I was watching "Cheaper by the dozen 2" with my kids the other night, if u arent hip its a 2004 childrens movie w Steve Martin about a family w/ 12 kids.

Anyway out of the blue theres a scene where Steves kids are adjusting to moving from their small country town to the big city. To emphasize the point a car pulls up besides theres at the stoplight, the window rolls down and u see 2 lil young suburban kids, 8-9 yrs old in the backseat of the car, of course they are dressed in their "hip hop gear" i.e. back wards hats, jerseys etc... they ice grill Steve Martins kids. The funny part is the music blasting out the car speaker is SV's "Conant Garden" (Baatin is rhyming) they roll up the window after a few seconds and the car drives off. Steves kids obviously shook.

*weird and akward*

I checked the sountrack and it wasnt listed as being on the official sountrack

I know that doesnt mean anything

but that was just weird and random

how the heck did someome find SV at that time, and how did they randomely pick that song?

Baatins part tho?

any other instances of this?

where some dillweeds was on "why do people always blast WACK hiphop in movie scenes" and shit, whining about how the director/whoever project their own musical tastes on the viewer. (like... WTF, how is that different from any other movie?)

now obviously I don't think that about the song in question but I do find it interesting when you hear a song you don't think a lot of cats are on in a movie. it's one of those little winks to the viewer that I always find cool.

I mean I like Conant Garden but i cant think out of all their material they had out at that time how or why that particular song was chosen lol

had to be a personal fav of someone involved in the movie

the soundtrack was the only thing that kept me interested

the raspy drum sound in the beggining of Runnin has to be the easiest recognizable start of track for me

scene where it plays is mad drugged out and debauched

maybe that was the point

or maybe it just captured the moment in time

it also fit the tone of the movie the struggles of young kids in NY

if we are talking about the "Kids" w Rosario

but I was familiar with the song before the movie

for us that was local LA shit

so for it to catch the ear of whoever was working on Kids, a story set in NYC was just weird

not that it couldn't happen, just that it seemed off

in that context it is kinda strange

an underground Cali song in a movie set in NY with all other NY underground hip hop songs

>but I was familiar with the song before the movie
>
>for us that was local LA shit
>
>so for it to catch the ear of whoever was working on Kids, a
>story set in NYC was just weird
>
>not that it couldn't happen, just that it seemed off

I don't remember a DJ ever mentioning that dude was from the West Coast, I found that out on my own.
To me it felt like they were playing a tape that someone made off of the radio. If that's what they were going for then having "Listen Up" in there wouldn't have been odd.

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The drugdealers were riding around listening to Motion Man or Jacky Jasper or another one of the "Kool Keith proteges" (can't remember now who it was, it was many years ago I watched that episode), that always struck me as weird. Of all Hip-Hop to pick and they went with *that*?

this is funny

how many street cats even know who koolkeith is?

drug dealers driving round listening to talib kweli? that always struck me as strange. or maybe that does happen. but still, drug dealers in the late 80s listening to post-criminal minded BDP or PE i could get, but kweli?? i dunno. maybe they liked the beats...

i think they started featuring bmore club in the later seasons too. there was one scene where the guy wonders how snoop could be from there and not know a certain bmore classic...

It struck me as strange as well but I really have no idea what people listen to when they are dealing drugs in baltimore...

One of the few things in The Wire that throws the plausibility. Somebody musta told 'em, because they got it (more) right after that.

They most have had a licensing agreement with Coup De'Tat records are something, because the first two seasons had featured a lot of music by J-Live and Akrobatik.

They show a house party thrown by the Barksdale crew, and the entire place is going nuts while the listen to "CK Won," an album cut from Cage's first album. Yeah... no.

Almost as bad was one of Barksdale's crew running through the Towers from the cops while a stereo blasts a song by some obscure Canadian hip-hop group.

They didn't start getting the music right until Season 3 or so.

