Recording - January 2017 - 51

JANUARY 2017
Part One, TAXI Road Rally 2016

Music Licensing Basics With Frank Palazzolo and Bob Mair
Michael Laskow, Moderator
I'd like to introduce our next panelists. Let me
read you a little bit about each of them.
Frank Palazzolo is a music supervisor at Mad Doll
Productions in Los Angeles. Some of his credits-
and these are just a very few-include The Path
on Hulu, Sheer Genius-which is coming to CBS-
plus About a Boy, Graceland, Hemlock Row, Hand of
God, Hawaii Five-O, The Leftovers, The Affair,
Twisted, House of Lies, Friday Night Lights, Friends
With Benefits, and many, many more. Frank's film
credits also include Scream 4, Take Me Home, The
Truth About Emanuel, Apart, Americons, Enough
Said, and The Kids Are All Right. Frank is also an
accomplished songwriter and composer in his own
right. Mr. Frank Palazzolo, come on up, buddy.
[applause]
Our other panelist is Mr. Bob Mair. He's the CEO,
owner and founder of Black Toast Music and Black
Toast Records. He is also a composer and a
producer. Since its launch, the company has
placed music in hundreds of TV series, including
hits such as Homeland, The Good Wife, Modern
Family, New Girls, Girls, The Walking Dead, Shameless, Sons of Anarchy, True Blood, Dexter, Madam
Secretary, Treme, The Wire, and many, many others-countless others, actually! Black Toast has
also placed music in high profile motion pictures,
including Neighbors, American Reunion, and video
games such as "Dance, Dance Revolution," as well
as national advertising campaigns for Domino,
Microsoft, Walmart, and Whole Foods. Bob's company has also signed dozens of TAXI
members-maybe even a couple hundred over
the years-and placed countless songs and instrumentals from them in TV shows, feature films, and
commercials. Ladies and gentlemen, Mr. Bob Mair.
This is our 20th Road Rally! My wife said to me,
"Honey, it's the 20th Road Rally, so you should do
something different." So for those of you who've
been here for a lot of them, you'll notice I didn't
wear a suit this morning! I'm just wearing my regular everyday clothes. So that's different.
[laughter]

Bob Mair (center) makes a point that made Michael Laskow (left) and Frank Palazzolo (right) chuckle a bit during the Music
Licensing Basics panel at the TAXI Road Rally.

The other thing that I'm doing differently this
year is that we are starting at the beginning and
building from that level to an intermediate level,
to more advanced levels of the topics of panels
throughout the course of the weekend. In the
past, we've assumed that if you're here at the
Rally, you already know what's going on. I'm not
so sure I was right about that.
I've come to the realization that there are a lot of
singer/songwriters in the audience that may not
really understand how adaptable their music is to
film and television market. Sometime I'll say to a
singer/songwriter who does acoustic stuff, "You
know, you could just do a mix minus vocal version
of that and slap a Dobro on there for the melody,
and turn that into a cue." And I can see a look on
their face that's saying, "I never thought about
that." There are always a couple extra ways to
make some money with your music.
So what I'm doing to start this year's Rally out is
ask these two brilliant, articulate people some
really basic stuff. And by the end of the weekend,

we will have progressed to the real inside information that you probably wouldn't get while
earning a master's degree.
So, here we go with the basics...
Let's define what a song is, what an instrumental
is, and what a cue is. Because a lot of times people say, "I synced that track." What do they mean?
I'm gonna go to Frank with this. In the world of a
music supervisor, define what a song is, what an
instrumental is. Can a cue be a song or an instrumental? Can a track be a song or instrumental?
Frank: Well, yeah, I use different terminology
for a lot of different things. When I talk about
a cue, it just means a spot [in a TV show]
where some music is going be. But when I'm
talking to a music editor, a lot of times when I
say cue, I'm talking about a score cue [meaning
that a piece of composed score needs to go in
that slot]. So we refer to the instrumental and
to the full mixes as "source" cues. And
sometimes even though the music's not necesContinued on page 52
51



Table of Contents for the Digital Edition of Recording - January 2017

Contents
Recording - January 2017 - Intro
Recording - January 2017 - Cover1
Recording - January 2017 - Cover2
Recording - January 2017 - 1
Recording - January 2017 - 2
Recording - January 2017 - 3
Recording - January 2017 - 4
Recording - January 2017 - 5
Recording - January 2017 - Contents
Recording - January 2017 - 7
Recording - January 2017 - 8
Recording - January 2017 - 9
Recording - January 2017 - 10
Recording - January 2017 - 11
Recording - January 2017 - 12
Recording - January 2017 - 13
Recording - January 2017 - 14
Recording - January 2017 - 15
Recording - January 2017 - 16
Recording - January 2017 - 17
Recording - January 2017 - 18
Recording - January 2017 - 19
Recording - January 2017 - 20
Recording - January 2017 - 21
Recording - January 2017 - 22
Recording - January 2017 - 23
Recording - January 2017 - 24
Recording - January 2017 - 25
Recording - January 2017 - 26
Recording - January 2017 - 27
Recording - January 2017 - 28
Recording - January 2017 - 29
Recording - January 2017 - 30
Recording - January 2017 - 31
Recording - January 2017 - 32
Recording - January 2017 - 33
Recording - January 2017 - 34
Recording - January 2017 - 35
Recording - January 2017 - 36
Recording - January 2017 - 37
Recording - January 2017 - 38
Recording - January 2017 - 39
Recording - January 2017 - 40
Recording - January 2017 - 41
Recording - January 2017 - 42
Recording - January 2017 - 43
Recording - January 2017 - 44
Recording - January 2017 - 45
Recording - January 2017 - 46
Recording - January 2017 - 47
Recording - January 2017 - 48
Recording - January 2017 - 49
Recording - January 2017 - 50
Recording - January 2017 - 51
Recording - January 2017 - 52
Recording - January 2017 - 53
Recording - January 2017 - 54
Recording - January 2017 - 55
Recording - January 2017 - 56
Recording - January 2017 - 57
Recording - January 2017 - 58
Recording - January 2017 - 59
Recording - January 2017 - 60
Recording - January 2017 - 61
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Recording - January 2017 - 68
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Recording - January 2017 - 70
Recording - January 2017 - 71
Recording - January 2017 - 72
Recording - January 2017 - Cover3
Recording - January 2017 - Cover4
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