NARIP Music Supervisor Sessions have been covered in global music business press including in The Guardian (UK), multiple times in MusicWeek (UK) and MusicWoche (Germany), in Taxi Drivers Cinema e Cultura Metropolitana (Italy), as well as in Australia, Pakistan and elsewhere.
- MusicWeek (UK)
- The Guardian (UK)
- Sydney Morning Herald (Australia)
- Taxi Drivers: Cinema e Cultura Metropolitana (Italy)
- Global Trends
- Age (Australia)
- Pakistan News (Pakistan)
And from NARIP’s Music Supervisor Sessions in Berlin, Germany:
Placements & Success Stories
NARIP members have made placements through these limited enrollment sessions, including the following:
Most recently, North Star Media’s Joe Revello placed two songs in the Sony Pictures Classic’s film, “At Any Price“, starring Dennis Quaid and Zac Efron from artist Louis Yoelin. The songs were: “Still Got my Summer” and “TV Dinner Cuisine.
NY based NARIP member Gail Vareilles attended a NARIP Music Supervisor Session with Michael Hill in New York where he said he often uses the DeWolfe Music Library. Hill’s endorsement of the library prompted Gail to place her music with DeWolfe, and from there it was picked up for this feature film “Movie 43″ starring Halle Berry, Hugh Jackman, Johnny Knoxville, Uma Thurman, Naomi Watts and Kate Winslet just to name a few.
Three NARIP members have placed music in the documentary “Finding Our Voice” directed by Bayou Bennett and Daniel Lir. Bennett and Lir were recent speakers at NARIP’s Film Makers Who Seek Music program in Los Angeles. NARIP members Peter Kimmel and Molly Bohas met these film makers at out event, stayed in touch, and pitched music for their current film projects. Kimmel met new NARIP member Trey Hill at a recent NARIP Music Biz Brunch in LA and pitched Hill’s music to Bennett and Lir.
Music used in the documentary film includes three tracks from Trey Hill (pitched by Peter Kimmel):
“Rize Up” – Written and performed by Da Hired Gunz (featured vocal track over the opening titles). ”Rize Up” instrumental – Written and performed by Da Hired Gunz. Instrumental/beats version - ”Plies Idea 3″ – Written and performed by Da Hired Gunz. Instrumental/ beats
Another track submitted by Molly Bohas has also been placed in the film – Dreaming, written and performed by Craig T Erquhart, Jr.
Wonderlous Music CEO Philip Cialdella attended a session in New York with Kevin Wilson, ESPN Music Director, and placed two tracks through the session! About a day and a half after NARIP’s session, he placed Rob Bailey & The Hustle Standard’s song “Hungry” in the show “SportsCenter.” A week later, he placed the second, The Chris Bergson Band’s song “Rain Beatin’ Down” in NASCAR Racing Spring Cup Pennsylvania 400. This song has been licensed for the rest of the season for all of NASCAR programming!
Peter Kimmel has secured multiple placements following sessions with Andrea von Foerster and Gary Calamar in Los Angeles:
- “The Big One”, by Tom Disher in the film Chronicle
- “Soul of a Man Never Dies” by Johnny Hatton in an episode of True Blood
- “Mopus Dopus” by Chili Caronkas & The Infidels in True Blood (Episode #503, airdate June 24, 2012)
- “Whine Whine Whine” by Teresa James in True Blood (Episode #504, airdate July 1, 2012)
- Read more about Kimmel’s placemens here. Kimmel has also made placements with music supervisor Max Luces-Tucker in the Bad Girls Club with “Smells Like Sex” by Ziff Wilson (air date Sep 5, 2011), “Mopus Dopus” by Chili Caronkas & The Infidels (airdate Sep 26, 2011) and “E I E I O” by Teresa James (airdate Oct 17, 2011).
Mighty Generation Music’s Sven Spieker placed “Luckiest Girl” by Jessica Williams in television program “Don’t Trust The B—- in Apt. 23″. It aired in Episode 107 on Wed May 23, 9:30 pm (PST) on ABC following a session with Andrea von Foerster in Los Angeles.
Andrea von Foerster placed NARIP member Simon Horrocks‘ Atlanta hip hop artist Yac-Yan Da Biznessman’s song “Good, Good” in the ABC hit sitcom Don’t Trust The B—- in Apt 23 (Episode 106, “It’s Just Sex”).
Madonna Wade-Reed has found a goldmine in music repped by NARIP members for the ABC Family show Jane By Design which she music supervises, placing The Hot Gates “How You Do It” repped by North Star Media’s Molly Bohas and Jimmy Nash’s “More Than Crazy” repped by Cloverdale Music’s Andra Dalto. Madonna also found great music traveling to London for NARIP sessions there, placing Anthony Salari’s ”Stupid Pretty Girl,” repped by Respect Music’s and NARIP London’s Sharon Dean.
Catharine Wood attended a NARIP panel “How To Market & License Music For Film & TV” that she said “irreversibly changed the direction of my business for the better.” Thereafter she attended NARIP Music Supervisor Pitch Sessions with Julianne Jordan, Andrea von Foerster and John Houlihan which, she says, “provided essential support in confirming that our compositions were creatively on-target and ready for placement production-wide.” She was then approached by ESPN to write and produce a theme song for the network’s boxing programming. “Using tools learned directly from NARIP’s panels and music supervisor sessions, we were able to negotiate a contract, sign the deal and deliver a final product that the show producer is thrilled with,” she says. Read more about Catharine’s success here.
NARIP Sessions Succeed Because They Are SMALL
Placements secured and professional relationships formed through these meetings are so good that we felt this format would work well for those who represent catalogs and/or seek intimate pitch opportunities with the best trailer house music supervisors in the business.
Limited to 16 people, NARIP’s sessions enable you to get to know the supervisors and more importantly, enable them to get to know you. At private sessions last year in Los Angeles, New York, San Francisco, Berlin and London participants were able to pitch for current opportunities on the spot, receiving instant feedback as to whether a song was appropriate or not, and WHY. This valuable feedback makes better pitches – and ultimately, placements – possible. In some cases, participants even had time to re-work their music to better fit a supervisors’ needs.
Above all, attendees MET key players in the modern music business, paving the way for future opportunities and giving them an edge in a highly competitive market.
At our next series in Los Angeles, participants will have the opportunity to pitch music for specific opportunities for current trailer and film promotional campaigns, as well as film and TV, games and advertising campaigns, and get immediate, direct feedback from one music supervisor per session.