I'm a big Cage fan so it was nice to hear, but no way in fuck a bunch of Black, Drug dealing dudes in Baltimore give a fuck about Cage

like if you don't know this you MUST be from NY aka I'm taking your dome

cold blooded

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Explains how almost every white girl I know has "The Seed 2.0" on their itunes but still weird imo

one times after a Roots show in which J5 was opening for them I had an opportunity to chil w J5 and go on their tour bus

it was when "whats golden" just came out

Charlie Tuna was excited and tellin the rest of the group that their manager told him "whats golden" had been placed on a tv show (I cant remember specifically but maybye CSI or sumthin)

since he was so suprised it made me think that the group wasnt involved w the process at all

from what I understand they dont get paid upfrontfor those placements as its more of a promotional tool but they would get pub

anyone care to elaborate on the placement process?

i used to submit for licensing to film/tv...

from my (limited) experience, there are usually 2 scenarios:

1) there are agencies who act as middle men between the labels/artists and the film production companies. The artists/labels/managers submit large batches of music (usually they request sample free stuff) to the agencies. The agencies put them into this large database of music. The production companies go through the databases and pick what they like, kind of like ordering off a menu. The publishing eventually trickles down to the artist, but there is usually no contact between artist and production companies. The agencies essentially lobby the prod companies to have their batch considered over others. The agency's relationship with the prod company is key to getting their client's placement.

2) There is some kid who works on a film, but secretly stans for indie artist X. He convinces a director or whoever to include their music in the film. The licensing process happens in reverse, in the sense that the prod company now reaches out to the label/artist, etc.

there are exceptions, but this is pretty much how it works. Truthfully, i stopped fucking with it cuz I got bored doing non-sampled beats in this sort of factory-style way...your music ends up in database of a gazillion songs. and, it is literally a crap shoot in terms of getting picked. I think i got a few beats in some commercialas i never even saw. To this day, don't know much about it, only the ASCAP check says so....

this made the Lesson Lessony

so in a nutshell product placement id not driven by the actual artist directly

wow

from your expierence which of the 2 scenarios you mentioned is the one that "normally" happens or is it 50/50?

>i used to submit for licensing to film/tv...
>
>from my (limited) experience, there are usually 2 scenarios:
>
>1) there are agencies who act as middle men between the
>labels/artists and the film production companies. The
>artists/labels/managers submit large batches of music (usually
>they request sample free stuff) to the agencies. The agencies
>put them into this large database of music. The production
>companies go through the databases and pick what they like,
>kind of like ordering off a menu. The publishing eventually
>trickles down to the artist, but there is usually no contact
>between artist and production companies. The agencies
>essentially lobby the prod companies to have their batch
>considered over others. The agency's relationship with the
>prod company is key to getting their client's placement.
>
>2) There is some kid who works on a film, but secretly stans
>for indie artist X. He convinces a director or whoever to
>include their music in the film. The licensing process
>happens in reverse, in the sense that the prod company now
>reaches out to the label/artist, etc.
>
>there are exceptions, but this is pretty much how it works.
>Truthfully, i stopped fucking with it cuz I got bored doing
>non-sampled beats in this sort of factory-style way...your
>music ends up in database of a gazillion songs. and, it is
>literally a crap shoot in terms of getting picked. I think i
>got a few beats in some commercialas i never even saw. To
>this day, don't know much about it, only the ASCAP check says
>so....

>so in a nutshell product placement id not driven by the actual
>artist directly

that is correct. i have never heard of an artist dealing directly with film or tv producers unless its a scoring situation, which is totally different. For example, with the premiere of NYC22 tonight, Pete Rock (working with musicians) actually scored the music to the show. (he tweeted about that yesterday). But for licensing...naw, that is the producers of the films making those choices. I can think of some exceptions....i can elaborate on that if u want.


>from your expierence which of the 2 scenarios you mentioned is
>the one that "normally" happens or is it 50/50?

i don't know really. to me, if you hear an indie buzz song (especially one with samples), its probably some music head working on the film involved. But for random keyboard beats in the background of Jersey Shore, thats definitely some catalog shit chosen from a database. don't get it twisted tho, getting some play on jersey shore is a significant check (to me at least).

EDIT: just realized a lot of this discussion is about fully produced soundtrack songs. in that case, yes, the producers sometimes approach a label or artist and ask them to submit a song for the soundtrack that may or may not relate directly to the movie. so i guess that is a third scenario i didn't mention before. in some cases they pick a song already released (like the SV song) and approach the artists about licensing for the movie. In other cases, like the MC Eight song in Menace, he obviously wrote it for the movie. What i was talking about before is for background beats usually found in reality shows or commercials, and some films.

wtf

I couldnt even imagine useing it as a background

hip hop pops up in movies a lot more now...

every time he gets in the car, his (black) driver puts on some hip hop...

