Category: music composition

Having worked together for literal decades (they are cousins after all), composer Nathan Johnson and filmmaker Rian Johnson have forged a fruitful working relationship, and Nathan says the “Glass Onion” director’s secret is in his methodical approach to storytelling.

“Honestly, the secret to Rian’s movies is that he’s never asking the music to fix something,” Nathan Johnson told TheWrap during a recent interview. “Rian scripts are so tight that thankfully he’s never coming to me and saying, ‘We didn’t quite get it in the scene, can you help us across the line with the music?’”

When it came to tackling the score for the “Knives Out” sequel “Glass Onion,” Nathan (who has scored all of Rian’s films aside from “The Last Jedi”) says his early conversations with Rian were about leaning into the “fun, romantic nature” of the follow-up film, pointing to Nino Rota’s score for “Death on the Nile” as an influence for the Greece-set sequel.

“I was listening to tons of 60s and 70s French pop music, kind of this lush, Old World lyrical, romantic approach, [and] it became clear that that was going to be the key to sort of unlock the sound of this movie.”

Read on for our full conversation with Nathan Johnson in which he talks about crafting character motifs and utilizing a string quartet for the “most fun” scene to score. “Glass Onion” debuts on Netflix on Dec. 23.

What are the early conversations you and Rian have about “Glass Onion,” and has that early conversation changed over the years since you started working together?

It’s pretty similar. I think the way it works each time is Rian sends me the script. We’re not usually talking about music before that point, although he was kind of telling me just loose story ideas, but he sends me the script and even at that point, I’m not thinking about music. He’s one of my favorite writers, and so every time he sends me a script I just block out the day and just read purely from a fan’s perspective. Soon after that, we just started talking very broadly and in sandbox terms. So for “Glass Onion,” we knew it was going to take place loosely in the same world as “Knives Out,” but this one he really wanted to lean into that that sort of fun, romantic nature of it. We were talking about the Nino Rota score for “Death on the Nile,” I was listening to tons of 60s and 70s French pop music, kind of this lush, Old World lyrical, romantic approach, it became clear that that was going to be the key to sort of unlock the sound of this movie.

The film starts with this harpsichord that brings to mind the first film before really exploding into this lush new location. Can you talk about crafting the main theme?

The weird thing is there’s no harpsichord in “Knives Out.” That’s one of the things that I love about Rian is he kind of he’s zigs when you think he’s gonna zag, so the harpsichord almost would have felt more appropriate for that New England manor house mystery. We wanted to bring that precision into this movie, and then obviously explode out. So we use the harpsichord at the beginning when everyone’s getting the invitation, and then on our first cut to the Grecian waters, we kind of go full force into our big “Glass Onion” theme. That one took a minute for me actually, I remember a couple sort of false starts on that. It took me it took me a second to find what that main theme was going to be. But once I found that, Rian’s eyes lit up, and it was like, “Okay, this is what the movie is gonna sound like.” We’re able to use that almost as a bit of an overture in terms of stating the main theme, but bringing in Blanc’s motif, bringing in the disruptors’ motif and just kind of giving a very quick prelude to everything that’s about to come in the movie.

How did you approach crafting those motifs for the different characters in this film?

Blanc’s came from the first movie, but then there are a few key motifs and themes in this one. There’s the disruptors theme, which is sort of this chromatic step thing that I use in different instruments of the orchestra and kind of reinterpret based on which of the disruptors we’re following at the moment. Andi’s theme was really a key one for me, because although these are very fun journeys and also there’s the tension mystery element, one of the things that I think is so brilliant about the way Rian writes these is it’s not really about trying to solve a puzzle. He talks about it as wanting to be a roller coaster ride instead of a crossword puzzle, but at a deeper level, we have to really care about the characters. If we’re not feeling Andi’s pain, then the whole movie sort of falls apart and doesn’t work. So Andi’s theme was really important because at the beginning she’s very mysterious. There’s that air of mysteriousness, but there’s also power in it, there’s also a vulnerability and, that theme needed to be a very adaptable theme across the whole movie so that it can kind of change and adapt to all the different things that Andi was going through, but still function as the emotional core of the story.

Does that feel like a weight on your shoulders of sorts, to ensure the emotion is pitched exactly the right way?

