Photo: Aden McLeod
Musician, Joe Mungovan, recounts the story of the tragic accident, which befell him in 2007. The accident became a defining moment in his life and the course of his musical career.
In: ”Well coming up to..”
Out: “Besides it, really”
The emotional history, which, I eventually decided to submit for my assignment, was that of my good friend Joe Mungovan. This wasn’t the original story that I had planned to go with, but as I couldn’t find anything that was really pulling the emotional strings in my interview of Will Panayi, and his story of his Greek celebrations, I had to scrap his interview and search for something much more compelling. This gamble paid dividends as Joe’s story produced a storyline line which was much more interesting and really allows for the listener to become immersed in the story.
The interview itself ran really smoothly. I recorded Joe in my lounge room, with minimal interruption from ambient sounds. The large size of my lounge room also helped to add a slight echo to Joe’s voice and really enhanced quality of the interview. Joe spoke really well throughout the interview, recounting on his experience with a range of emotions, which really gave me confidence that I had selected the right talent for the interview. The highlight of the interview for me is when you can hear the tremble in his voice when he discusses his time in hospital when he was unconscious. He speaks back on this moment with a feeling of detachment as he would have only been told about this time, and would have no first hand memory of it. This is, I believe, the most powerful part of the whole recording.
The biggest challenge that I was faced with was a problem that I had caused myself. Because the interview was going so well, I allowed the interview to go on for far too long and become much too detailed. The problem then became trying to cram a really good five-minute interview into the specified two-minute time frame, without losing the story or the natural feel of the interview. At first, I really struggled to make the audio not sound rushed and unnatural, but after a critique from my tutor, I was able to add well placed pauses throughout the audio in order to let it breathe and also give the listener time to take in what was being said. This advice can also be traced back to John Biewen’s article, where he quotes “Go quiet more often”, in reference to using pauses correctly in your audio to add “emotional oomph” to you work (Biewen, J 2010).
Another piece of advice that was incredibly helpful was that of the procedure of editing your audio. Recounting the steps of filet, distil, fit and re-sequence proved to be crucial in producing well-edited audio, and ensured that I did not stray too far off the tracks (McHugh, S 2016).
My whole interview was centered on one key idea. And that was to create the ‘audio imagery’ that was discussed in the week four lecture, to allow the listener to completely envisage the story as if they were there in the moment (McHugh, S 2016). This I believe was achieved with the final product.
Biewen, J 2010, Transom, ‘John Biewen’, Viewed 01/09/16.
McHugh, S 2016, Lecture, Week 4, Purpose of Actuality, University of Wollongong.
McHugh, S 2016, Lecture, Week 3, Art and Craft: Purpose of Editing, University of Wollongong.
Joe Mungovan Music:
Original Audio Log
R: First, I’ll get you to introduce yourself and then tell me a bit about the story of your crash .26
J: Well, my name is Joe Mungovan and I am a musician .30
J: Well it would have been about 2007, yeah 2007 .44
R: Could you tell me about that day and what happened? .51
J: It would be almost 10 years ago now .57
J: Me and my pals were just hanging out skating around the town, and then I decided to go down a bit of a bigger slope. 1.04
J: I hit a pole at the bottom of the hill and broke both of my femurs; I got bruising on the brain 1.20
J: Then they took me to Wollongong hospital, but because of the brain injuries they couldn’t operate on me there, so then we got a helicopter to Sydney children’s hospital and um I was in surgery for I can’t remember how many hour obviously because I was asleep. 1.31
J: Then…. Spent a couple of weeks in hospital, um they built me a special wheelchair because I couldn’t bend at the knees. Umm and then they sent me home 1.53
J: I was doing pretty intense physiotherapy; luckily there was a hospital at the top of my road so the physiotherapist could just come down to my house every day 2.11
J: and also we really had to keep an eye on it for infection, cause the wounds were opening back up that were all over my legs. 2.32
J: And then after about 3 or four months, I had to learn to walk again 2.49
R: How did you feel when you woke up in hospital? 2.51
J: I was on pretty heavy meds for about 5 or 6 months so I don’t really remember too much about that time 3.02
R: Do you still suffer from any problems now? 3.08
J: Yeah, I um have to really look after my legs, I have an early form of arthritis in my legs, but it’s not so bad, I can still do most activities; I just have to stretch and um, make sure I keep them moving. 3.19
R: Did this accident help to turn you towards music? 3. 28
J: Yeah I guess so, I mean I was predominantly a drummer before the crash, and obviously being in a wheelchair, I couldn’t really drum anymore, so there was guitar lying around the house, so I taught myself to play guitar, and then I just fell in love with songwriting. 3.49
J: and that’s just something that has stuck with me ever since 4.18
J: So it wasn’t really a concious decision or it wasn’t like, I’ve got this injury now so I better not play sport anymore. 4.32
J: I went back to play rugby but I got injured in my first game so that was that ha-ha 4.39
J: I just full on fell in love with songwriting and I couldn’t really imagine doing anything else really 4.50
**Whole interview ran clearly with minimal distortion.