The Sound of One Tree Hill with Lindsay Wolfington

One Tree Hill’s legendary Music Supervisor, Lindsay Wolfington, joins the Drama Queens for a deep dive into the memorable music moments that brought the show to life. From landing major artists like Sheryl Crow, Kid Cudi, and Fall Out Boy to curating the show’s most powerful musical moments, Lindsay shares all the behind-the-scenes secrets.

Plus, she reveals the story behind choosing Gavin DeGraw’s I Don’t Want to Be as the show's iconic theme song and why it was the perfect fit.

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:00):
First of all, you don't know me.

Speaker 2 (00:02):
All about that high school drama girl drama girl, all about.

Speaker 3 (00:06):
Them high school queens.

Speaker 1 (00:08):
We'll take you for a ride.

Speaker 2 (00:09):
And our comic girl shared for the right teams, Drama Queens,
my girl girl Fashion, which your tough girl, you could
sit with us Girl Drama, Queens, Drama, Queens Drama, Queens Drama,
drahn MC Queens Drama Queens.

Speaker 4 (00:25):
Ladies and gentlemen, we have a real treat for you today.
We've been talking about having her on the podcast for
so long. She really changed the landscape of One Tree
Hill and made it what you know it as in
terms of a show that brought you new musicians, broke
musicians on the show, the sound, the feeling, all the

(00:48):
emotions that you experienced watching One Tree Hill that were
under the underscore literally of all of this music that
was brought in. This is Lindsay Wolfington and we're so
happy to have you here.

Speaker 1 (01:01):
Hi the show. I'm so excited to be here. Thank
you guys for having me, Lindsay.

Speaker 5 (01:06):
To I mean everyone's point, we've been talking about just
how desperate we've been to get you on the show,
So thank you for coming. I do hope that out
there in the ethers, it's felt nice to know how
often we talk about you and not weird and yeah,
we're just so weird. Okay, great, We're so amped that
you're here. And I just have to say, not only

(01:29):
for the fans, but you know, especially for all of
us here, what you gave us in terms of the
emotional experience for our characters, and certainly the ways that
you supported both Joy and I and every other member
of our cast who got to direct, Like, that's something
I'm jazz to talk to you about what it's like
to work with you as a director, but just to
paint a picture for all of our wonderful friends and

(01:51):
listeners at home.

Speaker 1 (01:53):
That's literally what Lindsay does.

Speaker 5 (01:55):
She manages to put the feeling in the moving picture
that you see on screen. She's worked in music supervision
for twenty years, known for her work on Our Show,
where she featured over seventeen hundred songs that range from breaking.

Speaker 1 (02:10):
Artists to icons like led Zeppelin and You Too. More
recently for.

Speaker 5 (02:15):
Her work on the Netflix sensation To All the Boys
I've Loved Before and its follow up sequel, also shows
about great emotion and falling in Love.

Speaker 1 (02:26):
I love the teen drama exactly.

Speaker 5 (02:28):
We love the teen drama you're working on a Typical
on Netflix, Virgin River on Netflix, Warrior Non on Netflix,
Drama Club on Nickelodeon, and two romantic comedies from the
producers of To All the Boys and Love at First Sight.
Your credits are actually too enumerative to read, so look
her up on IMDb because we want to talk to her,
and I don't want to spend nine more minutes reading

(02:50):
her own resume to her.

Speaker 1 (02:51):
But thank you for being here.

Speaker 5 (02:54):
I want to ask you the question I'm sure so
many folks at home who would love to do what
you do want to ask, which is, how did you
get your start working in music on production?

Speaker 4 (03:05):
Yeah?

Speaker 1 (03:05):
I got super lucky. First of all, I got into
it before it was popular and anybody knew it was
a thing. So I worked in radio in college. I
was actually a DJ at WBRU in Providence, which was
a modern rock radio station, but all the DJs were
actually students at Brown University. That is so cool. Yeah,

(03:26):
my DJ name was Maggie Wolf because I was like,
I don't want it to be my real name, but
my first name is Margaret. I was like, I'll be magil.
So I worked in radio and I did a cappella
in college, but then, like I knew the radio thing,
I didn't want to continue. Actually, it's funny, like everyone
wanted to move on and be a VJ, right, Like
we all wanted Hillary's job, but there were like three

(03:49):
people who could have that job. So I was actually
a huge fan of the TV show Felicity, which was
on the WB and I noticed they used music so well,
and a lot of music, and a lot of music
that wasn't necessarily like a radio hit, and I was like,
I bet that's someone's job. So that I went to
the movies once and I stayed for the end credits

(04:10):
and I saw the title music supervisor and I was like,
I bet that's what it is. So it was a
lot of like I bet that's someone's job, and I
bet that's what it's called. I moved, so I was like,
I'll go, I'll move to LA. I'm from the East
Coast originally, and I was like, I'll go to LA
for two years and then maybe end up back in
New York, but I'll go see what this is about.
My first week in LA was September eleventh, two thousand

(04:30):
and one, Like, not a good time to be cold
calling people. But eventually I connected with an alum of
my a cappella group who worked at Disney overseeing shows
like Alias and Felicity, and I was like, oh my god,
Felicity's my dream show. So he was like, I know
the women who work on it. Your best bet is
to start as an unpaid intern, like I can send

(04:52):
your resume over. And that was Jennifer pike In and
Madonna Wade Reed. They had a company called Daisy Music
and at the time they were doing Alias, Smallville, Felicity,
and Boston Public.

Speaker 4 (05:04):
Wow, were there bigger shows on TV?

Speaker 3 (05:09):
I think not?

Speaker 1 (05:10):
No, Like so I ended up I met with them.
They were like behind on paperwork. They were like, yes,
we need help. It was right time, right place, and
I was ready to dig in. And I worked unpaid
for like a week and then they were like, we
can tell you really into it and we can tell
we need you. So so I stuck around. But yeah,
like that January they were in Rolling Stone as like
the It girls putting music to TV. So I learned

(05:32):
with the best right and they were awesome. It was
like Sophia you've been to the office. I don't know
if you remember coming to they too, and it was
like wall to wall CDs and it was just two
open rooms, so like you heard everything right, So it's
really an apprenticeship type business. And you know, I started
off obviously like doing paperwork and like finding the song

(05:54):
that you could barely hear in the cafe. But I remember,
like my first placement was a big breakup moment in
Felicity and it was this like super sad song by
an indie artist called Sarah Slean, and I was like, anyway,
those are my favorite type of scenes to place and

(06:15):
kind of side note, but like now another supervisor friend
and I have started a podcast called Sad Song Queens
because like we love sad songs and we love talking
about them.

Speaker 6 (06:24):
That's great.