Honestly, the secret to Rian’s movies is that he’s never asking the music to fix something. We have the amazing pleasure of working with these incredible actors at the top of their game, just bananas cast of characters, and Rian scripts are so tight that thankfully he’s never coming to me and saying, “We didn’t quite get it in the scene, can you help us across the line with the music?” So I don’t honestly think of it as a weight. I think the other thing about that, and this speaks to the way that Rian makes movies, is when we’re working together, it’s Rian and me in the room and no other voices. So if Rian’s eyes are lighting up, if he’s feeling it, then I have a pretty good sense that I’m in the right vein.

That must make that was make for a really creative environment then, because it’s removing the problem solving aspect from a job that can become a problem solver, and makes it an entirely creative endeavor.

Totally and not to mention, it’s trying to figure out what one person is trying to say as opposed to 12 people — producers and studio executives. It does feel very siloed and protected. And I think that’s part of what speaks to the strength of Rian as a director, because I get to be close in the whole part of the process. It is very much in that sense a singular vision of a director, but he’s also so collaborative. He knows where the story wants to go. The notes that he gives me are always story-based notes, and then each of the heads of department, he says, “Here’s the sandbox, but I want you to now surprise me and bring what you do into the sandbox.” I always find that those are the best collaborators, someone who has that clear of a vision, but also that open of a generous invitation.

When is the bulk of the score written? Is it during production or after they’ve finished filming?

I start writing when we start shooting, but at that point I’m just exploring. I’ll show things to Rian but there’s no picture so I’m not writing to picture. I’m kind of just exploring what some of the main themes are gonna be, maybe exploring what the tone or the instrumentation will be. But then all of the main writing happens after we’ve got a rough cut. That’s when I bring the themes that we’ve started playing around with, and then really start writing to picture. That’s one of the key things about these projects with Rian is everything is scored very specifically to picture. It’s so much of a dance of, what do we need to be saying at this moment?

Was there one scene or sequence in particular that was the most challenging to nail down?

I’m like struggling to think now what it would be. I’ll talk about one of the most fun scenes to do, which was the breaking glass scene. Usually when a director is putting together the movie, they’ll cut in some temp music. And Rian actually cut in the string quartet piece from the first movie, and I usually hate it when directors cut temp with my music because it’s like, I already did that once, I don’t know how to redo that. But in this case, it actually felt really exciting because I knew that it meant I got to write a new string quartet for this. But of course, in that scene, it it’s kind of doing a pretty specific thing, because it is all coming from Andi’s character. It’s a very precise, specific place, so the string quartet works really well for that in that jagged, individualistic playing style. But we surround it with a 70-piece orchestra just going nuts, so that was actually really fun to play around that small personal expression of venting and rage, backed up by a huge orchestra.

What are you working on next?

Rian wrote a TV show for Natasha Lyonne sort of in the vein of “Columbo” and some of these old case-of-the-week series called “Poker Face,” so I’m finishing that up right now. I can’t wait for people to see Natasha in all her glory.

Did you get to do like a big TV theme?

Natasha’s character is named Charlie and I wrote Charlie’s theme. It’s not like a main credits theme, there’s no grand main title theme, but we had fun with this this notion that Charlie’s theme enters in each of these episodes to kind of coincide with her arrival on the scene.

“Glass Onion” premieres on Netflix on Dec. 23.

First of advent and the weekend of thanksgiving and so many things in the past weeks that I’m thankful of that I don’t really know how to sum it up or where to begin! (Trigger warning: a long post of thankfulness and blessings.)

Thank you Lili Bogdanova-Essl and Michael Essl for wonderful three days in Berlin, one of my favourite cities in the world. Was also a great honour to be included in this year’s Klangwerkstatt Berlin on the 10th of November with my piece Groove, performed by Marianna Schürmann and Christine Paté alongside music by my colleagues Juha T. Koskinen and Tapio Tuomela. And so good to see my uni friend Simiam Ghan again and my colleague Cia Rinne, whom I’m currently working together with, as well!

