Music Supervison and Quality Melody Control

So Emily and I sit down for a movie, American Splendor, last Thursday night, and while the opening credits were rolling, a graphic appeared that read, "Musical Supervison by..." Now this was interesting because the previous credit on the screen was "Music by..." Have I missed this job before in other films? It's always noteworthy to see who the best boy is, or who was responsible for the key grip, whatever that is. I've always paid attention to who does the music for a movie. Is it going to be James Horner? Mark Isham?, or best case scenario, T-Bone Burnett? Who is this musical supervisor and why does the "Music by..." musician need supervision? Evidently the musical supervisor for American Splendor earned his keep, because the jazz tunes throughout the film were classic numbers (i.e., "My Favorite Things" by Coltrane) and contributed to the plot in a meaningful way.

Can't you just see the rivalry on the set of American Splendor between the lead musician and the musical supervisor? The musical supervisor has the right to throw artistic penalty flags on the lead musician's score at any point of his own choosing. He hasn't been asked to write the music; it's not his job. All the music supervisor is asked to do is make sure the music isn't deplorable. And it's probably a safe bet that he goes about his work of quality melody control with exceptional smugness.

Smug as music supervisors are sure to be (whoever they are), the thought occurred to me watching this movie: why is it that film sets are the only places that ensure quality control for music? In an economic downturn we need to create jobs ASAP and I see no reason why we should not create music supervision positions for offices, restaurants, and shops around this country. We're surrounded by cheesy tunes everywhere we go, but it could be so much different. Companies are in compliance with environmental standards; why not musical standards too?

Just think how your life would be different if you had a roving Music Supervisor at your office. The co-worker who habitually plays the Aaron Neville station on Pandora.com too loud would no longer be able to infect your office with this noise pollution. With a roving Music Supervisor, you don't have to broach that awkward conversation, even though an intervention is obviously needed. There's help for your colleague...and everyone else in earshot. The Supervisor would saunter in the offender's office and say, "what you really want when you click play on Aaron Neville is not Aaron Neville. You want a good vocalist with a melodic hook in a bright chorus." Acceptable substitutions are numerous: Frank Sinatra, Al Green, and Amos Lee to name a few. Think of the lift around the office when Al Green takes over from Aaron Neville. It's a whole new world, Aaron.

When you start to think about it, the musical upgrades are endless. Too much Nickleback in your life, even though it's beyond your control? A good music supervisor could put in The Killers' Hot Fuss album and everything's better. Tired of hearing Matchbox 20 everywhere you go? A huge serving of Coldplay with a side of old school Counting Crows is like a tall Americano on a rainy day--instant energy.

So there's my argument for our country's need for music supervisors. It shouldn't be a job for Tinseltown only. Quality melody control should be available to every shopper in Kroger's produce section who feels the onset of sudden depression simply because gloomy violins are hovering like a dark cloud. And then maybe I wouldn't rush through the produce section grabbing vegetables like a madman. Maybe I could linger and enjoy some U2, David Gray, or Harry Connick, Jr. To quote the Irish band above, and a thought that's probably bounced around your head before, all I'm asking is, "how long, how long must we sing this song?"