Recording - May 2015 - 52

we also just need great, great music.

Continued from page 51
that stuff still matter with the current state of the
music industry? Because records come out... I think I
just heard the other day that we haven't had a platinum record yet in 2014.
I think Taylor Swift actually just went over the line. I
think she did it. But, you know, the record companies are constantly talking about, "Okay, we've got
this release. How does this work for you?"
Obviously, [Snow Patrol's] "Chasing Cars," the
famous use that was used in Grey's Anatomy, was a
tie-in to a known band. A lot of supervisors got that
song, and I was working on Poseidon at the time,
and it was like "this was not going to work for me
anywhere." But it worked for Grey's Anatomy, and it
worked really well. It covered four different story
lines for the finale of the show. So that was a great
thing. So they do look at that.
The flip side of that-and this goes to the NFL
story about the "pay to play" with Katy Perry, that
she's not paying to play, but yet she's not getting
paid, and she's still paying her back-end for the
"privilege" of getting tremendous ratings for the
promotional value of performing during the NFL
halftime show, which of course is the biggest ad
revenue for the NFL. So I think there should be a
movement that she should be paid, and if she's not
paid, a huge donation should be made to
MusiCares and Society of Singers. [applause] So I
think you all should start blogging that, Facebooking that, and everything else. And the idea is that if
that does not happen, then just turn off your TVs
during the Super Bowl games. That's all you have to
do. That's the power of the consumer. That will
raise the value of music, because that's ultimately
the big picture that we are all about.
This was the NFL, who are all billionaires. It was
like, "Oh the ratings are so high, we're really doing
Bruno Mars a favor by letting him perform at the
halftime show." It was like, "Oh really? Oh, because
he was nothing before, and that's why you wanted
him, because you really wanted to help his career?
The guy's so good, let's give him a shot."
It's like there's no turning back. It's getting worse by
the...
We have to make it better. I mean, that's the whole
thing, there has to be a sense of this will not stand. I
understand that everyone is competitive; I understand for some people this is like a heartfelt kind of
hobby that you like to do and it makes you feel
good, and, you know, you've got your day job and
things like that. But you want to be great; you want
the music to be great, and you don't want to be
undercutting somebody else's greatness by flooding
the market and by doing something that's, "Oh
gosh, I can sound like this record and not really be
that record." And I understand that there is a place
for that, and definitely supervisors need that. But
52

The piece that was in Houdini was very difficult to
find. It wasn't something that was gonna come
from a library, because it just really needed something very specific. As soon as it went in they were
like, "Oh yeah, great," because they were convinced
that we weren't going to find anything. And the

"Your tool is music, but you are just as
much part of the media story as the
actors, as the set designers, as the
costumers, and everything else. You
are not the second cousin who gets to
eat in the kitchen."
-Maureen Crowe
composer was like, "I don't want to do it. Find it,
find it." So that's the kind of commitment that you
really need to have.
We found it in a matter of days.
Yeah, very quickly and directly, and the writer was
very accessible. He was a working musician; he had
a regular band that was playing around. And this
was like a little side thing for him, but he knew
what he was doing. So if you're not going to take
the crap seriously by answering somebody who's
interested in you, you've got to really rethink how
dedicated you are to this. You need to either value
yourself more, or value other people's time more.
Because when they're listening to it they are assuming that you want the attention. And if you don't
call them back, it's like knocking on the door and
running away. Is that what you're doing? Are you
going to try all the elevator buttons just for fun?
The TAXI member who got that piece in Houdini was
Mark Capone. Are you here, Mark?
I know he has a regular tour thing that he does. But
this is a contact now, you know? I know him now. I
know he's got his band and I'm listening to him.
Because we care about the people that deliver, the
people that if we take the time to listen and we say,
"Hey, I like your song, I'm gonna call back." If you
don't call back... People don't forget. Now it's like,
"Wait a minute, wasn't that the guy that I called who
didn't call me back?" We don't have time for that.
Life is too short. Forget it, because it is fast. [Maureen snaps her fingers to underscore the point.]
You guys [in the audience] are all part of media
now. Your tool is music, but you are just as much
part of the media story as the actors, as the set
designers, as the costumers, everything else. You
are not the second cousin who gets to eat in the
kitchen. There's never been a silent movie industry;
there's always been music. Everyone has to really
understand their value. Even if the economics are
tough, you still have to value what you do and
return the phone call. Or just don't bother
anybody. Because it's like they took the time to listen to your stuff and you don't have the time to call

