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. (more…)
Well, it’s appears that summer came early this year (or is generally always hanging around, if you live in Los Angeles like I do). Moments later I found out that I could, in fact, share this infectious tune with all of you. And the same statement I made then still holds true today. (more…)
I don’t know about you, but when I was 19 years old my mind was occupied with getting good grades, play rehearsal (I was a theatre nerd), and what I was doing that Saturday night. Meet Matt “FX” Feldman, who spent his nineteenth birthday hard at work on one of the most hyped telvision shows of the past year. The job: music supervisor. The show: Skins, a sexy – often constroversial – adaptation of the UK hit show by the same name.
Now that I’ve listened to the soundtrack over and over again a few times – I still hold true to my above criticisms, but at the same time definitely appreciate how good of a job music supervisor P.J. Bloom did choosing music that supports the film. And the film is really what is whelming.