Interesting Bits|

Meow Wolf’s House of Eternal Return in Santa Fe (Photo by Kate Russell/Meow Wolf)

Alex Teitz of Fem Music sent us several articles this past couple of weeks that our readers may find very interesting. We recommend that you check them out!

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Meow Wolf CEO Vince Kadlubek Steps Down – for Now

By Kyle Harris, Westword | Vince Kadlubek stepped down from his role as Meow Wolf CEO on October 18; he will be replaced by a team of the company’s officers, all of whom have considerable corporate experience.

“I am excited to move into a new phase of my career with Meow Wolf,” Kadlubek wrote on the Meow Wolf blog. “I have chosen to shift from the position of CEO in order to focus on developing a new toolset of skills, build key business development initiatives, and take care of my personal health. I will continue serving on our company’s Board of Directors and will serve as an executive advisor to our leadership team.”

Read the whole article here:

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Screen Breaks: How TV Music Supervisors Boost New Artists

By Lanre Bakare, The Guardian | The influx of money from streaming services such as Amazon Prime, Netflix and Apple TV into music supervision and licensing has helped to compensate artists for falling record sales, according to one of the sector’s most prominent figures.

Music supervisors used to be a rarely mentioned role, but the investment in TV from streaming platforms has made having impeccable music supervision another vital element in a standout series. “Some people think supervision is like fantasy football for music,” says Zach Cowie, one of the new breed of music supervisors. “But there is a lot of stuff you need to know beyond just selecting good music.”

Cowie – who worked at record labels and toured with Animal Collective and Fleet Foxes before becoming a DJ and moving into music supervision – has worked on Netflix’s Master of None, Amazon’s Forever, Kirsten Dunst’s series On Becoming a God in Central Florida, and Apple’s forthcoming anthology show Little America.

Read the whole story here:
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Name That Killer Tune: Why Today’s TV Dramas Thrive on Musical Mystery

By Vanessa Thorpe, The Observer | Original scores are fast giving way to obscure existing tracks, propelling their makers to sudden stardom

A grisly scene unfolds on the TV screen: a dead body is revealed on a beach, or by a canal, or perhaps floating in the pool of a luxury villa. As the camera pulls out, the strains of an atmospheric tune strike up. But never mind working out who did the murder – the key question is: who did the music?

The box-set entertainment era has spawned a new leisure pursuit: whodunnits in which viewers spend as much time detecting the musicians behind the soundtrack as they do unravelling the plot.

A track by an unknown band played in a hit show can now catapult them to prominence as the increasingly recherché choices made by the makers of drama series have become a badge of honor. And for those who have to make the decision, getting the right music for the right program is a tricky business.

“You cannot have anything that has been previously used,” said Matt Biffa, who has found the tracks for many films and TV shows …

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