EMMYS SALUTE THE SUPES

It's interesting to observe that none of the major awards shows acknowledge the work of music supervisors in the nominated categories, a slight on par with the Recording Academy's curious omission of a Songwriter of the Year Grammy, which I previously discussed here.

There are countless examples of scenes from a film or television show becoming emotionally memorable by not just the acting and direction, but artful use of music in the right moment.

Think about the ending of The Sopranos with Journey's "Don't Stop Believing" or Snow Patrol's "Chasing Cars" playing as Grey's Anatomy's Izzy (Katherine Heigl) clinged to her dead lover, not to mention every episode of HBO's Girls and Insecure from the last several years—and let's not forget that striking, dark electronica featured in Netflix's Stranger Things.

Music allows these stories to sock you a little harder in the gut.

However, getting recognition for the talent and contribution of a music supervisor has been an uphill battle, one hard-fought through the joint effort of the newly formed Guild of Music Supervisors.

Since many supervisors are freelancers, paid by episode and have no union, educating the wider spheres of the business about the labor that is actually involved in sourcing, negotiating rights and clearing music for a project is key to getting the respect, not to mention fees, this group of creatives deserves.

Thomas Golubic, music supervisor for Breaking Bad, Better Call Saul and Halt (among others), described the journey for LA Weekly, saying, “Seven years ago, a group of working music supervisors, myself included, recognized the need for an organization that would support our profession. We formed the guild to help foster a community of professionals that could openly discuss the challenges we face and work together to forge viable solutions.“

Beginning this July, the Emmys will unveil the nominees for the first-ever award for music supervision, an acknowledgment that's well-deserved and long overdue.