Photo Credit: Jay Farbman for The Guild of Music Supervisors
This past weekend was the very first Guild of Music Supervisors State of Music in Media Conference. Many of the most influential players in the media music community shared their knowledge and experience with students, aspiring music supervisors and peers across 24 panels, presentations and sessions. Topics ranged from an overview of the job, to getting hired, to creative strategy and communication, an in depth look at music clearance, metadata practices, marketing the music and more.
We involved in the the planning could not have been happier with the turnout – both the number of and the enthusiasm and support from the attendees. I had many discussions with panelists and presenters about how unusually intelligent the questions were.
Still though, there were a few…frustrating situations that arose. As with any conference where music supervisors are present, regardless of the content or goals, there was a faction who just viewed the event as an opportunity to put music in the hands of those with power.
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Another photo from an upcoming Sessions At The Steps performance!
This is the second of two posts written as a follow up to my interview with TuneCore that came out earlier this month. Check out the full article here, and thank you again to TuneCore for having me!
Last week I further articulated some benefits I’ve found to using unsigned or independent artists in projects. Today I address a topic most music supervisors I know could pontificate on for hours and hours: mistakes artists make when pitching their music.
Because I am an unabashed fan of listicles, I kept it to just ten pitfalls to avoid if you are an artist trying to bust into this crazy world. To any fellow music supervisors reading this, I would love for you to add more in the comments!
To begin, here is the question (and my answer) from the original interview:
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Photo from an upcoming Sessions At The Steps…Stay tuned!
Last month I had the great pleasure of chatting with Kevin from TuneCore about how I fell into music supervision, my favorite projects and more. The result of that conversation appeared on the internet early this month.
Read the full article here.
While I am grateful for the opportunity to talk (my favorite activity!) and generally pleased with how the final product turned out, I think everyone can identify with the experience of finishing a conversation and thinking, “Argh, I should have said this instead!” or “Oh that would have been a way better way to explain that”. Full disclosure, they were kind enough to let me edit the interview, but as an occasional interviewer myself, I attempted to keep at least some representation of the actual conversation, despite temptations to just re-write my more inarticulate moments.
In particular, there were two questions I wanted to clarify and/or expand upon. Initially I intended for this to be one post, but then the words started flowing and I took it as a sign to split it into two.
This week addresses some of the benefits of placing music by independent artists, when they can save a music supervisor’s life (and how to avoid complicating it).
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Photo Credit: Denny Renshaw
In my extreme old age (I turned thirty this year, guys) I’ve become much choosier about the shows I get out to, especially if they are farther than my immediate Eastside vicinity. I know I have friends who roll their eyes at this. To those people I say, “INVITE ME OUT MORE THEN JEEZ”
Last month I trekked all the way to the Troubadour to see San Fermin. It was 100% worth it, and not just because I found a parking spot less than a mile away. It was one of those shows that reignited my love and desire to be a part of an industry that helps support such amazing art.
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I’m sure all of my friends in real life and on social media are more than over all things Fake Off by now (#sorrynotsorry) but I had to mention it at least once here on the blog. With the final episode having aired on Wednesday, and the season officially over, it seemed an appropriate time for a debrief from the musical perspective.
What is Fake Off?
For any readers not Facebook friends with me you can find various descriptions of the show and what a “fake” is on the show website, but in my opinion the only way to understand is to watch a performance (see below). Trying to envision the show using the term “fake” as a starting point will only lead to confusion.
Since I don’t always have the opportunity to force the person I’m conversing with to watch a video (I know, it’s unbelieveable that I don’t have any performances bookmarked on my phone) here is the description I’ve been using over and over for the past few months.
Fake Off is a performance competition show where 10 teams (e.g. dance crews, theater groups) are challenged to create 90 second performances on a theme. The performances are fully-mounted mini-productions, with professional sets, props, costumes and special effects (confetti!). There is some voiceover (looking at you Tribe Of Fools) but for the most part performances are entirely visual, set to music. Teams are judged on how impressively they tell the story of their theme using their particular skill(s).
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