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1 Raindrops Keep Falling on My Head 2 Enough is Enough (No More Tears) 3 Make Me Lose Control 4 Deny Deny Deny 5 Bring the Pain 6 Into You Like a Train 7 Something to Talk About 8 Let it Be 9 Thanks for the Memories 10 Much Too Much 11 Owner of a Lonely Heart 12 Grandma Got Run Over by a Reindeer 13 Begin the Begin 14 Tell Me Sweet Little Lies 15 Break on Through 16 It's the End of the World 17 (As We Know It) 18 Yesterday 19 What Have I Done to Deserve This? 20 Band-Aid Covers the Bullet Hole 21 Superstition 22 The Name of the Game 23 Blues for Sister Someone 24 Damage Case 25 17 Seconds 26 Deterioration of the Fight or Flight Response 27 Losing My Religion

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thanks to
ABC.com
music supervisor
Alexandra Patsavas

Since the show first aired last Spring, I have been getting a number of emails from Grey's Anatomy music fans about getting into the business of Music Supervision. Many of the inquiries are about which college classes to take, what the best companies are to work for and most often -how I got started. So here goes.

It seems obvious, but to be a music supervisor you really really have to love music. And I mean love it in that "my life would be a big dark room without it" kind of way. In college (as a political science major) at the U of Illinois, I worked as an independent promoter booking live acts and bringing them to campus venues and bars - They Might Be Giants, Camper Van Beethoven, Jane's Addiction and Smashing Pumpkins were some of the acts. This was in the late 80's so these big bands were just starting out at the time and were playing small college venues. I left Illinois to work at Triad Artists (big talent agency) in the mailroom and then at BMI in the Film/TV department. At BMI, I was first exposed to music in film and got to work closely with composers, music supervisors, music editors and observe how music actually made it into film. I focused on getting a music coordinator gig and was lucky to be hired by Paul Di Franco at Concorde Films. Concorde was the legendary B Movie Producer Roger Corman's film company and Paul taught me all the basics about spotting sessions, clearance work and negotiation in my 3 years and 30 projects at the company. In 1998, I started Chop Shop Music Supervision and have worked supervising both film and TV projects.