Marianna Schürmann, Christine Paté and Cecilia Damström at Klangwerstatt Berlin 2022

Concert Location in Kreuzberg for Klangwerkstatt Berlin 2022

Cecilia Damström and poet Cia Rinne on the 11.11.22 in Berlin

Cecilia Damström with Elizabeth Blaufox at Boosey & Hawkes in November 2022

Went by train to Washington DC, where Garrick Zoeter picked me up. This inspiring and wonderful clarinettist was more than the best imaginable host! He showed me around Washington DC (The Capitol, The Whitehouse and the Kennedy Music Centre), drove me to Winchester Virgina, brought me to dinner together with his colleagues each night and drove me even to the magnificent Lurey Caves on my free day, where I got to see spectacular 400 million year old caves of stalactites and stalagmites! (Also: the hotel that the Shenandoah Conservatory put me in was so comfortable, I think even the bathroom was three times bigger than the cubicle “room” I had in New York!). 

Cecilia Damström at the Capitol in Washington DC in November 2022

Cecilia Damström at the Lurey caves 17th of November 2022

Cecilia Damström lecturing at Shenandoah Conservatory 18th of November 2022

I was given the opportunity to talk about my music to the composition class of Jonathan Newman at the Shenandoah Conservatory and share my music with them. On Friday evening the 18th of November my main reason for my US travel took place: Garrick and his wonderful colleagues Julietta Curenton, Stephen Key, Ryan Romine and Alexander Bernstein gave an absolutely splendid US Premiere of Piano Quintet No.3: Helene – Nuances from the Life of Helene Schjerfbeck. (Listen to it yourself, link below in the comments to the recording!)

Cecilia Damström and the Van Buren Quintet 2022

The weekend I got to spend with my dear friend Lucy at her wonderful home. I got to attend one of her concerts at Princeton University, see the legendary grounds of famous university and meet her wonderful friends Kennedy, James, Connor and many more, as well as her lovely cats.

Kennedy and Lucy outside Princeton University November 20th 2022

After a refreshing 22hours at home in Helsinki I was lucky to travel on the 23rd of November to the small city of Jakobstad (in Finland) for the wonderful Rusk Festival. This year’s theme was “Gods and goddesses”, so my piece Celestial beings suited the festival so well, that the opening concert was even named after my piece! It was such a honour to have Aleksander Koelbel and Mina Fred from the superb contemporary music ensemble Norrbotten NEO perform my piece! (Link to the recording of the opening concert in the comments!) And because they played the third movement in the opening concert and the other two movements in the chamber music concert on Friday, I was fortunate enough to be able to stay at the festival from Wednesday to Saturday and had the opportunity to get to know all the other wonderful musicians as well as hear and experience all the inspiring concerts artistic director Anna-Maria Helsing hat put together. Thank you Mina, Aleksander, Nick Shugaev, Mårten , Johan Ullén, Robert Ek, Christian Svarfar, Senja Rummukainen, Anabel, Sara, Tanja, Martin and everyone involved for a truly wonderful week in Jakobstad!

Mina Fred, Cecilia Damström and Aleksander Koelbel at the RUSK Festival in Finland 2022

The past 2,5 years haven’t always been easy, having suffered from Long Covid from March 2020 until September 2022 (and having had cover five times so far). Many times during the past years I have wondered if I ever would be back to normal again, so it feels simply incredible to finally feel like I have got my life back! Each of the things I have mentioned feel like a blessing, but the biggest blessing of all at the moment is having a heathy body to experience all the things above and of course all the lovely people with whom I have had the privilege to experience these moments with. Thank you.

Composer Angelo Badalamenti has died, leaving behind a musical legacy that spanned ’80s slashers, holiday season slapstick, and, of course, his long running creative partnership with director David Lynch. In memory of the man who collaborated with a Beatle and Bowie and was responsible for so much of the unmistakable mood of the Lynch filmography, the IndieWire staff picked five of the film and TV compositions that will forever transport us to a place where the birds sing a pretty song, and there’s always music in the air.

More from IndieWire

“Blue Velvet,” “Main Title” (1986)

The first collaboration between Badalamenti and Lynch, “Blue Velvet” boasts a main title that sees the late composer wryly hinting at the devilish duplicity of Jeffrey Beaumont’s (Kyle MacLachlan) descent into a suburban underworld with characteristic brilliance.

