‘How kind of you!’ Owl went on, dancing round them. ‘Hooray!’ Owl cried, fluttering upon seeing them, ‘this is splendid!’ Owl shook the paws of both of them warmly, never waiting for an introduction to the Squirrel. We shall hear all about it quite soon enough.’ They disembarked, and strolled along the chirpy tree-decked screen in search of Owl, whom they happened upon straight-away, resting on a low limestone wall-bench, with a preoccupied expression of face, and dozens of forest critter crowns spread out on the seat below its perch. ‘I understand, I’ve never been to a FOPA before, but Owl was hooting all night about the Ragdale forest parties, come along and let’s look them up. “Why yes it has to be a FOPA, a proper forest party where all the creatures of the woods can dance freely without cower.” The Racoon looked around. Raggedy apple trees dance round the cedars within, dozens of forest creatures wobbling around, “I think they’re having a FOPA!” says the squirrel. Here they saw many curious trees and shrubs, passing along this funny forest edge, low hanging branches peel away and they can just catch a glimpse into the woods. Shaw was rather stylish, you know, and this is really one of the nicest houses in these parts.’ They glided down the path, and the Squirrel fumbled their acorns as they passed into the shadow of a large stand of trees. That’s the Meadow Studio you’re looking at now- very old, that is. ‘The Friends Studio is over there to the right. ‘There’s Ragdale Hall,’ said the Racoon ‘and that path on the left, where the noticeboard says, “Quiet, artists working below,” leads to the Great Barnhouse, where they’ll leave their pinecones and stamp their paws in the welcome journal. He is also a regular contributor to the Canadian Films Centre’s Slaight Family Music Lab, providing Lab participants with insight into composer agreements, music rights, union issues and royalty remuneration.Rounding a bend in the road, the Racoon and the Squirrel came in sight of a curious, dignified old house of mottled white stucco, with well-kept lawns reaching down to the forest’s edge. He has taught courses at Sheridan College on the business of music for emerging audiovisual composers. John is a founding member of the Guild of Music Supervisors of Canada and Vice President of the Screen Composers Guild of Canada. John has also worked on the other side of the licensing desk, spending a year as Manager of Sync Licensing at Peermusic Canada, representing Peermusic’s extensive music publishing catalogue (including the songs of Canadian icons including The Tragically Hip, Sarah McLachlan, Kathleen Edwards, and Hawksley Workman) for licensing in film, television, advertising and videogames. In 2002 John interned at Six Shooter Records, helping to establish their synchronization licensing department. John received a BA (Hons) (English) from University of King’s College/Dalhousie University and received a diploma in Recording Arts Management from The Harris Institute For The Arts. John studied law at Osgoode Hall Law School, going on to article with the Toronto law firm Fraser Milner Casgrain (now Dentons) and being called to the Ontario Bar in 2001. He is known for his work on the award-winning series “Pretty Hard Cases” “Mary Kills People” (Corus/Lifetime/Hulu), “Letterkenny” (Crave/Hulu), “Corner Gas: The Movie” (CTV/Amazon Prime), “Rookie Blue” (Corus/ABC), and the feature film “Defendor”, starring Woody Harrelson.įun fact: “Final Assault”, a piece John composed for “Defendor”, was used to introduce the Toronto Blue Jays’ starting lineup at home games at the Rogers Centre throughout the 2013 season. JOHN ROWLEY is a leading Canadian composer and music supervisor.
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