Ideas during season one or two were no longer viable as the characters changed in seasons three, four and five.” I called Golubic to talk about his experiences on Breaking Bad and while we looked back, to also look back on his career. “I didn’t know what music supervision was until I started doing it,” Golubic said. “It wasn’t a well known profession at the time.” It’s a profession that is, perhaps, more competitive than ever, as record labels heavily pursue licensing dollars to balance their books and savvy unsigned artists shop their songs directly, without a middleman label rep. As storytelling got more interesting on television, so did the music that went with it. “Music supervision isn’t about the fidelity of the music, it’s the fidelity of the storytelling,” Golubic said. “When things start collapsing at a record label, a mistake that they make is assuming that they can continue surviving through licensing, but there’s too much serendipity involved in supervision to rely on that… There is a lot of music that I love that I’d never be able to use because it’s the picture that tells you what it wants.” There was a lot of serendipity (and struggle) for Golubic to become involved in a profession unheard of to him, but it’s lead him into the creative laboratory of one of the most talked about television series of the last decade. Golubic studied film at Boston University, (“I was stealing script ideas from Tom Stoppard plays”) but he ended up reporting on the Yugoslavian War from 1991-1992 for various newswires. Golubic then moved to Los Angeles to write a novel. He scrapped that and started an online web magazine, LA MAGNET (Los Angeles Magazine On the Net); he cherry-picked from the writers left from the LA Record and LA View merger to become “the first dynamic Los Angeles online magazine on culture.” Golubic lost a lot of money in that endeavor. “We were too early,” he said. Close to broke, single and no longer owning cats, serendipity stepped in – or better said, destiny turned on the radio. “I was driving around and KCRW requested over the airwaves that they were looking for someone to help with an online presence.
Music On The Street with KGON’s Iris Harrison
She’s tasked with maximizing commercial and strategic opportunities across labels, establishing new revenue streams, forming alliances with third parties and overseeing a variety of the companys special projects, according to a statement issued on Sept. 26. There are scarce executives in music with the depth of Micheles experience on both the label and artist sides of the industry, said Grainge in the statement. Anthonys versatility and creative approach to business will make her a valuable addition to our management team.” PHOTOS: Power Lunch Portraits: Where the Industry Meets and Eats Anthony returns to the major-label space having run the 7H Entertainment consulting and management firm for the past seven years. The company, which she launched in 2006, has counted Pearl Jam, Black Sabbath & Ozzy Osbourne, Prince, Bjork and Soundgarden among its clients. Over the past several years, Lucian Grainge has transformed Universal Music into the industrys most progressive music company,” Anthony said in a statement. “Im excited to be a part of the forward-thinking executive team Lucian has put into place, and I look forward to helping UMG lead the music industrys reinvention, working along side the extraordinary artists, employees and entrepreneurs that make up todays UMG. Anthony formerly worked at Sony Music where in 2004 she was named COO, Sony Music Label Group U.S. after having worked as executive VP of Sony BMG Music Entertainment. She left Sony in mid-2006, when she was president and COO of the Sony Music Label Group U.S. with duties for the day-to-day management and operations of the companys labels. VIDEO: Emmy Icons: The Osbournes on Making Their Mark on Reality TV and Then Getting Out Anthony had served as executive VP of Sony Music since 1994, having joined the company in 1990 as senior VP of domestic operations, where she established and managed the company’s regional A&R offices, in addition to overseeing special projects and new business development. Prior to joining Sony, Anthony was a partner in the entertainment law firm of Manatt, Phelps, Rothenberg & Phillips where her clients included where her clients included Guns N Roses, Alice In Chains, Ozzy Osbourne, Soundgarden, Rick Rubin, Sub Pop Records, The Sugarcubes and The Pixies.
When I first arrived in Portland in 1976, you could go downtown or to the suburbs and find high-quality, polished acts, newbies, guys just getting out of their garage or basement and playing to an audience, and it was all so exciting. It also helped that I was very young and sleep wasnt as important as it is today. There were nights in town where KGON was promoting four different venues with bands and wed manage to see them all, driving around from Beaverton to northeast Portland to southeast to downtown. Those were very fun nights! It still may be like that, but I dont crawl the venues like I used to. How much of your day is spent listening to music? I spend at least 10 hours a day listening to music. At LEAST. Sometimes more. Thats why home usually means conversation and movies take over. Anything youd like to share with our readers that you cant with your listeners? Im always finding things on the web that make me laugh but wouldnt be appropriate for our station site. I also find spiritual stuff that doesnt fit for KGON, but it makes me think and I enjoy that very much. To be honest, these are usually sent to me by friends, or I stumble onto them when looking for something thats KGON appropriate.