‘Indiana Jones’ meets ‘James Bond’ meets ‘Romancing the Stone’ with a heavy traditional orchestral sound. He was particularly keen on John Barry, John Williams and Alan Silvestri, all of that are favorites of mine. From there, I learn some early scripts and commenced writing doable thematic concepts and ideas based mostly on the scripts. Stephen and Matthew despatched me suggestions on a few of these ideas and helped level me in the proper course.

When it was time for CBS to decide on a composer, Stephen urged I create a soundtrack suite out of my thematic concepts to current to the different producers and the community. I created a suite based mostly on 4 of the primary themes and organized them to play as one seven-minute cue. All of these had been finally utilized in the show. I recorded a stay brass ensemble for the demo and another solo components to provide it that cinematic sound. Engaged on the themes, and the general sound for months, actually helped me to develop the idea even previous to them filming the episodes.


You’ve got composed music for every part from whimsical comedies to thrilling dramas, do you may have a favourite style or most popular moodscape to work your magic with?

I do love working in several genres. I’m impressed by all types of movies and it’s actually the story and the movie itself that get the concepts flowing and conjures up me to jot down. However, though I really like writing for a number of kinds, a massive a part of me turning into a composer stemmed from my love of style movies typically and being a child in the ‘80s. The action-adventure, sci-fi, and horror movies from my childhood and the soundtracks to these movies, are actually what bought me enthusiastic about writing music to image. Movies like ‘Raiders of the Misplaced Ark’, ‘ET’, ‘Poltergeist’, ‘Star Wars’, ‘James Bond’ and so many extra actually excited my creativeness. ‘Blood & Treasure’ is correct up that alley. It’s actually a dream gig to jot down the traditional orchestral sound for a modern-day action-adventure rating.

Talking of the ’80s, you composed and recorded over an hour of music with the London Symphony Orchestra for the online game ‘Kinect: Star Wars’. What was that have like?

I was a big-time ‘Star Wars’ geek as a child and just about nonetheless am. I lived and breathed the ‘Star Wars’ movies for a few years and like so many ‘80s children the ‘Star Wars’ soundtracks had been principally the soundtrack to my childhood. That sound is imprinted in my thoughts and so writing for ‘Kinect: Star Wars’ and recording at Abbey Highway with the London Symphony was a actually superb expertise and though there was a lot of strain, it was a dream come true. I co-scored that recreation with my good good friend Gordy Haab who has made a full profession out of scoring ‘Star Wars’ video games.

Previous to that chance, I had recorded two full orchestra scores for epic ‘Star Wars’ fan movies to strengthen my demo in the ‘Star Wars’ vibe: ‘Compelled Alliance’, which gained an Viewers Alternative Award at Comedian Con in 2006, after which ‘Ryan Vs. Dorkman 2’ in 2007 which was a viral on-line hit. Previous to ‘Kinect: Star Wars’, I additionally labored as a further composer and orchestrator on “the previous republic” recreation from Lucas Arts. Mainly, I had already labored out the kinks and labored by the nerves by the time ‘Kinect: Star Wars’ occurred.

The most important problem on that scoring job was that Gordy and I had six weeks to jot down and orchestrate about two hours of action-style music. It was a actually loopy schedule. No person can write a ‘Star Wars’ rating – or any rating actually – like John Williams, nevertheless it’s enjoyable to attempt.

Kyle Newmaster at Abbey Highway for ‘Kinect: Star Wars’ (Picture credit score: Joni Ramos)

What musical items are you submitting to the Emmys for award consideration? What made these items particular to you?

For Emmy Award consideration I submitted ‘Blood & Treasure’. The sequence premiere is sort of 90 minutes, with 63 minutes of rating and the majority of it recorded with the stay orchestra that I mentioned above. Musically it helps set up virtually all of the primary themes and motives for the the rest of the season. I feel my favourite moments musically on this episode could be the whole five-minute sequence at round 23:20 in the underground bazaar the place a number of the primary characters’ themes had been developed or the flashback to 1942 at about the 44-minute mark the place we uncover how Cleopatra’s sarcophagus was stolen. That second particularly referred to as for some traditional John Williams-style motion and journey writing. Each had been actually enjoyable scenes to attain.

