By Amanda DK

At this point it’s a given that Twitter and the music industry are inextricably linked.  The site has changed the way artists can interact with fans, how marketing strategies are devised and executed, and set a new, even faster pace for the spread of news and buzz.  It’s been invaluable tool in growing this blog; I’ve built countless relationships with social media experts, fellow bloggers, and publicists through Twitter alone.  But what about for music supervisors?

Many music supervisors are on Twitter.  Andrea Von Foerster (@AVonFoerster), Chris Mollere (@cmollere), Lindsay Wolfington (@lonewolflindsay), and the infamous Scott Vener (@brokemogul) to name a few.  As far as I know, however, Chris, Lindsay and Nora Felder (@norafelder) are the only ones Tweeting the songs used in their shows immediately after airing.  Chop Shop Music, run by Alexandra Patsavas, uses social media to promote both their artists and their soundtracks.  On the whole however, it’s taken the music supervision community a lot longer to embrace Twitter than other areas of the music industry.

And I understand why – for a music supervisor (or anyone, really) Twitter is daunting.  Who is worth following?  What kind of things should I tweet?  Do you really expect me to keep up with another social media website?  Plus, as a music supervisor, we already get music pitched from all sides – email, snail mail, Facebook, LinkedIn.  Is opening up one more avenue for random producers to throw SoundCloud links our way a good idea?

Concerns aside, Twitter cannot be ignored.  Here are four ways music supervisors for TV or film, studio or independent, established or aspiring – can all benefit from using the site.

1. Building Relationships.  Both in your niche of the industry and outside of it.  I mentioned that I’ve befriended a lot of bloggers and publicists. Yes, this might be directly beneficial for my blog, but these contacts have made me a better informed and connected music person overall. The many facets of the industry are becoming more interconnected every day, so you never know when you’ll be able to help each other or collaborate in the future.  Or save the day with a lead no one else has.  Besides, ever had a problem tracking down contact info for a label or publisher?  The email address you need might be a retweet away.

2. Staying Informed.  Who has a new album coming out, who is getting back together, who just released a new track, what is the most popular show to be at (and did the band rock it), and most importantly, who is everyone talking about?  Many supervisors don’t have time to read full magazines or peruse Stereogum daily, but with Twitter a quick scroll will keep you up to date with the highlights and then some.

3. Separating the wheat from the chaff.  It’s no secret that in all areas of the industry – particularly music supervision – there is a glut of music.  Music is easier to make, emails are easier to track down.  Supervisors are sent so much music from all angles, and while we still want to discover the next “it” band (and get them cheap before they sign to a major and are no longer affordable), how do you even begin sorting through the pile of CDs quickly accumulating next to your desk?  Following a handful of your favorite blogs or journalists (not just Fader or Pitchfork) will give you some insight into who’s EP to listen to first.

4. Good PR. I am a vocal believer in the value of good press.  Yes, it’s good to be liked.  But more practically, being liked leads to better relationships and better work. “You can catch more flies with honey,” as they say. Well the more flies you have, professionally speaking, the more value you have.  One of the goals of The Guild of Music Supervisors (@guildofmusic) is to “act as a valuable, highly specialized resource to further the understanding of the constant evolution of music in media,” or in other words, to educate those in related fields (filmmakers, television and advertising executives, for example) on the role of the music supervisor.  Raise the profile of the profession.  What better medium than one that allows you to connect directly with fans?  As I mentioned earlier, more supervisors should tweet songs used in the television shows, films, ads and even trailers they work on.  But what about a Twitter Q&A?  A TweetChat about a particularly controversial song or moment?  The best way to raise your profile is to engage your audience. And always thank the licensors.

15 Music Supervisors To Follow…

Andy Gowan (How I Met Your Mother) @supermusicsupe
Chris Mollere (The Vampire Diaries, Pretty Little Liars) @cmollere
Nora Felder (Californication) @norafelder
Season Kent (Revenge, The Fighter) @Season_Kent
Gabe Hilfer (Project X, 50/50) @waveuno
Laura Webb (Teen Wolf) @lalawebb
Andrea Von Foerster (500 Days of Summer, Modern Family, Chronicle) @AVonFoerster
Kier Lehman (Director of Music Creative Affairs at Sony Pictures) @IamKier
Rebecca Rienks (Ice Loves Coco) @BuhbeccaBinks
Daryl Berg (Executive Director of Music at Shine America) @darylberg
Tracy McKnight (Head of Film Music at Lionsgate) @CalamJane
John Houlihan (Abduction, Good Old Fashioned Orgy) @TastyMM
Lindsay Wolfington (One Tree Hill) @lonewolflindsay
Tricia Halloran (Castle, The Big C) @bnwtricia
Marcy Bulkeley (Herzog & Company) @marcyb52

10 More Twitter Accounts for Music Supervisors to Check Out…


These lists could have been much longer, especially if I had included all the brilliant music licensing and pitching professionals who make our lives much easier!