back, I'm like, "Oh, okay, put that person in that
box. Goodbye."
We are all trying to cut through a lot of stuff. I have,
honestly, been very impressed by the material that
you all [TAXI members] are doing, and I just want
it to be better. More better makes our job easier.
Speaking of "more better," you're the co-founder and
five-year-long president of the Guild of Music Supervisors, which why it took so long for that to happen I
don't know, but it figures that it was you that did it.
Why did you create the Guild?
Well, a lot of us had been working as independent
contractors, so we don't get health care; we don't
get anything. And, you know, with the paradigm
shift of the record industry, it devalued music, and
it also devalued music supervision, even though
they keep hiring us. It was devalued in terms of
how much supervisors get paid.
And there's a flood of out of work A&R people who say,
"I'm a music supervisor..." But the job isn't just
hangin' out and listening to music.
Yeah, listening to music all day, that's a great job. I
wish that was the job! I get to do that at like 10
o'clock at night, you know, because the phone is
ringing, you're making deals, you're doing the production demands, you're talking to directors, you're
putting out listings at TAXI, and you're calling people to get the material in. Then, when the phone
stops ringing you can actually start listening to
stuff. And if you get the answers, you're like, "Oh,
thank God." And if you're not, you're like, "Oh my
God, I've got to start making calls again first thing
in the morning."
But the reason we started the Guild, I was a governor on the L.A. Chapter of the Recording Academy
and was elected President of the L.A. Chapter of
the Recording Academy. And at the time music
supervisors were not considered voting members; it
was not considered a craft. I think I was the first
music supervisor that was in that, because I also
had voting rights as a producer of soundtracks.
And they kept saying, "We need educated members
of the Recording Academy so that they listen to a
lot of music and they make good judgments and
stuff like that." It's like, hello, music supervisors
listen to everything, that's what their thing is. And
there's always the perception like, "Don't they just
handle the paperwork?" And half the room stood
up and said, "You don't know what's going on."
So that ended up happening, and we actually got all
the music supervisors together to let them know
that they now had voting rights, and they can vote
at the Grammys-which means they were eligible
to actually purchase tickets to the Grammys-and
that they could be part of the community. So we
got all the leading music supervisors, about a hundred people came in, and Dawn Soler, who is now
the head of music ABC Television, who was independent at the time, said, "Aha, okay, so where's the
Continued on page 55



Recording - May 2015

Table of Contents for the Digital Edition of Recording - May 2015

Contents
Recording - May 2015 - Cover1
Recording - May 2015 - Cover2
Recording - May 2015 - 1
Recording - May 2015 - 2
Recording - May 2015 - 3
Recording - May 2015 - 4
Recording - May 2015 - 5
Recording - May 2015 - Contents
Recording - May 2015 - 7
Recording - May 2015 - 8
Recording - May 2015 - 9
Recording - May 2015 - 10
Recording - May 2015 - 11
Recording - May 2015 - 12
Recording - May 2015 - 13
Recording - May 2015 - 14
Recording - May 2015 - 15
Recording - May 2015 - 16
Recording - May 2015 - 17
Recording - May 2015 - 18
Recording - May 2015 - 19
Recording - May 2015 - 20
Recording - May 2015 - 21
Recording - May 2015 - 22
Recording - May 2015 - 23
Recording - May 2015 - 24
Recording - May 2015 - 25
Recording - May 2015 - 26
Recording - May 2015 - 27
Recording - May 2015 - 28
Recording - May 2015 - 29
Recording - May 2015 - 30
Recording - May 2015 - 31
Recording - May 2015 - 32
Recording - May 2015 - 33
Recording - May 2015 - 34
Recording - May 2015 - 35
Recording - May 2015 - 36
Recording - May 2015 - 37
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Recording - May 2015 - 40
Recording - May 2015 - 41
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Recording - May 2015 - 46
Recording - May 2015 - 47
Recording - May 2015 - 48
Recording - May 2015 - 49
Recording - May 2015 - 50
Recording - May 2015 - 51
Recording - May 2015 - 52
Recording - May 2015 - 53
Recording - May 2015 - 54
Recording - May 2015 - 55
Recording - May 2015 - 56
Recording - May 2015 - 57
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Recording - May 2015 - 60
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Recording - May 2015 - 70
Recording - May 2015 - 71
Recording - May 2015 - 72
Recording - May 2015 - Cover3
Recording - May 2015 - Cover4
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