Jump to content

Soap Opera Background Music Thread


Recommended Posts

  • Replies 413
  • Created
  • Last Reply

Top Posters In This Topic

Top Posters In This Topic

Posted Images

Great questions. For some reason Sony sold all of their Music rights from all of Sony Pictures Television and also their Movies. 

They bought some rights back. I know. It makes NO sense to sell them and years later to buy some back. But my point is that it was a Sony thing to sell the music rights. 

Link to comment
Share on other sites

  • Members

This was me inquiring about it! I'm YRVault on twitter haha. I was so surprised when he replied with a short composition, I was just expecting the name of the cue at most so that was pretty cool of him.

 

 

 

Dobson is partially the reason we're hearing some of the old cues again. He's the Musical Supervisor, with RC Cates co-supervising (also composing). He was fired by JFP in 2012 but came back to Y&R in 2017 under Sally Sussman Morina and Kay Alden's leadership who had planned to bring the music back - however when they were pushed out in favour of Mal Young, and he had a different vision. It wasn't until Tony Morina was hired as EP that he started to slowly and sparingly bring the old cues back. I don't think it's fair to pin the blame on Dobson - his partner/EP likely have a hand in how much of the cues they use. 

Link to comment
Share on other sites

  • Members

Allocco and Kurtz’ scores are definitely missed. And I mean a lot of gothic, moody and sinister stuff from the 80’s and early 90’s.

 

However good it would be to hear the litany of classic scores, the way the show is designed, shot, lit, written (number of scenes per episode, as well as the type of storytelling), and directed, I don’t think they would completely fit anymore. Sad though that is.

 

 

Link to comment
Share on other sites

  • 1 month later...
  • 9 months later...
  • Members

Where can B&B cues from 2000's be found? I assume they were never released. There was a specific

cue when Sheila kidnapped Ridge in South America been trying forever.

 

 

 

 

How was this OLTL cue used on Y&R?

 

 

 

 

Please register in order to view this content

Edited by fivethej
Link to comment
Share on other sites

  • Members

 

If you can find a clip from OLTL that has this cue that would be great. As far as I know, this was an original for Y&R composed by Allocco, Kurtz, and Guitto and those three were exclusively composers for Y&R up until 2012, which would prohibit the use of this cue on an ABC soap from a licensing standpoint, unlike in the example above as Gary Kuo composed for both Y&R and Loving so music rights are a bit more flexible especially considering Loving is off the air.

 

Perhaps it's possible the arrangements were very similar sounding.

Edited by ChickenNuggetz92
Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Unfortunately, your content contains terms that we do not allow. Please edit your content to remove the highlighted words below.
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

  • Recently Browsing   0 members

    • No registered users viewing this page.



  • Recent Posts

    • https://x.com/MicheleValJean/status/1919575319146856657  
    • The penthouse was my favorite set... and it changed hands from Margo to Draper/April to Miles/Nicole then to just Miles... before he opted to give that beautiful place for that drab house with the even more drab Beth.  That was a jump the shark moment for me LOL
    • The storyline April and Draper are involved in during the summer/autumn of 1979 seems fairly "benign" but soon turns very serious.  April has a VERY intrusive, wealthy mother (Margo Huntington Dorn).  Margo knows that April and Draper (who've recently had a miscarriage and are theoretically never going to be able to conceive another baby) want to buy a house.  Margo hoodwinks them into buying a house they can't afford.  The house is listed at $100,000 (about $400,000 in today's dollars).  Margo pays the first $35,000 and leads Draper to believe the asking price of the house is $65,000 instead of $100,000.  If Draper finds out his meddling mother-in-law paid 1/3 of the cost of the home and tricked him, he'll be mad as hell.   Meanwhile, Draper has received a job offer from a prestigious New York law firm.  Margo pulls some strings and has the senior partner in the firm rescind the offer, to keep April in Monticello.  If Draper finds out about THAT, he'll be even angrier with Margo than he will be about the house trickery.  All of that is "bubbling under the surface" in the fall of 1979 but will be the next major story, as everything begins to spiral out of control.   Yep, you've got the Karrs and their very basic middle-class house, the Victorian-themed place where Miles and Nicole live, April and Draper's old craftsman house with the exposed beams, the Madisons & their Mission revival house, and Margo with her 1970s-chic penthouse.  Each of the sets is completely different.  And their budget was like zero, lol.  
    • It felt weird and out of place.  I get. While I agree with those on here that he's gotten better, it's still really bad. I'm not seeing the "good" acting some see...but I'll give him a B for being better than when he first started. There's potential. I'll leave it at that. 
    • It's like watching paint dry at a slow-ass pace. It's bad acting. Entirely. Excellent? With Claybon? Never. Ever. 

      Please register in order to view this content

    • Ah! Good to hear. Isn't it especially odd to think that house fictionally exists not far from the Karrs?  Or, that it was designed non-fictionally by the same person who designed April's place?
    • Good to know I'm not the only one who noticed that. Strange and awkward, and I don't know what they're doing with those fades.   -- Finally, had to laugh at how many Emmys this board passed out today.

      Please register in order to view this content

       
    • Not unless they live in an apartment complex. 

      Please register in order to view this content

    • That was bad. Product placement is fine, but not here, not now. Besides, no one carries their damn detergent to the living room.   Completely and utterly disagree. I thought Brandon Claybon was excellent today -- maybe his best performance since the show started. No recast needed.   Not unpopular with me. That didn't work. The montage was good, but 5 minutes of Amazing Grace? With all those verses? No. What kind of family breaks into a loud version of Amazing Grace after what just happened??? None. Anita's lecture to Leslie was great. Ending the show -- a really good episode with crackling dialogue -- like that was a mistake.  
    • Today, was a fantastic episode. I loved everything about, including Ainta singing, Amazing Grace. I love the family dynamic of the Dupree's so much. They remind me of my own family at times. Martin & Smitty have come leaps and bounds from where they  started. I genuinely felt a connection between them I can't wait to watch it deepen. Dana/Leslie/Sherry/Ana is a piece of work. Her speech at the Dupree's about her "concern" for Eva and then locking her out of their apartment??? She is pure evil, but I love it. I can't wait to see where the Eva/Kat story goes. There's so much potential there. As for Ted, I need to see Keith Robinson in the role before giving my true critique of Maurice Johnson.
×
×
  • Create New...

Important Information

By using this site, you agree to our Terms of Use and Privacy Policy