News | Kusiak Music

Stay up-to-date on Kusiak Music projects, screenings, creative collaborations, and other news.

Scoring Woodstock & Returning to the Tribeca Film Festival

Whenever I would tell someone that Andrew Willis and I were working on a score for the new Woodstock documentary for American Experience, there would be quizzical looks and questions. “Wasn’t Woodstock all about music? Why would you need to write music for that?” Yes, of course, there are hours of music that came from the event, but that movie has already been made.

PBS  and  AMERICAN EXPERIENCE  announced the new two-hour documentary   Woodstock  , scheduled to premiere on PBS in 2019 in conjunction with the 50th anniversary of the historic three-day concert that defined a generation.  Read the full article here.

PBS and AMERICAN EXPERIENCE announced the new two-hour documentary Woodstock, scheduled to premiere on PBS in 2019 in conjunction with the 50th anniversary of the historic three-day concert that defined a generation. Read the full article here.

The original Woodstock movie came out in 1970 and was all about the music. This new film is different. It’s a retrospective documentary about how the whole thing came about. It’s about the organizers who had the original idea and the incredible difficulties they encountered in trying to make it happen.

It is also about the concert-goers; their lives, what brought them there, the troubles they endured in the mud and rain, and all the amazing experiences they had.

Naturally, there are songs from the actual performances in the film as well as music that was popular at the time. However, our score supports the stories that are told about the people who came together for the event of a lifetime.

We mostly used guitars, bass, mandolin and drums to create music that integrates with the music of the era: we aimed to play those instruments in a way that is modern and yet evokes the sounds of the ‘60s.

Barak Goodman, director (on the left) with composer John Kusiak. Photo by Laura Barrett.

Barak Goodman, director (on the left) with composer John Kusiak. Photo by Laura Barrett.

A few weeks ago I attended the Woodstock Tribeca Film Festival premiere screening in New York City with Kenny Kusiak (who also contributed to the score). It was one of the “Spotlight” films and was standing room only.

Barak Goodman, who has some of the best American Experience films under his belt, directed the movie.

“Woodstock: Three Days that Defined a Generation” will be released in theaters by PBS Films on May 24 in New York, and June 7 in LA.

It will be aired on PBS in August.

Turn on, tune in, and listen!

Guest speaking at Boston University: Cinemathèque

Earlier this year I presented a curated selection of my scores for full-length films, documentaries, short films, TV, and commercials to the Cinemathèque series audience.

I wrapped it up with a preview of my invitation-only production music library and took some interesting questions from the students about process and approach.

To get an idea of the composition topics and themes we covered, enjoy this short interview produced by BU:

Learn About Composing for Film & TV: John Kusiak at B.U. on 4/20


John Kusiak

Friday, April 20th at 7:00PM

Cinemathèque is a series of meetings and conversations with filmmakers and television-makers that includes free screenings of important, innovative films and television programs. These events are free, both to BU students and the general public.


Friday, April 20th
Boston University College of Communication
640 Comm. Ave, Room 101

"For two decades, Kusiak has been Boston’s most esteemed and prolific film composer, providing brilliant scores for Errol Morris productions, HBO, Netflix, PBS, IFC, and commercials also.

At BU, Kusiak will show select scenes which illustrate how he writes music for media, and how he collaborates with demanding television artists and filmmakers."

View the entire Spring 2018 Schedule.

Poetry In America Series Begins April 7 (PBS)

The Poetry in America series airs on Saturday nights at 7:30pm on PBS World starting April 7.

This twelve-episode project featured several Kusiak Music composers, with contributions from P. Andrew Willis, Kenny Kusiak, and John Kusiak). 

"The Poetry in America series is on TV at last! Twelve half hour episodes, each one digging deep into one poem in an entertaining and digestible way. There’s Emily Dickinson, Langston Hughes, Allen Ginsberg, Robert Pinsky, Gwendolyn Brooks, Nas and others. Studded with stars who talk movingly about poems they love –- Joe Biden, Shaquille O’Neal, Herbie Hancock, Regina Spektor, Bono, Cynthia Nixon, Bill Clinton, David Brooks, even John McCain!"
 -- Peter Rhodes (series editor)



Film Showing: Rosamond Purcell Documentary At Boston's ICA 2/4

An Art That Nature Makes: The Work of Rosamond Purcell


Sunday, February 4, 2018


One of our favorite recent scoring projects, the Rosamond Purcell documentary, is showing for the first time locally (it premiered at the Film Forum in NYC and has been screening around the country). Museum admission at the ICA gets you a ticket, so make a day of it.

From the Institute for Contemporary Art calendar:

Finding unexpected beauty in the discarded and decayed, photographer Rosamond Purcell has developed a body of work that has garnered international acclaim, graced the pages of National Geographic and over 20 published books. An Art That Nature Makes details Purcell’s fascination with the natural world – from a mastodon tooth to a hydrocephalic skull – offering insight into her unique way of recontextualizing objects both ordinary and strange into sometimes disturbing but always breathtaking imagery.

Artist Rosamond Purcell will be in attendance and take questions after the screening.

Notes From the 2018 Cinema Eye Honors


Last week John and Kenny from Kusiak Music met up in NYC to attend some of the Cinema Eye Honors Awards events. If you aren't familiar with Cinema Eye Honors, it fills a non-fiction gap in the other annual film awards of the season.

For example, the Oscars only have "Best Documentary Feature" and "Best Documentary Short Subject." However, Cinema Eye awards documentary achievements in directing, cinematography, score, et cetera.

Since John won Best Score for Tabloid in 2012, he is now a voting member.


