The following post was originally featured in music industry publication The Comet:
In my many talks with music supervisors, the main recurring theme is that they have their hands in everything. Music supervisors are a rare, versatile bunch, serving as liaisons between so many parties in the entertainment business – filmmakers, directors, musicians, labels, publishers, composers, lawyers…the list goes on.
It’s amazing that only a few years ago were they finally recognized as voting members of the Recording Academy, an initiative pushed through largely in part to advocates like Maureen Crowe, the president of the newly formed Guild of Music Supervisors, and music supervisor of films including The Bodyguard, Wayne’s World, and Chicago.
“Most supervisors try different things – the skill set is very broad. They know the legal and creative aspects, they understand casting, all the different elements of what it takes to market a project. If you start scratching the surface, most music supervisors have a lot going on – they may have a radio show, a record company, they may be in development, or composing…it’s a profession where you can grow in different directions. It makes you stronger in all areas.”
Crowe is a prime example of this. Besides supervising music on current projects like the new Ethan Hawke drama A Late Quartet, which beings filming this month, she has remained an active advocate for the music supervisor community, and has also taken on management duties of a young R&B star. She is currently driving the formation of the Guild of Music Supervisors, an organization that brings together the supervisor community to establish the profession as a craft, and to discuss issues like healthcare and best practices in the field.
“The music industry as a community really needs to come together and support one another. Part of the job description of the music supervisor is to help new artists, established artists, the film, the television show, the video game – to have it all work together. That’s why I think supervisors are in a great position to be an asset to the industry and to have impact. Twelve key people committed to forming the mission of the guild, and we’re finalizing the formation of it by the beginning of 2011.”
The connections she’s built throughout her career created a natural bridge into artist management. “For years, I had consulted over at Disney – I loved the idea of working with young talent where you could use your wealth of experience to make it happen for them. I’m into anything that can impact people – telling a story, enjoying music, making dreams come true. That’s what gets me going in the morning.”
When she was introduced to young, polished singer/songwriter/dancer Matthew “Mdot” Finley, she knew he had potential to be a star. “He came with a choreographed show, and had written or co-written all of his songs, so I sent him over to the people at Disney, who were looking for someone who was a triple threat. It was the biggest showcase of his career, and he nailed it.”
Mdot was cast in Camp Rock 2, the sequel to the Jonas Brothers’ hit Disney Channel flick that was watched by 8.9 million viewers on the night of its premiere, and that spawned a platinum-selling soundtrack. That led to an opening spot on the worldwide Jonas Brothers tour.
Not bad for a first gig.
“Mdot had about 4,000 Twitter followers before the tour, and now he’s up to 35,000 and is heading to South America next month with the tour. Now he’s back in L.A. doing more writing and cameo spots on the Jonas internet channel.” He’ll also be appearing in an upcoming Honda commercial and is slated for an album release next year.
“We’re trying to think of the best way to release an album right now. You have to establish a following going before you think of signing to a label. 12 to 17 is his demographic right now – they love the dancing and songs. Ideally if you start with a fan base, you want to take it with you for the rest of your life. At the end of the day he wants a bigger worldwide audience but it’s a great start. The most important thing is to maintain authenticity, in both music and commercials. Kids today know when they’re being sold to and when it’s the real deal.”
For Crowe, managing a new artist’s career is not so different from being a music supervisor. “I have cast so many singers in films, that management seemed like a natural next step for me. Instead of making a film your production, the artist is your production.”
Jackie O Media 