L*A*M*P PRESENTS A SUPER NIGHT
WITH TOP MUSIC SUPERVISORS
By Jimi Yamagishi

A week after Super Sunday and L*A*M*P kicks off their first seminar of the year with a super trio of super guest speakers!

Respected and renowned music supervisor P.J. Bloom started off the evening with a very brief description of the role of a music supervisor. He brought along a special guest: Jon Anderson (Senior V.P of Film and Television at Windswept Publishing). They breifly listed who they've worked with and are currently working on, and went straight to the heart of the situation with…"Who has questions?"

There was plenty to discuss. For two hours straight, the dialog was honest and real, as P.J. explained what kinds of things he's up against every day. As a musician himself, he knows both sides of what's required to make a movie or TV producer happy, and how to ask for the kinds of things a production needs form those that supply the music. He discussed how every music supervisor has their own library of music and how difficult it is to keep track, especially with dozens of new CDs arriving in his mailbox every day. (Pictured l to r: Jon Anderson, Frankie Pine, P.J. Bloom, Leslie Waller)

Frankie Pine walked in about halfway into the evening, straight off a studio session putting music to picture. Starting off with a quick "Hi! whatcha drinkin?" and a quick list of hit films she's worked on – including "Chasing Papi," "Santa Clause 2," "Ocean's Eleven," "Nurse Betty," "Sleepers," and "Dead Man Walking," -- Frankie immediately got right to the business at hand, explaining that you have to pay your dues to be a music supervisor, with both P.J. and Frankie mentioning their time as unpaid interns and assistants, learning the business on the job, putting in long hours to build their own cred. "It's all about relationships," they explained. "We have a history with the people we work with. The directors that call us know who we are and trust us to deliver what they need." They also mentioned they have their own "go-to" people they can call when something unique or special is required. So how do you build those relationships? "NETWORK!" Was the resounding answer from the stage. "Attend events like this one, ASCAP, SongNet, NARIP, there are many opportunities to make connections."

Knowing how to submit your work properly was also stressed. "No frills PLEASE," said Frankie. "We're not A&R people. Your picture, bio, fancy j-card will all be thrown away!" And because of this: "Be sure ALL the information, your name, phone number, email address song title, what it's for, EVERYTHING is on the disc," she continued. "I have a huge lineup of discs without packages by my stereo, and it's amazing how many great pieces of music I can't use because I don't know where it came from." "If I have to waste time looking for someone or hassling over a few dollars for licensing, we'll use someone else's cut," added P.J. "For every song placed, there are 300 that could also be used instead."

P.J revealed some of his pet peeves: "I HATE it when people call and ask 'Hey P.J.!, whatcha workin' on?' That conversation could last hours. I will talk with someone who asks 'Hey P.J.! What are you looking for?' As nice as it is to do the friendly thing, unless we have a relationship built on many years of doing things together, you are NOT my FRIEND. Get over it. Don't waste my time or yours. It's okay. This is business."

Paul also mentioned sound-alikes, and production, and some of the legal things composers and songwriters should know. "The information is all there," he said There are people you can contact when a contract come up. Cue sheets need to be filed."

Ritch Esra also had his Film Music directories available at the seminar, a perfect complement to the information that was discussed.

Once again, L*A*M*P levels the playing field to help every artist and composer achieve their goals!