DID YOU READ

The Man Behind the Music of HBO’s “True Blood,” Gary Calamar, Part 1

The Man Behind the Music of HBO’s “True Blood,” Gary Calamar, Part 1 (photo)

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HBO’s “True Blood” is great TV for many reasons, not least of which is it’s music, and the dangerous, swampy vibe it often amplifies. Much of the music compliments the show’s main location, and music supervisor Gary Calamar even employs local musicians from Louisiana like Allen Toussaint and C.C. Adcock to lend the show an authentic regional sound. When not working on the soundtrack for “True Blood,” Calamar, who also was behind the music of “Six Feet Under,” music supes for other shows like “Men of a Certain Age,” and “House M.D.” He’s also a working DJ who has had a nighttime show on KCRW for something like 13 years, spinning pop, roots rock, blues, and soul. As you can imagine, he gets a lot of soundtrack ideas for his day job, during his night job. He’s a busy man, but he found the time to get down with me recently about the impossibility of using Led Zeppelin in TV, the cultural importance of the record store, and of course, the music of “True Blood.”

What is the sound of Bon Temps?

It’s got a few different sounds. I mean, it’s got the sound of Merlotte’s, which is a little bit more, upbeat bar music, rockabilly, southern Rock. And then in the first season we had some music for Sookie playing at her house, which was like the Watson Twins covering The Cure and stuff like that. But, yeah, all of it has sort of a dark undercurrent to it like a lot of New Orleans blues seems to have. Those classics Slim Harpo, Willie Dixon, and Howlin’ Wolf. Those are what really kind of speak to me as the sound of Bon Temps.

I heard [series creator] Alan Ball say a rule of his was to “Never use opera music” in a vampire show, one of the things he decided early on along with not giving them cheesy contact lenses…

I don’t remember Alan actually saying that to me. But I think his goal was to have a non-traditional kind of sound to the show. And not use, you know, sort of overly dramatic types of music that have been used in vampire series in the past, or movies in the past.

Which is made clear right away with the theme, Jace Everett’s “Bad Things.” It sets the tone brilliantly for the show.

Yeah, we got lucky with that. Alan actually found that.

[“True Blood” Opening credits, featuring Jace Everett’s “Bad Things.”]

I heard it was first just a placeholder – how did you decide on keeping it?

It was just a placeholder. Yeah, you know, Alan’s method of writing is when he’s on his computer he’ll write for a while and then he’ll take an iTunes break. 100 dollars later he’ll come back and finish up the script [laughter]. But apparently that song, “Bad Things” by Jace Everett, was like the single of the week on iTunes. We all liked it but we all kind of thought that we would eventually find the one. But the more we placed other songs against it we realized that it actually was the one. It was perfect and it had just that right combination of menace, romance, sexiness, and humor to it.

So Alan Ball’s pretty hands on then?

He is pretty hands on! He’s definitely very smart about music and has great taste. Yeah, he’s absolutely hands on in pretty much all aspects. Every meeting that I’m at, he’s always there. And he is always very opinionated. You know, he’s open to everybody’s ideas but, he knows what he likes and he knows what will work for the show.

Each of the episodes are named after a song that’s used in the episode, aren’t they?

Yep, that’s true. Which sometimes, as a music supervisor, can be… some extra work for me.

How maddening is it to make that work all the time?

Yeah, it’s difficult, especially if we’re thinking about a budget. You know, maybe initially they’ll name it after a song which for some reason is too expensive for us or we can’t license it for whatever reason. A few time we have gone back and changed a title of an episode just because the song didn’t work out as originally planned. But I think it’s a nice little feature, makes [my] job a little more fun and interesting.

So it’s the writers initially, who throw these title song ideas out, and they’re like “Alright Gary, make this work for us?”

The writers, yeah.

And then, you may end up changing it?

In the first season we didn’t go back and change titles, we just found a way to make it work. This season, we have changed the title a few times as we got down to the wire and realized the song title that the writer originally had was not working for whatever reason. But, yeah, the writers are very involved with the music choices. Oft times they will write a particular song into the script. Or they will have a song in mind when they choose the title of the episode. They obviously have some great insight into the vibe and the energy that’s going on in that particular episode. Having said that, sometimes the songs that they pick initially make it and sometimes they don’t. Sometimes we’ll see the song up against the picture and we’ll realize it looks good on paper but, it’s just not quite working. [laughs] That’s when I come in and provide alts for them.

What’s one of those episodes where it wasn’t working?

There was one song that was written in the show called, “Hitting the Floor,” I forget exactly who the artist was. We had our spotting session, which was where we all sit down, Alan Ball, myself, the writers, the editor, and we talk about the music — what we like and don’t like. And “Hitting The Floor” was not working, even though there was a scene in that episode where, very strategically, a head, a chopped-off head hits the floor. [laughter] But the song was not working. Well, I actually knew of a great song by P.J. Harvey called “Hitting the Ground.” So, we changed the title [from “Floor” to “Ground”], and it still worked thematically.


P. J. Harvey & Gordon Gano – “Hitting the Ground”

Stay tuned to IFC News for rest of the interview with Gary Calamar — Read Part 2 here!

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New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…

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IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon.

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number!

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time.

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by.

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IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo.

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim.

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t?

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?”

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud.

See the whole season of Neurotica right now on IFC’s Comedy Crib.

The-Craft

The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”

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Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).

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Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.

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And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.

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Get Physical

DVDs are the new Vinyl

Portlandia Season 7 Now Available On Disc.

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In this crazy digital age, sometimes all we really want is to reach out and touch something. Maybe that’s why so many of us are still gung-ho about owning stuff on DVD. It’s tangible. It’s real. It’s tech from a bygone era that still feels relevant, yet also kitschy and retro. It’s basically vinyl for people born after 1990.

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Inevitably we all have that friend whose love of the disc is so absolutely repellent that he makes the technology less appealing. “The resolution, man. The colors. You can’t get latitude like that on a download.” Go to hell, Tim.

Yes, Tim sucks, and you don’t want to be like Tim, but maybe he’s onto something and DVD is still the future. Here are some benefits that go beyond touch.

It’s Decor and Decorum

With DVDs and a handsome bookshelf you can show off your great taste in film and television without showing off your search history. Good for first dates, dinner parties, family reunions, etc.

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Forget Public Wifi

Warm up that optical drive. No more awkwardly streaming episodes on shady free wifi!

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Inter-not

Internet service goes down. It happens all the time. It could happen right now. Then what? Without a DVD on hand you’ll be forced to make eye contact with your friends and family. Or worse – conversation.

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Self Defense

You can’t throw a download like a ninja star. Think about it.

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If you’d like to experience the benefits DVD ownership yourself, Portlandia Season 7 is now available on DVD and Blue-Ray.