I figured I should learn about this business and get in because if I can pull $450 a night, that would change my life. I’m, at that point 30-40-thousand dollars in credit card debt and living in an absolute hellhole. A horn player blew out three one-minute cues with various endings, and when I asked him how much he made, he told me $150 each. In 1989 I was brought in to Saban for a weekend to engineer and mix for their composers who were writing cartoon cues. I played in a band and worked various temp jobs. I was in band orchestras, but I wasn’t much into reading music and was pretty much politely asked to leave by every music teacher I ever had and told I should think of another career. I started playing piano when I was three, and had my first published work at five-and-a-half (a fingering exercise), and after that through school it was pretty obvious that all I was interested in was music. Television was nothing I had even thought of. How did you get involved composing for children’s television? See also: Top 10 Douchiest Guitarists of All Time Wasserman, who now scores many projects including Hot in Cleveland, about how the theme came together, scoring with rock music and the restrictions of the increasingly politically correct world of ’90s children’s television. To commemorate this milestone, we spoke to the series’ composer Ron A. It also introduced a generation to the power of electric guitars as the show’s immortal “Go Go Power Rangers” theme has become a pop culture staple and irrefutably responsible for the baddest-assest riff in the history of children’s television. The Mighty Morphin Power Rangers Saban Entertainmentīelieve it or not, it’s now been 20 years since Mighty Morphin Power Rangers premiered, changing the way ’90s kids saw the world by combining teen drama with dinosaur robots.