John was also invited to be in the CEH "kitchen cabinet," which will meet periodically to discuss improvements of the program going forward, and he attended a luncheon hosted by Netflix where some initial awards were given.

He and Kenny went to the Awards Night Ceremony together where most awards were given out. 



  • Meeting the composer for the hypnotic Dawson City: Frozen Time, Alex Somers
  • Meeting the talented animators (Matt and Shawna Schultz) who worked on Chasing Coral
  • Meeting Soeren Steen Jesperson, producer of the award winning Last Men in Aleppo
  • Meeting Alan Jacobsen, the cinematographer for Strong Island, winner of many awards
  • Seeing When We Were Kings in 35mm (recipient of the 2017 Legacy Award)
  • Reconnecting with friends (see picture above) and making new ones

TBT: Have You Seen Andy? (2008)

Have You Seen Andy? (HBO)

This 2008 Emmy Award Winner ("Best Investigative Journalism") tackles the mysterious abduction of ten-year-old Andy Puglisi in the summer of 1976.

Filmmaker Melanie Perkins searches for answers. 

"With special access and a unique perspective, Melanie Perkins, Andy's childhood friend, re-examines the day of his disappearance 30 years ago, reviews the police investigation and uncovers new and startling information, prompting the long-"cold" case to be reactivated. Through interviews with other kids from the neighborhood, Andy's family, local and state police officers and new forensic experts, Perkins begins to put the pieces of the puzzle together, ultimately focusing in on the suspects in the case, who were never charged at the time." (from

John Kusiak composed the score for this HBO feature-length documentary. The Boston Globe's Leslie Brokaw stopped by the Kusiak Music studio in 2006 to observe the scoring process and discuss the challenges and rewards of composing film music with Melanie and John.

Boston Globe  article from 2006 about the  Kusiak Music  composing process. 

Boston Globe article from 2006 about the Kusiak Music composing process. 

John's History of Recording: Part One

First Tape Recorder

In 1960 I was 12 years old, just beginning guitar lessons and regularly visiting the Western Auto store in Agawam, MA. I went there principally to buy 45 rpm records but I also liked to check out all the other cool things that the store carried. It was a real "variety store" that specialized in auto parts but also sold Western Flyer bicycles, sports gear, Truetone guitars, fishing rods, guns, you name it.

One day my eye caught something new, a compact and portable tape recorder like the one pictured below:


I had previously been able to experiment briefly with a tape recorder that a friend's parents had in their home and was fascinated by it. Here was an opportunity to get my own; a TrueTone single track recorder. I don’t remember the cost, but I imagine it was under $25 and I probably purchased it with money saved up from my paper route.

So much fun! I used it to record myself and my best friend Greg performing silly interviews as we pretended to be celebrities, to record songs I liked off of my transistor radio, and to collect environmental sounds like thunder, cars passing, and birds singing.

It also provided me with the opportunity to practice improvising with my guitar; I’d record several minutes of the chords from a song I was working on, rewind and then solo along with the playback. Many hours were spent with this activity.


When I was in high school, one of my bands (The Charmen, a “witty” play on the name of the toilet paper) somehow acquired a “manager.” He happened to own a tape recorder, which he brought to my house when we were practicing. This recorder had the ability to record “sound on sound” (SoS).

SoS was invented by Les Paul and describes the ability of a stereo, 2-track recorder to record from one of the tracks to the other – while simultaneously recording whatever new input you gave it. This was the “holy grail” because it allowed you to build up multiple tracks and create a complete song all by yourself. 

Start with a rhythm guitar recorded on track 1, then as you play it back, you record bass and “bounce” both the original rhythm guitar along with the bass into track 2. When you were satisfied with that performance, you could play that combo back from track 2 while adding percussion and record it all back on to track 1. And so on, and on, and on…

Of course, you had to to erase the original rhythm guitar track in order to bounce the three instruments back on track 1, so you had better like the original track the way it was because there would be no going back. Also, each “bounce” would add more tape hiss (a by-product of the tape recording process) from the original track along with the hiss being generated by the new recording, so there was a limit to how many times you would want to bounce things. However, it gave me, an aspiring composer/arranger, the opportunity to try things out, see how they sounded, and create new music compositions all by myself.

It was mind-blowing and addictive. I couldn’t get enough of it.

Here’s a picture of a 2-track recorder that had the ability to record “sound on sound.”


And here’s a piece I composed based on a lullaby; playing 4 guitars, overdubbed, using the SoS technique (notice the tape hiss):

Further reading:


Flashback Friday: Refuge Media Project

Because John has been writing music for several decades now, not every Kusiak Music client needs to request new pieces of music to complete their project. Often, smaller projects with limited budgets and/or time reach out to ask for some licensing options from the back catalog.

Here's an example – the Refuge Media Project documentary from 2013.


“More than one million refugees have come to the US, fleeing torture and political violence,” begins Refuge: Caring for Survivors of Torture.

The vast numbers are staggering, but what makes a greater impression in this stand-out documentary are the small, individual stories from survivors and those who offer them care and support as they resettle in the US.

Ben Achtenberg, project director at the Refuge Media Project and producer/director of Refuge, says the film – seven years in the making – came about as his general interest in healthcare and mental health issues drew him to organisations and healthcare providers that offer support to survivors in the US. Previously, he was nominated for an Oscar for the film Code Gray: Ethical Dilemmas in Nursing, which he produced and served as cinematographer."  (from, October 2013)

Let us know if you'd like an invitation to browse through the Kusiak Music Library (over 1,400 tracks and growing).