Speaker 1 (06:26):
But anyway, that was that was like a long way
of So I worked with Jenna Madonna for four years
and they did all of Tolan Robbin's shows, So they
did Smallville and then like the following year we worked
on two shows that got canceled, so like of course
those were the show like we split up, who oversaw
a show? Like we all did creative on all the shows.

(06:47):
But we had a point person on each show that
so nothing fell through the cracks. That person did all
the paperwork on it. So I always had like the
lowest show on the Totem pole, which in my third
year was One Tree Hill. Wow, everybody loved it. But
we had Smallville and we had Las Vegas and both
of them are huge shows.

Speaker 4 (07:06):
So yeah, no, I mean that was the narrative about
our show for a long time. I mean, they under
they would tell us like, you're the underdog, You're on
the bubble, You're gonna get you know. But I have
a question before we move into that, because we should,
but just to clarify for anybody who doesn't totally understand
how you do.

Speaker 3 (07:23):
What you do.

Speaker 4 (07:26):
They send, maybe you could just clarify, like you're sent
scenes with note, you know, with the sounds, just the
audio of the actors. You are you given the script?
Do you break down the script in terms of an
emotional arc? Like what do you do?

Speaker 1 (07:37):
Yeah? Our process and my process always begins at the
script stage, and definitely with One Tree Hill, they were like,
we need music from the very first cut, Like the
editor's cut needs to already have music in it. So
they needed things to work with. So sometimes you make bins,
like like we always made a Karen's Cafe bin because
you knew you were going to be in there, right.

(08:00):
But basically I read the script and break down where
I think there will be music needs, and sometimes it's
a cafe or a bar, sometimes it's you know, on
One Tree Hill, it was almost always like an opening
montage and and montage. We always had our coda and montage,
and then you're kind of looking for moments like, oh,

(08:20):
if two characters are having their first kiss, like probably
going to be a moment we're going to want to
put a song in. On One Tree Hill we did
a lot of like trying to tie scenes together with
a song. Like you probably noticed, you're like, wait, we've
been using this song for three minutes. So like it
was looking for scenes that maybe had the same feel

(08:40):
to them, And so basically I make an Excel spreadsheet
that breaks down the scenes where I think we'll need music,
and then I take and then I kind of budget out.
So one, especially on season one, we had like no money,
so you had to be very careful about where you
spent your money, and obviously you'd rather spend your money
in the coda and like Karen's Cafe right right, So

(09:02):
I would kind of break that down and then put
on my headphones and send three to four choices for
every scene, and then I mean this is I would
burn a CD and send it to the editor with
my notes of like what went where. Now now I
can go on dropbox and make a folder for like
CNA scene and whatever. But yeah, there was a lot
of burning CDs and making sure, you know, you titled

(09:26):
the songs correctly, because there was inherently a time where
like you you know, you put this song and they
picked track twelve and you cleared track twelve, but actually
it was track thirteen because like someone just misread something right,
So you just had to make sure, yeah, things were
titled correctly, so you actually cleared what you were using.

Speaker 5 (09:47):
Okay, So I have a follow up question to that,
because this is super interesting and I think it's in
the landscape of our show and the time. You know,
you're talking about Smallville, Las Vegas, all these shows that
were juggernauts in terms of audience, you know, rap all
the things, and then you had our show, which was
sort of like the little engine that could in the beginning.

Speaker 1 (10:09):
That's what I called it too, but like.

Speaker 5 (10:11):
That's also sort of what it was like for musicians.
You know, there were big bands or big artists at
the time, and then there were small indie artists really
trying to break through. I mean, what a trip to
think that we got Kid Cuddy when no one knew
who he was, and like, you know, now he's out
touring the world. How did you as a music supervisor?
Because I know the budget was part of it, right,

(10:33):
It's easy to be like, well, we can't afford this,
Like we couldn't afford led Zeppelin until season three, So
you can go to bat for smaller artists, But how
would you convince not just the people who ran our show,
like the big the big guys at Tolan Robbins. But
you know, how do you get a Warner Brothers to
buy into some unheard of indie artists? Would you would

(10:57):
you get them across the finish line by arguing that
they were less expensive, but would do the job?

Speaker 1 (11:02):
Or were you having to be like.

Speaker 5 (11:04):
You don't understand this band is really going to hit
trust me, like how does it work?

Speaker 1 (11:09):
Well, there's not that much. So I was never on
notes calls so like I'm not talking interesting head of
Warner Brothers. I'm I'm working with our showrunners and the
editors and getting the songs in and then I'm working
with the music department over there, and really what they
care is about his budget. But they're the ones that
are like, you're going over you need to let us know.

(11:31):
So in it began of necessity, okay, and because we
used so much music that like, actually, you know in retrospect,
one Tree Hills music budget is bigger than most budgets
you see today. But we used ten songs in episode,
so like the money went fast so season one. So

(11:52):
so the way you would do it is when you
know those things at the end of the episode that
said tonight you use music by so that gave us
a discount from the labels, and that was a big
you know, it was like a advertisement for.

Speaker 6 (12:06):
An album is unique to our show.

Speaker 1 (12:08):
It was unique to the WB and then the CW,
and then they got rid of it. I'm not even
sure it was existing in the last season. I feel
like it was, but in the early twenty tens it
went away, but it was it was kind of like
the WB and CW were the only places you could,
you could have that opportunity, and then I think ABC

(12:30):
Family adopted it, but it gave you a discount. And
basically any major label artist we used in season one
pretty much had to take that for us to be
able to afford them.

Speaker 4 (12:40):
Wow, it's like product placement actually exactly well.

Speaker 1 (12:44):
And I talked to a label person once and she
was like, you know, getting a band's name in someone's
head is about impressions. So getting that ad card is
a second impression, right, Like you hear it once in
the episode, and then you hear it again at the end.
And the more pressions you can give a song, the
more traction you can get it. But in terms of
everything else and all these indie artists, you know, we

(13:08):
had Peyton as a character, so like from the start,
like I think, like in the beginning, like in the
in the early scripts, like they wrote in the ataris
who weren't really didn't license a ton I think we
used one song by them, but she had this punk
indie thing about her anyway, so it was very clear.
We used to make a separate mixtape that was called

(13:31):
like Peyton's Playlist and so like, and the editors knew that,
like if you were in Peyton's room, you would pull
from that. Yeah, that's so fun to know. So yeah,
I didn't even know this was happening.

Speaker 3 (13:43):
I love it.

