Welcome to the OC Bitches. Welcome to those see bitches. Welcome to the OC bitches. Okay, so I'm so excited about this episode. We're actually not doing an episode guys.

And there's something that people love just as much if not more than the show itself. And that's the music. So they there is so much to cover and I know we will only be scratching the surface of the music in this in this iconic show.

Let's just get right to it then. How's how's about that? Okay, our guest today is one of the most prolific music supervisors in of television and film today after founding chop shop music supervision in 1998. The three time Grammy nominee went on to help create some of the most iconic soundtracks and music moments in history on shows like the OC gossip girl, madman Chuck, rescue me marvels runaways.

Gray's Anatomy Supernatural Riverdale dynasty Bridgerton for which she was nominated for an Emmy and film such as the Twilight saga the Hunger Games catching fire perks of being a wallflower Koda and more.

She was also the chairperson of music cares welcome Alexandra. So happy to be here. It's hard to to hear all those titles actually.

Well, it's quite the accomplishment. I mean, it's pretty yeah, incredible. We've been so excited to get into the music of the show and to talk to you. We've been waiting a long time and it's just so incredible.

I mean, reading this list, I was even like, oh my god, like I didn't realize you did Bridgerton and like the music in that was phenomenal. I mean, I had the soundtrack because it was just so cool. All those classic spins on on those popular songs.

Thank you. Thank you. That was it is always fun to imagine a world. And I think that if we're going to talk about sort of I know I know what we're going to talk about.

But we'll talk about the craft of music supervision. It's really how are we defining that musical world and every world's different and the OC certainly was.

But it speaks to the evolution of this this job title that you have that's not just defined by one thing. You don't just pick songs and stick it on a TV show.

My job is evolved over the, you know, I started supervising in 95. So, you know, a long interesting journey.

You know, from from where I started to to all the projects that I've worked on.

Did you study music or or, you know, as a as a team, how did that have such a good question because I think the answer is always surprising.

I did I was a I was a musical kid. I sang in my school plays. I played in bands, but I was never very I was never going to be a professional.

I was like a really I was an enthusiast. But we're like what I really was was a music kid. And I was from Chicago and was a huge John Hughes fans, which I think I'll I'm sure I'll bring up later because I feel like there's some very

busy in moments in the OC. And when I went to college, I started booking bands landed in Los Angeles in the early 90s. And it first worked at a at a talent agency.

Then it BMI, which is a broadcast music ink, where you know, composers and songwriters are are looked after as far as royalties. But finally, I started to work for Roger Corman.

And I work for a really generous music supervisor who really taught me the ropes on what this gig is and how you can do it. And of course, Corman's a legend.

You know, all kinds of B movies and I worked on the reimagining of those 70s movies in the 90s. And I think probably the sum of the 50 projects I contributed to equal the music budget of one episode of television.

So it really was quite an interesting journey as far as how to, you know, how to do that job and how to not do it with it with a ton of budget.

Isn't Corman famous for stretching that dollar, stretching that budget as as the best way possible, right?

It's, you know, it was Roger Corman's school of film. We used to call it right. Yeah. So definitely.

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