.

that's from the book. A few groups get named checked in the book during the earlier chapters it felt forced as fuck.

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-

I was surprised as hell when dude was bumping Geto Boys...

Seth Rogen is prolly in it

but I always wondered how some random songs make it into movies. I bet a lot of it has to do with what production company is producing the movie... more than likely it will be random shit from their own catalog. Just a thought.

..or maybe they use songs that don't cost a lot to place. Pretty sure an SV song would be much cheaper than an Eminem song.

Dirty popping up in a bro-film should not be considered a surprise, when Return To 36 came out I came home from class one day to see my geek roommate who listened to nothing but Weezer had put that food-stamp-album cover bumper-sticker on our front door.

~~~~~~~~~
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The movie called "Knocked Up".

.

I was once browsing an electronics store in a suburb on the outskirts of Tokyo and one of the stereo systems they had on display was bumpin' Big L. Not Biggie. Not Big Pun. Big L. That really threw me for a loop.

in a neighborhood where I heard more hi-hats per minute than you hear engine revs on a Nissan CVT-equipped budget-priced sedan... I was like "WTF".

this was 2010 or so, BTW

shit made no sense at all.


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and it did make NO sense at all.

Because the "bitch" was suppose to be them taking a shot at call of duty

they were basically saying they're not worried at all about the Call of Duty franchise because they had the better game.

back then both companies were talking mad shit about each other before their games was released

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(or rather, the instrumental) on a BURGER KING commercial?

I laughed my ass off

Bootytalk with Lexi Cruz, Cherokee, and Carmen Hayes.

The one where old girl does that famous ass wiggle?

we talkin bout the same one?

All i know is those 3 chicks started off on some lesbian shit then ended up smashing 3 other niggas simultaneously.

Something that NEVER hit radio or clubs, called "Sexuality"

MC was at their party performing "Bust a move." The song itself wouldn't have been too surprising/weird, but having him there performing it made it very WTF worthy

>MC was at their party performing "Bust a move." The song
>itself wouldn't have been too surprising/weird, but having him
>there performing it made it very WTF worthy

at the same time, you have to imagine a lot of corporate conferences probably would book someone like young mc... it's someone they've heard of (because they're all old) and could afford (because he's not in demand), so i thought that was a nice touch

And yea, him and Tone Loc who are basically the same person with the same hits are like that...those 40+ corporate folks LOVE their music, and can afford em.

was pretty odd.

I understood all the Scarface/Geto Boys because Mike Judge is a Texas dude who probably grew up on that shit plus used their music for comedic contrast throughout the film.

But 'Get Dis Money' was a "WTF?" moment.

I was watching an episode & during a scene break where they show the logo, that beat came on! I had the confused face like shit! lol!

they played either "Eric B is President" or "i know u got soul"..cant remember which it was

it wasnt out of place as it was an urban show but back then in the 80's they NEVER played hip hop on tv. So this wasn't weird as much as suprisong

I swear I am the only one who remembers it

Dwayne Wayne was sitting on the couch

Dwayne Wayne was in the Check The Rhime video, all up on the roof w/Extra P and them.

I wish I remembered the Eric B & Rakim part and I was I fan of that show too. Probably missed that ep.


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>they played either "Eric B is President" or "i know u got
>soul"..cant remember which it was
>
>it wasnt out of place as it was an urban show but back then in
>the 80's they NEVER played hip hop on tv. So this wasn't weird
>as much as suprisong
>
>I swear I am the only one who remembers it
>
>Dwayne Wayne was sitting on the couch

as Bill Cosby wasn't very fond of rap. And I'm pretty sure he played the album version too which was the version I preferred. I remember Dr. Claw saying that Theo was the OKayPlayer prototype that bugged me out cause it's kind of on point.
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The first time I heard those I laughed hard as hell because I was not expecting any of that.

>The first time I heard those I laughed hard as hell because I
>was not expecting any of that.

Mike Judge is from Houston, so a lot of Texas=ism's showed up Beavis and Butt Head and King of the Hill (and Extract)

He's a fan.


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Also, that Kweli/Dilated People's joint 'Live on Stage' was in Step Brothers

>Also, that Kweli/Dilated People's joint 'Live on Stage' was
>in Step Brothers

at least I think I remember it being in Step Brothers

Old dude knew the lyrics, too.

>Old dude knew the lyrics, too.