Speaker 1 (13:43):
Yeah, I mean it was fun too, right, Like you know,
any person who works in music is like a little
bit Peyton Sawyer at heart right, Yeah, totally so yeah,
so and so we got some really cool so I
would you would have people send you music that also
was just like indie up and coming, like either Punky
or Vibe. So she was supposed to listen to indie

(14:03):
music anyway, So that that also like made things a
little bit easier. And then I remember there was a
point in a later season because literally every episode I
came to the spotting session, which is have you guys
talked about a spotting session?

Speaker 6 (14:17):
That is?

Speaker 1 (14:18):
So the spotting session is when like the episode is
locked and we sit in the room with the editor
and the composer and the music editor and the music
supervisor and we and post production supervisor, and we we
watched the episode and we talk about every music cue,
so like score and song.

Speaker 4 (14:34):
Before there's any music put in, you just talk about
what it needs to feel like.

Speaker 1 (14:38):
It's been tempt up. No so this is like, you know,
this is after the studio has approved everything.

Speaker 5 (14:44):
It's like you're making alteration, the final alteration on the dress, right.

Speaker 1 (14:47):
Exactly, Okay, and so and most of the stuff that's
been score wise, especially most of the stuff that is
tempt in is not final. Like we had something Nathan
and Haley had a theme, so like that got reused
a couple times.

Speaker 4 (15:01):
I don't even know if I would know what that
is if I mean, I guess if I start somewhere
in the recesses in my mind, I might be like,
that's familiar. But I didn't know there was like a
someone scored a theme.

Speaker 1 (15:11):
Well there were two and it was like and I'm
sure we like used it on other people just because
like it was. I remember season one and two, they're
like the composer had created some Q and it was
just so good. It worked like everywhere, like it was
like a romantic que and if you had a romantic moment,
it worked. Did we have the same composer the whole time? No,
So the first two seasons it was or maybe the

(15:33):
first just the first season it was Mark Snow who
was the composer on Smallville.

Speaker 3 (15:36):
Yeah. Yeah.

Speaker 1 (15:37):
Then then we hired John Nordstrom, and I was part
of that hiring process. It must have been season three
because so the first two seasons I worked on the
show with Jennifer Pike and madonnoid Reid as their coordinator.
So I'm not credited, but I was there. Yeah, And
then season three and then they split up their partnership
and One Tree Hill kept me. So season three on

(15:58):
it was like me doing twenty two episodes a year.
I was like, actually, it's funny. There's a guy who
worked in our office who set me up with my husband.
But like when he first came in, he thought I
was a bitch because I was just like, I have
a job to do, like stop talking to me, like
you knows in a week, and I had a clear
not here to socialize those Season three we hired John Nordstrom.

(16:20):
We found that often we would like temp with songs
like instrumental versions of songs by a band, like not
necessarily songs you would know, but just you can probably tell,
like the score sounds like members of a band, right,
like it's real guitar. There are drums in there, you know,
especially when like Explosions in the Sky came out like,

(16:44):
you know, that score definitely inspired some of our score,
So we hired a composer who would do that, who
would like bring in like basically a band and like
write our songs because you know, our producers were like
band people. They wanted everything to sound like a song.
So we had so much original music totally. But Haley
and Nathan's theme, there's definitely a moment and I haven't

(17:07):
rewatched everything, but there's a moment. I think, does he
repropose to you by a lake somewhere?

Speaker 3 (17:12):
Does he? I mean we got married?

Speaker 1 (17:15):
He repropos There's a moment anyway, now, definitely in that
scene wherever.

Speaker 4 (17:20):
That is, Okay, i'll look for it. At a cabin.
He reproposes at a cat. I have no memory of this.
Oh I'm sorry, guys.

Speaker 3 (17:27):
Don't hate me.

Speaker 1 (17:28):
It's when we go to Rachel's cabin. Yeah, but I
don't remember Nathan reproposing.

Speaker 5 (17:33):
I'm remembering it because we were all so surprised when
we watched it on the podcast because there was that
doc behind his cabin. But we all remembered the nighttime
scenes where we were all closing around fire coat.

Speaker 1 (17:48):
I think, so, isn't it funny? The things that come through.
You're like, here's the coat color. I'm like, there's a lake. Yeah,
it was in a green coat and my hair was down.

Speaker 3 (17:57):
That's right.

Speaker 4 (17:57):
I remember this now. Okay ah sweet, okay wait. I
do have a question now about our theme song, because
were you there from the beginning? Which did you find
Gavin with Gavin a friend of one of the higher
ups on the show, Like, how did that come together?

Speaker 3 (18:17):
Because that theme song is so epic.

Speaker 1 (18:19):
Totally I can't take credit for the theme song, but
Donna Wade Reid brought Gavin's song to the table. So
we made like a CD of ideas, and I believe
he was on it. I think a couple of songs
from him were on it. And Joe Devola was just
like this is yeah, Like oh my god, so yeah,
And so that album it was on Jay Records. Nothing

(18:42):
was really going on with him at the time, and
it had been out a little bit right, So and
actually our showrunner had a get up kids song in
mind called Overdue, which we actually did end up using
in the show and putting on one of our soundtracks,
but it was a little less uptempo. So obviously, like

(19:05):
Gavin made a Bigger Splash. Yeah, totally, and everybody loved
it because that song comes in with such energy and
it's interesting.

Speaker 5 (19:13):
We are currently on the podcast in season eight and
season eight every artist covers it. And I don't mean
this to be critical in any way. They're all incredible
and it's cool to see how someone reimagines something.

Speaker 1 (19:28):
But every time I hear a cover, I'm like, but
that's not the energy of the song, you know.

Speaker 5 (19:35):
And maybe it's because we spent eight years getting so
used to the song, but it is. It's sort of
surreal when you realize that the actual music in a
song can be energetically thematic of a show itself.

Speaker 6 (20:05):
I gotta say I came to the party very late, Lindsay. Obviously,
I joined season seven. When I got the job, I
went and bought the DVD box sets of seasons five
and six, and I remember the first night I sat down,
there's a group of my friends over and who started
to watch it. My very first impression of the show was,
holy crap, this show has incredible music, Like, so, you

(20:29):
did such a good job, and now it's like, are
we watching every episode? It's just it's crazy how consistently
strong it is, so I guess it's just I just
wanted to say, like, you, you did such a wonderful
job on this because as someone who's not very like
my wife makes money because I listened to the same
music I've listened to for like everybody else. Yeah, like,

(20:53):
like our Spotify playlists are so funny because mine is
like thirty two songs and hers is like thirty two
thousand songs because she's always flooring, and I'm like, I'll
stay within these six artists. So every episode and there's
so many new people, it always blows in mind. I'm like, how,
like how how do you do that? Like how do
you constantly keep so much new music in your orbit?

Speaker 3 (21:14):
You're just out watching bands like every week, are you.

Speaker 1 (21:17):
I guess it's.

