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With Selector, there was a computer doing it for you. When you saw it, you put it behind, and that's how you created a plug of music. In order to create the program of a radio station, each show was a paper card, and you just put it in. At the time, you didn’t schedule with computers.
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That software was used in radio stations, and MTV also used it for scheduling the videos.
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They were looking for somebody that knew how to schedule with the software called Selector.
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In the middle of 1994, MTV was opening offices for Latin America, and the offices were in Miami.
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From there, I was hired to direct program for MTV Latin America. Back then, we were promoters, so we brought artists to Mexico - Jethro Tull, Lou Reed. The music was more alternative - a lot of brand new things that were coming out. The following Monday, I appeared at the radio station, and I asked for a job. In Mexico, that was not a common thing, so I decided it was the place for me. It was the only radio station that played Elton John, Steely Dan, Led Zeppelin back to back. Starting back at the end of 1984, I listened to a radio station that was called Rock 101. That bakery allowed me to listen to the radio because, on Sundays, nobody was there, just the people who came to buy. I started to work in a bakery called Hadasa. I came back to live in Mexico, and I became an orphan, so I immediately had to find my way to make a living. Trio Los Panchos and Trio Los Tres Ases are trios of guitarists and singers that used to and still play in restaurants, cantinas, and bars.Ĭan you elaborate on how you got your start in the business of radio in Mexico? What events led to your relocation to Miami to work for MTV? Those types of music were mainly successful in the '40s and '50s, and today, they are still very popular in Mexico. So, I grew up with all the boleros, from Mexico or from anywhere in Latin America, that were popular in the ‘70s, but they were created the '40s, '50s, and ‘60s. In the hotel, there was always a trio of Mexican music playing during dinner, breakfast, and lunch.
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My grandmother, who was very dear to me, used to love Mexican music. My parents owned a hotel in Puerto Vallarta, so we went there very often. I got that same sensation when I was older - around ten years old, I believe. I remember feeling something unique in the thorax. I always remember when the guy sang the prayers - it was a very deep, low voice. That allowed me to have the cantor in front of me. Up until I was 13 years old, I was able to be on the men's side. As you know, in the synagogues - the religious ones and traditional ones - the women have to go to the other side of the synagogue, to the top of the synagogue, to the bottom of the synagogue, outside of the men. When I was a kid, the first memory I have of music was of attending the synagogue with my father. In our compelling discussion, Lynn speaks on her three-year journey to perfect the exquisite musical identity of Roma and the powerful feminist message at the core of Miss Bala.ĭuring your formative years, what experiences led you to fall in love with music?
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With a reputation for impeccable taste and relentless attention to detail, Lynn has enjoyed collaborations with prestigious directors including Alejandro González Iñárritu, Alfonso Cuáron, and Lee Daniels and fulfilled the musical needs for eleven international Netflix series in the last year alone. A veteran of Mexican radio, an experienced film producer, an accomplished music producer, and a successful entrepreneur in the digital distribution sphere, Lynn’s prolific history in the entertainment industry prepared her to become an elite force in the field of music supervision.
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Lynn Fainchtein is the courageous and influential co-founder of Casete Agricultura Digital and music supervisor behind enthralling films and television shows including Roma, The Revenant, Birdman, Miss Bala, The Protector, Dark, Babel, 21 Grams, The Butler, Precious, On The Road, Amores Perros, The House of Flowers, Maria Full of Grace, Tidelands, Elite, and The Rain.