I think one of the biggest gets was 2Pac. The 2Pac estate—who are just lovely, warm people that care so much about how 2Pac's music is used—they kind of looked at it like, ”Is this something that he would want?” In talking to the estate, they’re like, ”He would be a fan ofThe hardest is actually a song that’s going to be in episode five. And the reason why it was so hard is because it was released on this small, tiny label that was only in existence from ’67 to ’69.
I ended up finding the grandson of the owners’ daughter via her ex husband. It was crazy. And there’s a matter of ”Hi, this is probably gonna be the strangest call you’re gonna get: please, are you related to the person that owns the label?” I know some other supervisors have been looking for it, and I found it. It’s in the show and it’s really fun. When you hear it, it’s obviously a vintage catalog. That was such a win.
When you look at the show, there’s a minimum of 20 songs per episode. It all becomes a blur; I’m just proud of the fact that I got through all of them.This season, the show has had more catalogue pulls than his compositions. There’s a different texture here. What do you make of this season’s sound? I think the main thing is we just didn’t want to repeat ourselves from last year. Even with the costumes and Donnie’s makeup, it’s a very different feel. It’s stillThere’s a lot of Twitter chatter [about] the catalog-type music that we’re using this season, like 2Pac and B.I.G. andwith our audience, is introducing them to new music right? There’s an element of discovery, which is so exciting to be a part of.
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