Speaker 4 (21:18):
Different now with streaming versus back then when you had
to catch new bands live or get a tape or
record or whatever.

Speaker 1 (21:24):
I don't know if Sophia you in this when you
walked in, but we had like huge buckets for mail, yeah,
like two like people sent us CDs all the time,
and then figuring out what was actually good was the
hard part. Yeah, But it was also like, you know,
being still working now and there's great music always, but
I you know, it was a really great time for music,

(21:47):
and especially like indie rock, which which was like a lane.
We lived in a lot and I was twenty four
when the show started, so I really lived and breathed
this show like I was. I was into it. I
was a fan of it. I loved the music we used.

(22:08):
I loved how we used music, which I know, like
it's a lot for some people. Not all shows want
wall to wall music, but it was so much fun
and to like your point, Rob, I also think there
was like there was trust. Like for me it was
really amazing too, because the editors would be told like,

(22:29):
don't just throw in your own music, like use what
Lindsay sends you. And part of that was budget, but
there was that was also like every once in a while,
someone would like throw in a song and you'd be like,
whoa that that's for a forty year old audience. Like that,
we are catering to fifteen year olds. And I think
the other thing about catering to a young audience, they're

(22:50):
into music discovery, So using new artists is is like
exciting and and breaking an artist, or like using an
artist or a song you've never heard before and connecting
it with characters that you really care about is right,
Like it's a it's a It can be a pivotal
moment for a person, and it can be a pivotal

(23:11):
moment for the artist. Like honestly, oh my god, Joy,
I almost called you, Haley. I was like, I can't
call them, their character will be bad. But like when
you cut when you made Halo and we put that
on the second soundtrack that that song was used in
the episode. The day the soundtrack came out and the

(23:32):
label Maverick Records, I think was a little bit worried
that were like, wait, like, why is this the song
we're leading it? I was like, you, guys, everybody loves
Nathan and Haley. If this is the Nathan and Haley song,
that's a song they're gonna identify with. And it did
great for sure. Yeah, yeah, it was huge. By the way,
how kick ass was that song? I'm so jealous that
you got to sing it.

Speaker 4 (23:51):
Like ah no, I mean she she Kara Diogorda, who
wrote that is super super talented, so lucky I got
to But what you were saying about characters, how how
it can support these different characters I think it's also
because the music and maybe you or you and the composer,
but you kind of created a character that was in

(24:14):
the show with us at all times. So that's what
the audience was feeling. It's not just like a score
that supports things. And you're right, not every show lends
itself to having wall to wall music. But because the music,
the musical sensibility that you guys had really became its
own character that we all were interacting with emotionally. I

(24:37):
think that's what made it so powerful. And then you
have the actual characters that came on the show, like
we got Cheryl Crowe, we got and we got Tyler
who came in how many of these musicians Kate, Michelle Featherstone.

Speaker 1 (24:52):
I don't know if people knew.

Speaker 3 (24:53):
Jana saying when she came on.

Speaker 4 (24:54):
I'm not sure how that worked, but like, what was
your role in bringing in actual character onto our show
who would sing yeah?

Speaker 1 (25:02):
So I was definitely involved in that. So Cheryl crow
started it all right. Gavin being on camera in season
one was part of the soundtrack deal. That was like sorry,
part of the theme song deal.

Speaker 4 (25:16):
Wow, that he'd get to play it on camera exactly smart.

Speaker 1 (25:21):
And then the Cheryl Crow thing happened because she had
a best of album and Interscope Records called us and
was like, oh my god, we'd love to get Cheryl
to perform live on a show. And she was calling
us as people who were working on four shows, right,
she called us, she called Daisy Music. I think they

(25:41):
were like so to be like, does Las Vegas, does Smallville?
Does whatever? We where? We have four shows? Yeah, And
they were like, we wanted to air in February because
that maybe that's when it came out.

Speaker 4 (25:54):
She was on tour, wasn't she Yeah she was because
it was fast. She was in and out very fast.

Speaker 1 (26:00):
They wanted to air in February. And the only show
we were working on that hadn't filmed all their episodes
that were gonna air in February was One Tree Hill
WHOA and of course Gotable was like a huge Cheryl
Crow fan before. Anyways, it was like we have to
hear this happened, and Jimmy Iveen used his private jet
to fire out on it was Super Bowl Sunday. She

(26:20):
flew in and out. Who's Jimmy Iveen, He's a Interscope.

Speaker 6 (26:26):
As the only musician in the group, the three of us.
I love that.

Speaker 1 (26:29):
You should watch that documentary.

Speaker 6 (26:31):
Though there's a documentary all that this Steven Spielberg.

Speaker 7 (26:35):
Guy see like a big deal just before we transition
off of theme songs, because obviously One Tree Hill's theme
song is like kind of it's pretty iconic, and there's
just been such a change in television where every show used.

Speaker 6 (26:53):
To have a theme song, and they used to be like,
I can tell you every word of the Golden Girls
theme song. I'm sure everyone has a couple that they
just I love so much. What percentage of shows today
would you say, actually even have a proper theme song.

Speaker 1 (27:07):
I mean, I don't have an answer to that, but
they here's the thing, so, so it cost a lot
of money to license I don't want to be as
our theme song now. Of course when it started, you know,
when they do the deal, they plan, you know, they
look ahead that you know, so the show could go
on for multiple seasons. I don't negotiate that deal. The

(27:28):
studio negotiates theme song deals. Yeah, but so, like you know,
it probably didn't cost that much much to have to
license a theme song season one, but then by like
season five or season eight, I know, because we basically
took the theme song fee and that's how we were
able to have those original covers made. But so that

(27:48):
costs money every episode, right, and you have to pay
for you when you license songs you have to get
you have to pay the songwriter, so that's the publishing,
and then you have to pay the label or recording owner.
So it's time too. So it became much more popular
to create theme songs that the studios own. Like if
there is a theme song these days, it's usually created

(28:10):
for the show and owned by the studio that owns
the show, and then they can use it for marketing purposes.
They can use it wherever they want because they own it, right,
So that makes a lot of sense. But you're right,
Even in the later seasons of One Tree Hill, you
see us just using the title card and you just
get into the show. So I agree. Sometimes I like

(28:31):
that we can just get into the show. Like Virgin
River doesn't have a theme song. We just do a
title card, but there's usually there's actually like a there's
definitely a theme that the composer has made that is
usually used over that.

Speaker 5 (28:44):
Yeah, you get in musically, but you don't necessarily have
the montage of cuts and people and characters and things that.
I mean, it's fun for us to watch. It feels
very nostalgic. But it also to Rob's point, because people
don't really do it anymore, it does feel a little dated.

Speaker 4 (29:02):
I just don't think audiences care anymore. They're too they're
too short of attention.