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WATCH: Sheffield flower arranger hosts virtual Glastonbury ‘gig’ from own home




For the last four years, Emma McGeehan, 42, of Abbeydale, has been running flower arranging workshops from Glastonbury’s ‘green fields’ site, where festival-goers can learn new skills in a sustainable and environmentally-friendly way.

However, when this year’s annual performing arts extravaganza was cancelled due to coronavirus, she instead recorded the workshop in her front room in Sheffield.

The tutorial was then shared on the festival’s website where it has since been watched hundreds of times by keen craftspeople unable to make their yearly pilgrimage to Worthy Farm.

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She said: “This would have been my fourth year of doing it and we normally run workshops for hundreds of people over the weekend.

“All the flowers we use are from Yorkshire. People choose the ones they want and we show them how to make a flower crown.

“But this year because of coronavirus they asked me to do it online. They wanted it to have a very ‘at home’ feel so I did it in my living room.”

As well as flower arranging, other workshops offered in the virtual green fields over the weekend included willow weaving, perfume making and hat designing.

A ‘floral crown’ design made in one of Emma McGeehan’s workshops.

“It is such a wonderful atmosphere and we fit the ethos of the festival really well,” said Emma.

“People always come up with weird and wonderful creations and we only work 10-4 every day so we have the rest of the festival to enjoy for ourselves.”

Glastonbury 2020 – which was due to be the festivals 50th anniversary – would have taken place between June 26-28 but was cancelled in March due to the coronavirus pandemic. It will return again in 2021.

As well as teaching flower arranging, Emma also works as a florist and provides flower designing services to weddings and other events including decorating bars for gin brands.

A ‘floral crown’ design made in one of Emma’s workshops.

Her studio – Orchis Floral Design – is based at Hagglers Corner on Queens Road and she can be contacted via her website at

Editor’s message: Thank you for reading this story. The dramatic events of 2020 are having a major impact on our advertisers and thus our revenues. The Star is more reliant than ever on you taking out a digital subscription to support our journalism. You can subscribe here for unlimited access to Sheffield news and information online. Every subscription helps us continue providing trusted, local journalism and campaign on your behalf for our city.

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Elegant little vibe for gig




Little Village is back with a bang for the people of the South West, throwing a small party with a big line-up including Nathan Parsons, Chloe Payne and Josh Garner.

The elegant event at Driftwood Estate will celebrate local musicians and a return to live music post-COVID-19.

Parsons is back in Australia after journeying to Europe to work in a studio in Austria with new label Aton on two solo projects, including one acoustic and one electronic.

His music was inspired by the ocean, mountains and deep emotion, and he said his time in Austria had led him to miss the wild waters of the South West.

“I’ve been working pretty hard before the coronavirus hit and was going to release an EP over there,” he said.

Unfortunately, the COVID-19 situation in Europe deteriorated and Parsons made the difficult decision to come home to complete his latest single Follow the Ocean.

“I was working with some American artists and European artists collaborating on some rap songs, but I ended up getting signed after the label approached me when I was busking on the side of the street,” he said.

“We went to the studio to write a few songs and now one is ready for release.”

Parsons finished Follow the Ocean in the South West and sent it back to the label to be mixed and mastered by Scandinavian music wizard Felix Sterzinger.

“I wrote it based on being overseas away from friends and family. It was difficult going from chasing the summer to having three years of winter,” he said.

“Emotionally for me, its been about finding peace after missing the ocean. I found creativity from snowboarding some of the highest peaks in the world in Austrian mountains at minus 20 degrees,” he said.

Parsons is excited to return to the Little Village stage after previously performing at the intimate shows as part of duo Salt Tree. “I think the Little Village events are really unique, the organisers tend to make it a more artistic scene for the audience,” he said.

“You never really know what to expect when you play or attend those events.

