Some pieces start as absurd requests from friends. Your Mouse God is Dead is no exception—an otherwise ordinary afternoon took on a life of its own when I received a text from John Pisaro: “So Ian [Stahl] and I want you to write a piece for us called ‘The Mouse God is Gone’ for two voices.” Well, the titular phrase evolved over time, but the idea didn’t, and some weeks later, I presented them with a rough draft of the score.

Your Mouse God is Dead is simultaneously a love letter to my own fond memories at Disneyland and other immersive theme parks and an acknowledgment of the ways in which capitalism twists genuine dreams and aspirations into products and sales. Though it started as a silly endeavor, it became a much more serious, even frustrated, look at the transition from childhood into the adult world. Your Mouse God is Dead calls for two performers, armed with megaphones if they wish, storming up the aisles as they proclaim the ending of a familiar world and the coming of a much more turbulent one. Megaphone use and positioning should be determined by the performers, carefully considering the desired impact based on volume, timbre, and other potential outcomes. Due to its construction, it is ideal for performers who do not want to be bound by notes and rhythms and is performable by musicians of all ages. If reading poses an obstacle, it can also be learned by ear.