Speaker 1 (29:07):
So well, they want to get into the show, right. Yeah.

Speaker 4 (29:09):
It's like, I don't care who these actors are. I
don't care who's telling me this story. Just tell it
to me. Nobody even stays for credits after movies. I
watch people after Broadway shows lead before the curtain call.
People are just so self flashing.

Speaker 6 (29:21):
It's like it's crazy crazy pop. Like we know it's there,
it just takes too long. Let's just get right to it.

Speaker 1 (29:26):
Really, cursive actually makes your life easier.

Speaker 4 (29:29):
It's a whole other story. You will write faster if
you learn cursive. Yeah wait, but tell us more about
I want to know about how. I do want to
know about how Tyler and you know we got Cheryl Crow,
but I want to know more about this.

Speaker 1 (29:41):
Oh yeah, Cheryl Crow. We took advantage of an opportunity
and then we were like, hey, this is really cool
instead of and it was like a rush so and right,
like it was like a lame setup. It was like
she stops by the cafe for a coffee, and it's
like a coffee for a song, you know. I was
just like I didn't know how to move.

Speaker 4 (29:59):
I was paralyzed because I'd been listening to her since
I was like fourteen years old. She was my music
idol other than Billy Joel.

Speaker 1 (30:06):
Did you get to connect with her much or not?
We didn't know.

Speaker 4 (30:09):
I mean, we just no, because I was afraid to
talk to her, like we were all in between steps.

Speaker 1 (30:14):
We're so intimidating. That's how I felt when I came
to set, because I was like, like, I'm not usually here,
Like you guys probably don't even know I was there.
I don't really remember.

Speaker 5 (30:23):
I just remember I was actually really glad that I
was also such a fanboy that I was like, I'm
just gonna can I come to work? Like I remember asking,
I'm not in the scene. Am I allowed to come?
And they were like, well, yeah, you work here, And
I remember just standing there and then being like, how
do I explain why I'm here?

Speaker 1 (30:38):
I'm not in the scene.

Speaker 5 (30:40):
But it was such a relief, Lindsay, for Joy and
I to have each other because essentially the show had
just started, and.

Speaker 1 (30:47):
Thank god, like we were in the corner being like.

Speaker 6 (30:49):
What do you think we do?

Speaker 1 (30:50):
We like say something to her? We know we should
we should like what should we talk? We should? We
should we be okay, we should be talking to each other.

Speaker 5 (30:57):
And then it was like we were talking about what
we should be talking about. When Cheryl Crow was looking
at us instead of just talking. It was so ridiculous
and juvenile and embarrassing and sweet.

Speaker 1 (31:08):
Well now you know how people probably feel around you, guys. Yeah, no,
she was so nice.

Speaker 5 (31:12):
But like, I'm glad we had each other's hands to
hold in the corner.

Speaker 1 (31:16):
Usually, yeah, when I'm on camera, I know what I'm doing.

Speaker 4 (31:18):
I feel like I could be in control to see
in whatever way I need too, which she was on
care I felt like I was in her music video.
And just the sheer props of me having to like
get money out of the cash register and hand her
her coffee. I mean, thank god my character was supposed
to be starstruck, because I.

Speaker 1 (31:32):
Definitely it worked.

Speaker 4 (31:33):
Was not behaving like a series regular on my own
you know, our show, it's just ridiculous.

Speaker 1 (31:39):
And then what about Tyler Well And just to jump
off Cheryl Crow, I think they were like, wait, these
labels and musicians might want to be on the show,
Like that's the coolest thing ever. Instead of having it
be Karen's Cafe, like, let's create Trick so that when
people come, they're playing a venue and it makes sense.

Speaker 5 (31:55):
Right, Oh, that's so great because you can't keep getting
big artists to do what is essentially an open mic night.

Speaker 1 (32:02):
Yes, exactly.

Speaker 4 (32:04):
Wow, So Trick wasn't even a plan on anybody's schedule
until we were like, oh we could get real artists.

Speaker 3 (32:09):
They need a place to play, let's have that.

Speaker 1 (32:11):
Just open up a bar. That's my understanding of it. Yeah,
whoa wow.

Speaker 4 (32:16):
Yeah. Again, the character of the music itself and what
you guys created, that is how the writers would write.
They would watch what's going on with the characters and go,
you know what, I think this character is going to
do this next. And so if the music really had
its own body in.

Speaker 5 (32:32):
A way, wait, and that makes me want to ask
a question because I was I was wondering earlier, given
the fact that you guys would make these playlists and
essentially suggest songs for scripts. I was like, oh, I
wonder if we ever changed a script or wrote a
scene around a specific song. Clearly we wrote a whole
scene around Cheryl Crow coming to say.

Speaker 1 (32:53):
Question, But did that continue to happen?

Speaker 5 (32:56):
Like if you guys would read a script and some
song would feel perfect. Would would the songs actually inspire
the scenes as the show developed?

Speaker 4 (33:05):
Well?

Speaker 1 (33:05):
So I made we made mixes, so we had we
called it hand picked, so we would make a mix
that was just like stuff we generally thought was good
for the show. And then there was like the Peyton's mix,
and then there was a Karen's Cafe mix, but that
was usually just like in D singer songwriter to go
in the background and you know, uh yeah, our producers
would listen to them and like, I think right with

(33:26):
them while listening to them. So so there would be
conversations like, oh my gosh, I really liked that song.
I'm thinking of it for this sing. I don't know
that it would necessarily inspire a scene, but you know,
you know, the whole schedule of like shooting kind of
July to or at least like end of April, right

(33:47):
end of April, but my job continued through May, so yeah,
the job was usually almost like August to May. So
in June there was usually like I remember, I think
it was after season. I don't know what year it was,
but like I just remember discovering the Frightened Rabbit album
that like we used a bunch of songs off of.

(34:07):
I can't remember the name of it right now, but
like I remember just like listening to it in May
or June and like handing it over to them and
being like, I think this is the sound of next season.
Like even for score, like sentrumentation was so cool, and
then like a week later being like, yeah, I think
you're right, Like this is so cool. I love it.