Presented over a blue velvet curtain, with the embellished names of Isabella Rossellini, Dennis Hopper, and the rest of the singular cast fading in and out, the 1986 film’s opening is at first classic in its theatricality: robust, celebratory, safe. But as the orchestra swells and the warm brass builds atop a snowballing cascade of minor chords, Badalamenti introduces a vicious playfulness crystallized in the rest of the horror’s soundtrack. As the “Blue Velvet” main title slips into Bobby Vinton’s crooning take on the ’50s love song that gives the film its name, the literal and the ethereal collide at the dreamlike bedrock of what would become a decade-spanning collaboration. —Alison Foreman

“Twin Peaks,” “Laura Palmer’s Theme” (1990)

To hear Badalamenti tell it, “Laura Palmer’s Theme” flowed from his fingers while Lynch described the elemental imagery of his pioneering TV team-up with Mark Frost: trees, wind, an owl, the emergence of a lonely girl from the darkness. Given the way each section of the theme rolls into the next, it’s impossible to imagine it coming together any other way — just as it’s impossible to imagine a version of “Twin Peaks” without those ominously sustained chords, the modulations that feel like they could just keep building infinitely toward the heavens, and the cascading beauty and romance that sticks around for just a few short measures before the whole thing dissolves back into dread. It’s a versatile cue that underscored melodrama, terror, and the end credits throughout the show’s ABC run, and came back for a particularly poignant full-circle moment in its 2017 sequel. Things have a habit of repeating themselves in “Twin Peaks,” and “Laura Palmer’s Theme” portrays those cycles beautifully, forever fading between light and dark, never fully giving itself over to one or the other. —Erik Adams

Story continues

“Twin Peaks: Fire Walk With Me,” “Theme from Twin Peaks – Fire Walk With Me” (1992)

The opening credits of 1992’s “Fire Walk with Me” — white, Lynchian, sans-serif lettering against the vibrating, bluish-white noise of television static — is essential to telling us what this prequel film is going to be. That is, total annihilation of the ABC broadcast version of “Twin Peaks” you’d cozily come to love. As the credits end, that TV set framing them is promptly smashed by a hammer, and a woman’s blood-curdling scream is heard out of view.

So begins “Fire Walk with Me,” in which audiences get to know what really happened to Laura Palmer. (It’s so much worse than you thought.) But it also begins with Badalamenti’s reinvention of the classic “Twin Peaks” theme, here a jazzy, lovelorn, Miles Davis-esque ballad with trumpet from Jim Hymes, slowed down to narcotized levels. It’s the sort of moody preamble you can imagine Laura, coked out in her bedroom or in sordid nightclub the Pink Room, vibing and writhing to in slow-motion. Musically speaking, “Twin Peaks” mainly exists in an electronic world, but punches of smoky jazz like this “theme” give a sense of Badalamenti’s real savvy for other genres — like much of his film music, this one stands on its own, outside of context, as a kind of uneasy listening. In context, however, it’s way more nightmarish. That oddly soothing sensation found within the inexorably awful and demonic defines Lynch’s body of work — white noise as nightmare — but that’s largely because of Badalamenti’s contributions. This one sticks in the mind: something horrible is coming, and it’s somehow calming. —Ryan Lattanzio

“The Beach” (2000)

Is “The Beach” an actual movie or is it a flimsy excuse to watch Leonardo DiCaprio, variously, hook up with Tilda Swinton and fight a shark? Who can really say. But there is a clarity and a lushness to Badalamenti’s score for this Danny Boyle directed/Alex Garland-penned adventure that feels quintessentially Hollywood at the turn of the millennium, a blend of thematic orchestrations with more atmospheric material that helps mark out the movie’s titular location as alluring and strange. Badalamenti leans on percussion and synths for the more unsettling aspects, but also employs echoing strings that feel as vast as a sunset in the more romantic moments. The score always matches the action onscreen, which means it’s often as goofy and taking big swings the way the movie is, but maybe even more successfully than the film itself, Badalamenti’s music always suggests that there’s something more going here, or some aspect of this place and these people still waiting to be discovered. —Sarah Shachat

“A Very Long Engagement” (2004)

Badalamenti might be more celebrated for the synth textures of his Lynch scores, but he operates with just as much precision when composing with a conventional orchestra in mind. Jean-Pierre Jeunet’s “A Very Long Engagement” is both a conventional movie and not at all, a love story bursting with the visual life and the kind of cheeky tangents that make “Amelie” so delightful, but also the film is set just after World War I and most of the characters introduced in the film’s opening are dead and everything is terrible. Badalamenti’s score perfectly captures the essential contradiction at the movie’s happy and sad heart. It’s somber in expected ways, with the mournful horns and swelling strings that seem to come standard issued with war pictures. But it’s also slyly curious and energetic in its rhythms and in the ways Badalamenti develops its themes. There’s a restless forward motion to it that makes the score feel different from a generic trudge through the trenches. The seven-minute end titles track is as good a primer as any for not just the depth but the nuance of feeling that Badalamenti could evoke with his music. That it also happens to be gorgeous is (and isn’t) a happy accident. —Sarah Shachat

Best of IndieWire

Sign up for Indiewire’s Newsletter. For the latest news, follow us on Facebook, Twitter, and Instagram.

