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“There’s not the pressure of like, I need to express myself right now. Unlike other music, the point of these songs isn’t necessarily to get played on the radio - but that can actually be somewhat freeing, said Lapolla, the musician whose song was featured in Christine’s intro scene. Knowing what the market demands, they’ll happily work with producers to pump out a supply of tunes in exchange for being paid each time the music is featured in a show or movie. Some musicians effectively make writing for licensing companies their full-time job. Right now, this kind of female empowerment, drive songs with swagger is a very big need, and it’s kind of become our speciality.” He added, “We are always looking for what the majority of our clients need at the moment. There’s lyrics about being glamorous, being the best - that sort of thing.” Typically, they have a female empowerment lyric or feel. “They are all songs with drive and swagger. “I would say they’re all bouncy pop,” he said of the Selling Sunset tunes.
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Ty Salazar, the vice president of creative licensing for film and TV at Position Music, said his company controls the publishing rights for about 20,000 songs - 26 of which are featured in the latest season of Selling Sunset. To find music, Hughes speaks with various licensing companies, who themselves search for artists whose music they can sell to productions. “We would love to, but we definitely don’t.” “We don’t have the budget for Ariana or Beyoncé or Rihanna,” Hughes said. It features an astonishing amount of music, and there’s only so much money to spend.
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The reason Selling Sunset is full of music you’ve never heard before is thus a practical one.
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It’s a universal sonic texture language.” “It has a very city, trendy, cool vibe that is kind of universal,” said Jennifer Smith, who worked with Hughes on seasons 2 and 3, “so it doesn’t matter if you’re watching it in the UK, you can still identify with it even if you’ve never been to LA. One is just ‘helping all women,’ ‘we’re great,’ ‘we can do this,’ and then there’s more feisty, like, ‘I’m better than you’ vibes.”
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“The other main word that gets thrown around is ‘feisty.’ So we kind of have two styles of female empowerment. “The showrunner definitely wanted ‘female empowerment’ ,” Hughes explained. She said that showrunner Adam DiVello, who also created Laguna Beach and The Hills, has a strict rule that they never repeat a song. Otherwise, she has a playlist ready to go of dozens of “female empowerment” songs that can be used for any transition where the lyrics don’t matter. Sometimes an editor needs a specific sound for an emotional moment - say, a fight or tearful breakdown - so Hughes will send along options. Hughes needs to listen to thousands of tracks to find the right tune that an editor can then cut footage to. A 10-episode season might contain as many as 150 songs, as well as hundreds of other musical cues without lyrics. “They have the same vibe, but they don’t sound the same to me.” “It’s not really the same for me, because I work in music,” she said. They don’t understand that we know this is garbage.”Ĭarrie Hughes, the music supervisor on Selling Sunset, acknowledges the songs tend to share certain themes and sounds, but she insists they’re each unique. “It’s been very funny to watch Twitter, and I feel like so many people have been talking about the music. “It’s ‘ gaslight, gatekeep, girlboss’ vibes, 100%,” said Colby Lapolla, one of the song’s writers. And while its lyrics may be nonsense, they somehow perfectly meet the moment - and that’s exactly the point. Like practically all the music in the show, “I Got Mine” is not a song you’ve likely ever heard before. Underscoring the moment is an electric bass-heavy bop with seemingly nonsensical lyrics: “Take my name out of your mouth / I don’t want to hear you talking when you’re around / ‘Cause everywhere I go it’s like you’re always there / But I don’t want to hear it / ‘Cause everybody wants a piece of what I got.” She’s heavily pregnant and looks impossibly glamorous, wearing a sleek black dress, a bedazzled blazer with arched shoulder pads, and a “chair purse” that she admits can’t actually hold anything. Now, she’s stepping out of a yellow Lamborghini to an $8 million property in the Hollywood Hills that looks like a drug lord’s palace. We’ve just watched a scene where - like most of the show - the other ladies in the Oppenheim Group real estate agency have been talking breathlessly about her. When Christine Quinn makes her first appearance in the fourth season of Selling Sunset, it’s a moment of high camp.