(34:27):
So there were things like that, right, and then there
were things like I would get a tip like hey,
I think we're going to write in a character like
Peyton's gonna sign an artist, right, so with Kate Fogel,
they're like Peyton's gonna sign an artist this year. I'd
love some ideas of who you think would be good
for it. So I like went away and like was
like you know, like looking up who I thought was

(34:49):
or like going into my iTunes when I used to
listen to and being like who would who would be
cool for this, and maybe talking and talking to the
labels being like, you know, would they be open to this,
or like who do you think who has a new
album coming that might want to promote it by being
on the show, so for Kate's role, like and then

(35:11):
I like walked in to their office with like a
bunch of CDs and I was like, Okay, here is
Suzie Sue, who's an artist, like an independent artist we
had used a bunch of times. And then I was like,
wouldn't it be cool if Haley from Paramore was like
this girl right, she felt very Peyton's vibe. But of course,
so she was on the list. The labels like she's

(35:32):
not doing solo stuff, so like sorry, And then I
remember like them being like what about this girl Sarah
Burrellis And I was like, okay, I'll bring that album
over anyway. So they are all these and then Kate's
album was in front of us, which really had a
lot of songs. So part of what we listened for

(35:54):
was like songs on the album that we knew would
work for the show, because like, if you can't use
the artist music, then the doesn't make sense to put
them on the show. And Kate was managed by Debbie Wilson,
who had managed Gavin. She was like she knew the
drill to like she knew the value and and Kate

(36:15):
was young too, like so she like she like fit
the mold and was obviously awesome. So that worked out
really well. So cool she was on my Space records.
Like that's like such a oh my gosh, so so cool.

(36:46):
I imagine.

Speaker 5 (36:46):
I mean, to Rob's point about the length of a
playlist you have, I mean, you have a like a
National Library length of playlists in your world, in your brain,
I'm like, how do you ever even remember all the music?
And then in this other way, I wonder for you,
because you know music so well, are there songs that

(37:10):
immediately bring you back? Like if you hear a song,
you feel like you're back on One Tree Hill, you
hear another song, you feel like you're on Smallville. Does
music just pull you into all these kind of memories
as you're out in the world.

Speaker 1 (37:24):
I mean definitely, just like you would like when you're
in a relationship and you have like songs from that
time period, right, I actually so, I don't know if
you guys know, but my I lost my home and
the Palasa's fire like when I'm so sorry. I have
lost all those CDs, but I did have in my

(37:46):
car one of those. I still had a CD player
in my car. But one of those things you put
on your visor that has likes, I have that. And
most of them are mixtapes from like know or mix
CDs right that I made from like two thousand and
seven on or whatever, So those things because I used

(38:08):
to make them for myself to like, or I'd make
them for the show and then i'd also like take
them home and listen and in my car. So I
do have those, and they're definitely there's definitely songs that
we don't even use that like I just thought would
be so right and tried to get in the show
so many times. So like some of those bring back memories.
I definitely have some favorite placements. I definitely also have

(38:30):
some like Heartache there were you know we got not
everybody said yes, yeah, who did you? Who were you after?

Speaker 6 (38:38):
This is what I wanted to ask you.

Speaker 4 (38:39):
I was dying.

Speaker 6 (38:40):
I was dying to know, like who is your white whale?
Like is there an artist or a track that you
just were never able to.

Speaker 1 (38:45):
Get well, I wouldn't even say well, I guess a
career white whale. I've never been able to license no doubt,
and I am a huge no doubt fan. We actually
season one there was a scene where like Brook drives
to the or I don't know what's he was, Brook
drives to the river court and her like blue bug, right, yeah,
And we had tempted No doubt It's my Life, which

(39:09):
was big at the time, and of course we did
not get approval on that. It wasn't a that was
a kind of a throwaway moment. It's not like the
song hinged on the montage. Yeah, how did they.

Speaker 4 (39:19):
Go with direct You know, it's so many incoming directors
on the show, so many guest directors. It was a
constant revolving door where there are many times when a
director would really insist on their like music that they
really liked, and you're like, this does not work, this
is not what we should be doing. But you had
to sort of just let it go. Or was it
always up to the producers at the end of the

(39:41):
day to be like a Lindsay fix it.

Speaker 1 (39:43):
It was always up to the producers. I mean that
was the interesting thing, right, Like the directors come in
and out, so it's really up to the producers to
keep the tone. I'm sure you felt that too from
like you know, Range Hartley and those people ton't really
like every so we definitely had there was one director
who was like everyone. It was different, right, Like some

(40:04):
people were really into music and had strong opinions and
others didn't. And yeah, there was only like one who
was like super opinion about music, but he was he
had good music tastes. We just couldn't afford it all.

Speaker 6 (40:16):
So yeah, okay, he was like, in this scene, we're
going to use the Beatles again.

Speaker 5 (40:22):
So that's actually something I really want to touch on
because you know, you've alluded to when I got to
come and visit your office, and it's what we were
mentioning early in the conversation. You know, as directors, it's
so exciting to work with all your department heads and
to plan amazing things with your camera department and figure

(40:44):
out what equipment you're going to.

Speaker 1 (40:45):
Get to rent.

Speaker 5 (40:45):
Like I remember when we were doing our seasons as directors,
it was like, am I going to get a crane
in my episode?

Speaker 1 (40:52):
And it was a really big deal.

Speaker 5 (40:54):
To figure out your music, and I think especially for us,
you know, whether it was cast directing or some of
the folks you mentioned Lindsay like Greg, who directed I
think maybe more episodes of our show than anyone, because
he was our on site executive producer. You know, it
was exciting for us to know the show so well

(41:14):
but also know our place and understand as directors we
were very new and I know I said thank you
at the time, but I want to reiterate it. I'm
still so tickled when I think about the fact that
when I flew to LA for my first day in
the editing room, I called you because A I wanted
to come in and really see how you did your job,

(41:35):
and B I was bringing one of my best friends, Jenny,
who was shadowing me as a director, who now, by
the way, is producing on like Marvel and Showtime and
crushing proud. I'm like, I'm so proud of her. But
at the time, her dream was to be a music supervisor.
And you were so generous with your time because not
only did you bring us in and go over song

(41:57):
options with me and how things work and show us
the bin and explain, you know, how you would get
to these playlists you suggested for us as directors on
these episodes. But you answered all of our young person
questions about work and getting jobs and all the things.
And I remember when we left your office, you'd given

(42:18):
Jenny a stack of CDs.

Speaker 1 (42:20):
I was like, please take this.

Speaker 5 (42:22):
Yeah, by the way, you probably were like, get this
out of my office, but she was like, I can't
believe Lindsay gave me all this music, and it was
it was just like it's a memory of a time
in my life that I will never ever forget. So
from the professional side to the personal side, just thank
you because you're a great coworker and you're also a
really great mentor and friend.