Click here to read the full article.

Actor and singer Luke Grimes portrays John Dutton’s son Kayce Dutton on the hit series Yellowstone, but he’s also delving into his own career in country music. He’s already been added to the 2023 performer lineup for popular country music festival Stagecoach, which will be headlined by Luke Bryan, Chris Stapleton and Kane Brown.

On Instagram, Grimes recently posted a snippet on Sunday (Dec. 11) of his first country song, “No Horse to Ride,” which will release Dec. 16. According to Songview, the composition was written by Grimes alongside Tony Lane and Jonathan Singleton.

“I’d be driving in the dark, no headlights on/ On a one-way highway that didn’t go home/ I’d have to borrow from the devil just to pay my dues/ I’d have nothing worth having if I didn’t have you,” Grimes sings in the song’s preview.

Singer-songwriter Jessi Alexander and Midland’s Mark Wystrach were among those sharing encouragement, with Alexander saying, “Sounds killer!” and Wystrach adding, “Sounds great bud.”

Alexander, known for penning songs including the Miley Cyrus hit “The Climb,” Tim McGraw’s “Damn Country Music” and Morgan Wallen’s “Don’t Think Jesus,” previously shared a photo on Instagram of herself just after a songwriting session with Grimes and fellow songwriter Ben Hayslip. She captioned the photo, “I was the lucky girl that got to make up a song today with these boys.”

Prior to his role on Yellowstone, Grimes appeared in the 2014 film American Sniper, portraying U.S. Navy Seal Marc Lee, who was killed in action in 2006. His also appeared in the television series True Blood, while his filmography includes the movies Fifty Shades of Grey, Taken 2, The Wait and The Magnificent Seven.

Listen to the snippet of Grimes’ song below.

As Montreal hosts COP15 –  A gathering of nation leaders , whose main focus is on protecting nature and halting biodiversity loss around the world, we are urged to re-examine our relationship to Nature, Earth and the links that bind ourselves to others.

Canada hopes to reach its target of conserving 25 per cent of Canada’s land and waters by 2025, and 30 per cent by 2030. 

Making the headlines as one of the key points of discussion from the conference is that Indigenous-led conservation and a national network of land protectors are key to Canada and Quebec reaching targets of land conservation by 2030, according to the Indigenous Leadership Initiative: a national network that aims to affirm nationhood through asserting rights over land and water, that are taking part in COP15 this week.

To achieve our goals, collaboration and a vivid awareness of our current global challenges with Nature has to be acknowledged by the masses.

Here in Montreal, the artists of the group Oktoecho express the common perpetual quest for harmony between man and nature, drawing inspiration from the music and sacred dances of Sufi and Indigenous traditions in Canada.

.

Yesterday at the Pratt & Whitney Canada Hall of the Théâtre de la Ville in Longueuil , the Oktoecho ensemble brought together on stage over 22 artists from 6 Indigenous nations yesterday at Transcestral – a unique show that combined the sacred ancestral traditions of Canadian indigenous music and Sufi trance music.

The range of read poetry, spoken word, Inuit throat singing , rhythmic drum beats and meditation whirling dervish emphasized our never-ending search for harmony and oneness with nature and was a true hymn to life !

“Although our music is not sacred, it is inspired by ceremonial music. Commonalities such as Earth, Healing, Tribute are at the heart of Transcestral,”” … explains Ms. Katia Makdissi-Warren, artistic director, composer and founder of the group.

 .

Under Ms. Makdissi-Warren’s direction, poetess Josephine Bacon, Sufi singer Anouar Barrada, Métis singer Moe Clark, Inuit throat singers Nina Segalowitz & Lydia Etok, powwow singers Buffalo Hat Singers (Norman Achneepineskum) and 14-year-old whirling dervish Adam Barrada, created a moment of pure, lyrical bliss with original musical compositions that blended the ancestral and religious traditions together.

