Last week the film, TV, trailer, and advertising music communities celebrated the 5th Annual Guild Of Music Supervisors Awards, honoring brilliant work in the craft across all disciplines
Both Variety and Billboard, published recaps of the event, which featured performances by Laura Welsh, Mat Kearney and Kevin Ross, and special guest presenters like Moby, Stuart Murdoch (Belle & Sebastian), Ester Dean (Pitch Perfect), Gavin Rossdale and more, all of whom seemed to rather get a kick out of the whole thing.
My personal assessment is that it was an amazing and inspiring experience to be surrounded by so many peers, friends and mentors. A nice reminder of what an amazing community I stumbled into, and how lucky I am to work, struggle and create alongside these people every day. To be able to call myself a “music supervisor”. And the lamb lollipops were on point.
By Amanda DK
Some people think music supervision is just picking the songs trending on blogs that week. While good musical taste is certainly a job requirement, it is by no means the most important skill a music supervisor needs to be truly great. You need to know how to clear a song, how to negotiate, how to draft a license, and not only how to keep track of all that paperwork, but translate the important information to the entire production team – while still keeping everyone happy. The best music supervisors are extremely creative and extremely organized. Madonna Wade-Reed is one such music supervisor.
A spitfire with wild hair and limitless energy, Reed got into “the industry” via the music video world and, after segueing into supervision, has worked on a wide variety of television and film projects. On the film side, A Thousand Words (yet to be released), My Boss’s Daughter, The Perfect Scoreand most recently, the television movies and FRED 2: Night Of The Living Fred and Fred: The Movie (based on Lucas Cruikshank’s popular YouTube character), for which she received a nomination by The Guild of Music Supervisors for their “Best of 2010” awards. On the television side the Montreal, Canada native has music supervised several hit series known for their stellar soundtracks: Summerland, What About Brian, Smallville, Felicity, to name just a few, the last being one of the first to bring attention to music in television, paving the way for the music driven shows of today. She even kicked off the first two seasons of CW mainstay, One Tree Hill, and most recently created the sound for the Charlie’s Angels reboot for ABC, which was unfortunately cancelled a few weeks ago, but featured tracks by artists from Lykke Li to Rise Against to Jennifer Lopez.
In between wrapping up her third season on raunchy college football comedy, Blue Mountain State (Spike) and the January 3rd premiere of Jane By Design (ABC Family), Madonna took time to put together a mix of songs for TA that are guaranteed to take you to a magical place, titled “Adult Fairy Tales.” We then met up at the delightful Oaks Gourmet, where she gave me some insight into her own journey, creating a successful soundtrack, the difference between fairytales for adults and children, and her most transcendent concert experiences (trust me, they can’t be beat).
Ever left a movie wondering what that great song was? Each week Music In Media will spotlight tunes and explore collaborations between music and the Arts.
I’ll be honest, I don’t watch One Tree Hill. At no point in its seven season (now eight) run have I ever really had a desire. No offense to the fans, but with a revolving cast of beautiful people constantly in intense, dramatic situations, the show kind of seems like a soap opera for teens. The only reason I turned to it today was while skimming the music used in shows that aired this week. As I’ve said before, The CW usually features some hip names, and One Tree Hill—music supervised first by Madonna Wade-Reed and then for the most part, Lindsay Wolfington—was no exception. A few artists caught my eye so I gave it a shot.
Having now seen a full episode of the show I don’t think I was wrong in my snap assessment. From what I can gather, an episode or two ago, a couple (Clay and Quinn) were shot by a jealous ex of Clay’s. The last episode found them tooling around purgatory both able to see each other and their friends as they anxiously hover over their bodies in the hospital, but unseen by anyone else. Clay convinces Quinn to return to the living for the sake of her pregnant sister, and makes Clay promise that he won’t die on her. Episode three of the season, The Space in Between picks up with Quinn (Shantel VanSanten) conscious and Clay (Robert Buckley) on the verge of death while his “ghost” self hangs around the hospital watching everything go down. He meets a fellow “in-betweener” who is in a coma due to a car accident, and together they look over Clay’s lifeless body shortly after he receives another negative prognosis.
Read the rest at Strangers in Stereo…