Speaker 1 (42:43):
Oh, I mean, thank you. That's what I really appreciate.
Maggie Wolf is that mysterious person. I remember feeling that
way right, Like I remember, and I was still, you know,
kind of young enough to remember how that felt to

(43:03):
like come in with so many questions and to like
it's you know, I actually I teach music supervision now,
so I like I always tell my students because now
that I'm like so far into this, I'm like, if
i say something that you don't understand and it's even
happened in this conversation. I'm like, oh, a spotting session.
You're like, wait, wait, wait, let's talk about what that is. Like,
stop me and ask me what it is, because I

(43:24):
am beyond the stage of remembering what I didn't know,
But when you were close to beginning out, you kind
of remember, like, oh, what did I want to know?
And yeah, I mean I remember going to my first
spotting session on Felicity and I was like, and there
was like a five minute conversation about like does the
queue start on him or her? And I was like, WHOA,
Like people really think about this stuff. It's yeah, so yeah,

(43:47):
And to your point, Sophia, like, there was always music
in the editor's cut, and then we would revise in
the director's cut with what they want. Then we would
revise like and sometimes, but for me it was important.
I actually really liked connecting with the directors because the
more music could be in a good place before getting
to the producers, the more the job is tup, you

(44:07):
know what I mean? Like that, and actually to your
original question of like, how did you convince studio people
to let you use indie artists? And I always say this,
and I think we proved it multiple times on One
Tree Hill, like if the song works in the scene,
nobody's going to complain about it. Like we had a
couple times where we would temp with a bigger artist.

(44:28):
Actually I have two examples. One was like there was
like a Scavenger Hunt episode in season two with like Felix.

Speaker 3 (44:35):
Or right yeah, and it begins.

Speaker 1 (44:37):
They're all around a table deciding what they're going to
do well in Like when I when I walked into
the spotting session, there was a Green Day song at
the beginning of it and it was their massive hit,
and they didn't always license so and we always we
only have usually like a week turnaround between, like when
we locked music and then when we mixed, and then

(44:58):
the episode aired like a week after that. Like it
was the opposite of how we do TV now. But
I was like, I can't guarantee that Green Day's gonna clear,
so I need you to pick a backup. And so
I brought three options to like play a picture in
the room, and we played one of them and it
was an indie band and they were like, oh, we
like this better forget about green Day, And the same

(45:20):
thing happened Joy when the character of your mom passed
away where we used Landslide Fleetwood Mac. Yes, we were like,
there's like a twenty five percent Fleetwood Mac's gonna clear
this like it's you know, it's a huge song. It's
precious to them. Sometimes they don't get back to you.
So I was like, I need to walk away from
the spotting session with a backup so that like, I'll

(45:42):
take the time to clear it, but then also clear
this other song so that we have it at the end.

Speaker 3 (45:47):
Of the day.

Speaker 1 (45:48):
And the backup was Adele's make You Feel My Love
and Joe Dimall I think it directed that episode because
he took both to the mixtage. He was like, wait,
I thought I loved Landslide, but I love this too,
Like what am I going to choose? And he ultimately
went with Landslide Landslide of course, But that's like, I'm

(46:10):
the best version of myself. If I can find you
a backup for the first song you wanted, that you
like even better, right, And the first one was an
indie artist too, So like that happened a lot.

Speaker 5 (46:21):
That's so cool though, that's a really neat way to
think about it, and even as an actor, that resonates
with me, because it's so healthy as an artist to
have a vision and then be willing to play and
do something in a completely opposite way and see what
works best.

Speaker 1 (46:40):
And that's really cool.

Speaker 5 (46:41):
Like what a stage piece of advice to say, I'm
the best version of myself. If I can find you
an option too that you might like even better, that's
that's nice that sheels like very sparkly. Does everyone you
know ask you to make them epic playlists?

Speaker 1 (46:56):
Because I know, I.

Speaker 5 (46:58):
Know the three of us are doing, by the way,
the number of times I want to be like, but
we oh, oh, can you just make us a list
of the songs we've been talking about today?

Speaker 1 (47:07):
Does everybody ask what for playlists?

Speaker 4 (47:10):
No?

Speaker 1 (47:10):
I mean I definitely In college, I made a mix
every semester, a mix tape. Yeah, yes, so I did
that for all my friends, which which would sometimes be
like a mixture of like what I thought was cool,
but also like what were the songs we were listening to?
You know? Yeah, I feel like I don't make mixes
that often unless it's for my shows. Yeah, because it's

(47:31):
your job.

Speaker 4 (47:31):
It's like a massage therapist, right, family asked for massage
and you're like, you know what, go this off?

Speaker 1 (47:39):
It's true like I do. Like my son this morning
was like what are we going to listen to on
the way to school? And I was like, dude, I
do that all day long. You can pick you know, yeah,
you pick please our Sad Song Queens podcast. Like part
of the inspiration for it is I some of these
mixes that I would make for our producers. There was
one I made and they called me and we're like, are.

Speaker 6 (48:00):
Are you okay?

Speaker 1 (48:00):
And I was like yeah, why And they were like
this is really depressing music, like are you like we're
worried about you? And I was like, oh yeah, but
like I'm fine, And I just really like depressing music,
like it's all good.

Speaker 6 (48:12):
You're like, have you seen what happens in your show?

Speaker 1 (48:15):
I know, right, I know it was like it was
it was sad, but like my favorite moments were like ooh,
like you know someone's dying, like amazing, can't wait guneral songs?

Speaker 4 (48:26):
You know?

Speaker 1 (48:27):
Well.

Speaker 4 (48:27):
Actually the flip side to Sophia's question then, is are
your friends constantly throwing music at you? Like is your
phone just blowing up with people be like do you
know this band?

Speaker 1 (48:36):
Have you have you heard the night Game.

Speaker 4 (48:38):
Have you heard like short Drive, have you heard like
all of the you know, just like throwing things at
you all day long.

Speaker 1 (48:42):
I mean not my friend. So my friends probably like
my like non work friends are like not that into music.
So they're just like, Okay, whatever you said, I don't
have to talk. They're like rob They're still listening to
the same thirty songs. They're tuppy with whatever like Spotify
throws them. And then I think my work friends wouldn't
do that to me. Oh that's good. Well, so, like

(49:06):
I do a lot of work with another music supervisor,
Laura web and so you know, especially with like the
sad song thing, like where we'll be like, well have
you heard this one? Or like, oh my god, I
hope I have a scene for this, or like this
album's really good. But definitely, you know, I'm sure you
guys kind of get this in some way, but like
you also, every show is a little bit different. Like

(49:27):
one of the really fun things about win Tree Hill
is we had so many characters and we have an
action sequence with like a basketball montage where we need
something rocking or maybe like hip hop. Then we have
this like quiet singer songwriter moment over here, but then
we need like a pop song over there. So like
we got to use so many different genres of music
and then sometimes you like I work on Virgin River

(49:48):
and it's it's a like the heart and soul of
it is singer songwriter and folk. Yes, right, So like
I'm listening to a lot of music like that because
that's what I need to listen to for my job.
And I worked on a show called Hunters and they
were like nothing acoustic. We want like all like it
should have some form of electronic electric guitars.