“They’ll have couches and rugs for you to chill out on the grass, but it’s a stylish and a nice warm vibe. It’s definitely a very unique experience.”

Due to COVID-19 restrictions the July 16 event will be capped at 100 tickets.

Organisers and punters are also required to strictly adhere to social distancing and hygiene practices.

Tickets are on sale at

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Histones’ secret enzyme gig may have helped power eukaryote evolution





Credit: Science

Histone proteins (orange, blue, green, and purple) act as a spool to wind up DNA (white). Two key amino acids (histidine 113 and cysteine 110) in the H3 histone protein (orange) can bind and reduce copper ions.

In our cells, 6 feet (1.8 m) of DNA gets crammed into chromosomes that fit inside a 6-µm-wide nucleus. The proteins that help pack up that genetic material are histones, which act as spools around which DNA coils. These proteins don’t just play a structural role. Through processes that unwind and re-wind these coils of DNA, histones help regulate which genes are expressed at a given time.

Now, a new study reports that these proteins also have another, more ancient gig. They can act as enzymes that reduce copper ions—which cells need for metabolic processes—from a toxic form, Cu(II), to a usable one, Cu(I). This enzymatic role may have allowed single-cell organisms to cope with a huge rise in oxygen levels on Earth. It may also have had a hand in the evolution of more complex cells, called eukaryotes, that later came became multicellular organisms.

“Our work suggests that the presence of histones was actually essential for the formation of the first eukaryotes,” says Siavash Kurdistani, a biochemist at the University of California, Los Angeles who led the study.

Scientists think that the earliest living cells used metal ions to power their biochemistry. But the sharp increase in oxygen on the planet a little over 2 billion years ago—which geologists refer to as the Great Oxidation Event—made a lot of these metals unusable because the high levels of oxygen converted them to forms that were toxic to the cells.

The histones that we carry in our eukaryotic cells descend from similar but simpler proteins in a class of ancient one-celled organisms called archaea, which existed during that oxygen jump. Unlike eukaryotes, these organisms have small genomes, and they don’t have a nucleus, suggesting that the cells didn’t need histones’ DNA-packing abilities. So Kurdistani wondered whether these ancient histones might have originally played a different role and whether that role is conserved in histones today.

Histone proteins that are present in both archaea and eukaryotes consist of a tetramer of two H3 and two H4 proteins. A decades-old study hinted that two pairs of the amino acids cysteine and histidine, located at the point where the two H3 proteins meet, might bind metal ions. Based on that study, and what Kurdistani calls a “wild guess,” he and his colleagues set out to probe whether these proteins could act as enzymes to reduce copper.

They conducted two sets of experiments. First, they mutated the amino acid sequence of a histone protein in a simple eukaryote, Saccharomyces cerevisiae, at the region where metal-binding activity had been suggested. The eukaryotic cells containing the mutant histones had lower levels of Cu(I) ions, suggesting that the histone was indeed involved in reducing copper. In another experiment, they determined that the human H3-H4 tetramer could reduce copper at a decent rate in a test tube (Science 2020, DOI: 10.1126/science.aba8740).

“They’ve shown that in isolation, [human histones] are actually quite respectable enzymes,” says Karolyn Luger, a biochemist who studies the structures of DNA and histones at the University of Colorado Boulder and was not involved in the study but did write an accompanying commentary about it. Today’s eukaryotic cells have evolved multiple other ways of keeping copper in its non-toxic Cu(I) form, but the fact that histones still seem to do so strongly suggests that it might have been their original job, she says.

“This is a big story,” says Steven Henikoff, a biologist who studies histones at the Fred Hutchinson Cancer Research Center and who was not involved in the study. Around the time of the Great Oxidation Event, eukaryotic cells also started to host mitochondria, cellular compartments that act as metabolic power sources. The fact that Cu(I) is key to mitochondrial function might mean that histones play a previously unrecognized role in cell metabolism, he says.

Indeed, Kurdistani and his colleagues are now exploring the role of histones in mitochondrial diseases.

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