.

The pulsation and rhythmic beats of the group’s repertoire create a meditative aura that puts emphasis on a trance-like condition, more specifically the transitional period between trance and wakefulness.

This state is most obvious when the young 14 year old Adam Barrada ( featured below) comes onto the stage to perform his whirling:

This intermediate state of ecstasy between consciousness and trance has a name in both Indigenous and Sufi cultures. The Sufis refer to it as the Tarab.

It is known as NÎWNÎSHN BUNN-GEE ET-WAWA NAEN DA-MN in Anishinaabemowin.

Niki Pawatin – I had a Dream / by Moe Clark, Cheryl L’Hirondelle, Joseph Naytowhow

This beautiful track is sung in Cree.

Recorded and mixed by Mark Schmidt, April 2015, at Northern Town Music, it is one of the 11 tracks featured on Oktoecho‘s album Transcestral below:

About Oktoecho
Oktoecho‘s core mandate is to promote the creation and performance of blended musical works by local composers through the production of concerts, events, sound recordings and touring. In addition, the Oktoecho group offers specialized programs in world music (Middle Eastern, native, Jewish) to teach professional musicians and composers.

To learn more about the Oktoecho group and to listen to their music, please visit their official website :

www.oktoecho.com

Molly Tuttle- Biography:

Molly Rose Tuttle was born on January 14 in 1993. She is an American songwriter, vocalist, guitarist and banjo player, recording artist and teacher in the bluegrass tradition. She has become just like Kathy Kallick, Laurie Lewis, Hazel Dickens Alison Krauss as role models. Tuttle won the IBMA’s Guitar Player of the Year award in the year 2017 and becomes the first woman who wins this award.

She won the award again in the year 2018, Tuttle received not only the American Music Association’s Instrumentalist of the Year but at the 65th Annual Grammy Awards, she also received Best New Artist nomination and a Best Bluegrass Album.

Molly Tuttle’s Career:

Tuttle started playing guitar at age of 8. Then, she started playing with her father Jack Tuttle on the stage, a bluegrass multi-instrumentalist and instructor at the age of 11. Later, she joined her family band at the age of 15, with AJ Lee. Her siblings Sullivan who play guitar and Michael who is the master of mandolin, and mandolist AJ Lee are also in the band.

Tuttle recorded an album of duets named, The Old Apple Tree with her dad in 2006, at age 13. Tuttle passed her graduation from Palo High School in 2011.

In 2011, the Tuttles self-released their Introducing the Endless Ocean album in 2013.

In 2012, for music and composition, from Berklee College of Music, Tuttle also received merit scholarships  and received the Foundation for Bluegrass Music’s first Hazel Dickens Memorial Scholarship. Later, at the Merlefest Music Festival, she won the Chris Austin Songwriting Competition , and appeared with her dad on A Prairie Home Companion.

Tuttle shifted from Boston to Nashville in 2015. In 2017, her EP Rise was released after a crowdfunding campaign. She wrote all of the songs which was produced by Kai Welch on the 7-song album. At that time the Guests are included which are Kathy Kallick, Nathaniel Smith,Darrell Scott and the Milk Carton Kids.
She formed The Molly Tuttle Band,in which Joe K. Walsh (mandolin), Wes Corbett (banjo) and Hasee Ciaccio (bass) are included.

Later on, Tuttle signed with Alison Brown’s Compass Records in 2017.

On October 6, 2018, Buddy Miller selected Molly to join his “Cavalcade of Stars” section on the Rooster Stage.

On April 5, 2019, via Compass Records, Tuttle released her debut album When You’re Ready.

On Compass Records,in August 2020, she released … but I’d rather be with you again for the second time.

Molly Tuttle’s Husband:

As from many reports and information it is clear that Molly does not dated anyone yet. She is a very professional musical artist and devotes her complete time and energy to music only. She is very calm and peaceful girl. Till the age of 29, she does not enegeged in any relationship and just focusing on her career . Molly have an friend named Billy Strings and both are moving towards the heights of music. Both are longtime friends and are making good vibes and celebrate every thing together.

Also Read: Success Story Of 71 Year old Women Jean Elizabeth Smart and his husband.