Speaker 6 (50:07):
Yeah, wall the wall, synthpop, I have. You clearly have
a just an incredible recall for the work you've done.
So when you think about your nine seasons that you
were on trial, like when you think back on it,
is there a scene or two that you were like
especially proud of or when you watch your like, damn,
we really nailed that one.

Speaker 1 (50:26):
Yes. So actually someone interviewed me in like twenty twelve
and we're like, what were your top favorite sinks? And
they they they're still kind of the same. I really
loved season two, that whole plotline of Joy going on
or Haley going on tour, plus it was so cool
that like the tour really happened, and like, yeah, so cool.
But also I had that like I broke up with

(50:48):
my college boyfriend because I was like, gonna go pursue music.
Like so I like that Nathan Haley storyline. I was like,
I get it, Hailey, I get it. But so actually,
the song where she leaves and he finds out that
she's left for tour is a six minute montage, and
they had originally tempted something we had already used that
we wouldn't use again because we had already used it

(51:10):
in a big montage. So I was like, okay, Like
I literally sat down with the boombox and the TV
and played songs to picture and the song we used
is Keen she Has No Time, And I was like
that album was great. So I was just like, let's
see what's on this album and I started it. It
started with the scene and it's Brooke, you're like running

(51:33):
for student council, so you're giving that speech, Brooke. I
just called you, Brooke. I'm so sorry, Sophia Brook is
running for student council anyway, And I played it and
it started and it built and built and it hit
the moment where he like throws her keyboard into the wall,
which is so like intense and dramatic, and the lyric

(51:56):
is she has no time, right, like she has no
time for you know it was written for it, yes,
and so like that's one of those moments where I'm like,
thank you, like thank Lord for making me like pick
this up. But yes, when things work start to finish
and actually the Wheepies world spins madly on, which we
use when Pain spreads her mom's ashes. That was temped

(52:20):
in with something different, and that's actually like a two
and a half minute montage, so it wasn't like but
it was temped in with something and I was like,
this is good, but I feel like we could do better,
So like I wonder if there's anything better out there,
And that was one and I brought it to the
spotting session and you literally start it, you play it,
and it like ends on like black, right, So that

(52:41):
was another one of those moments, and you know, and
then obviously the whole led Zeppelin thing was just it
wasn't my idea. When a producer tempts and led Zeppelin,
you're like, oh my god, oh my god. It all
never clear, like in it at the time, they really
had that was the first network television show, like they

(53:07):
had approved Sopranos and that was it and that's it.
But basically getting led Zeppelin was a coup. We picked
it back up like we were like ready to go
that it wouldn't clear.

Speaker 4 (53:16):
But it was so epic. I'm so glad it did.
Like what that was unbelievable.

Speaker 1 (53:21):
That was edited to the song, so yeah, yeah, yeah,
And apparently they're like three writers and historically like maybe
one would approve but the other two wouldn't, or two
would approve then the third wouldn't, and they all said yes.
And I remember I was driving to Coachella and the
publisher called me and was like, you'll never believe it,
but yees, oh my gosh, show so killer.

Speaker 5 (53:43):
That's amazing. I also bet for led Zeppelin. I mean a,
the sequence was so incredible and we got to use
the whole song. But talk about a way to introduce
your amazing music to a younger audience, Like, well, it was.

Speaker 1 (53:56):
Perfect totally, and I think that was that was part
of our pitch obviously, And honestly, I hadn't been a
huge led Upland fan, like historically but if I had
heard that song, maybe I would have been like I
had the song before we used it, so, oh it's
so cool.

Speaker 6 (54:24):
Why don't we ask Lindsay that listener question about the
if One Tree Hill had a music festival, the one
we just skipped on.

Speaker 1 (54:31):
Yes, am I going to have the list of bands?

Speaker 6 (54:34):
Yeah, it doesn't. It does have to be like longer
thought out, Lindsay, you can just sort of like just
music festival.

Speaker 4 (54:40):
What bands for sure are you bringing in to do
the One Tree Hill Music Festival?

Speaker 1 (54:45):
I mean, let's let's make it a wish list. Yes, right,
so it should be Gavin, it should be the Records,
Oh yeah, Joy Tyler Pate right.

Speaker 3 (54:58):
Like yeah, visual suspects, oh yeah, Grace.

Speaker 1 (55:01):
Potter a great call. And then I would say Jimmy World,
Keen Snow Patrol, uh kind like seminal artists who we
used early on. Oh yeah, Angels and Airwaves, Fallout Boy,
Oh my god, I'll bring back Jack's mannequin.

Speaker 6 (55:19):
Oh oh, Jack's manniquin.

Speaker 1 (55:21):
Right. I was there for that for a couple I
wasn't always on set, but I was there for that one,
which was super fun. And then I'd probably throw in
like who I think today's yes, like who would we
use today? Right? Like who would that be? Which I'm
trying to think if I can name anybody off the
top of my head, I mean.

Speaker 5 (55:40):
I would say Lord, Charlie XCX, yeah, Tyler, I mean
if we're doing if we're going wishless, I'm like, I'm really.

Speaker 1 (55:48):
Yes, totally, I would even do people like Aurora or
like just people. I'm Indie Rock.

Speaker 5 (55:56):
I feel like Gracie Abrams is very in our wheelhouse now.

Speaker 6 (55:59):
Yes, yeah, I'm so out of touch that you all
could be making up names right now, and I'm just
I'm just gonna believe you all that these are real people.

Speaker 1 (56:08):
Please give me.

Speaker 5 (56:08):
Some Benson Boone and Maren Morris.

Speaker 3 (56:11):
Yes, how about some Avi brothers too.

Speaker 1 (56:14):
Yeah, Avitt Brothers. Yes. What's the great thing is we
would have those people next to like exactly well you
had it heard of and always a great mix of things. Yeah,
so fun.

Speaker 4 (56:26):
Well it's been a wheel guys. This has been great
on the show. Thank you so much.

Speaker 6 (56:32):
Okay, Lindsey, you clearly remember a good deal about the show.
So this week's question is most likely to win a
cooking show.

Speaker 1 (56:40):
This is characters and actors character and actor. Yeah, yeah,
who cooked? Did we ever see anyone cook on the show?
I mean Broke burned the turkey? Yeah, I definitely wouldn't
be broke.

Speaker 6 (56:53):
I'd say Haley and Joy would be would be my answer.

Speaker 1 (56:57):
Yeah, you look you look like you could cook a
mean Neil.

Speaker 4 (57:00):
I'm a pretty good cook if I know what I'm
doing and I'm focused on.

Speaker 3 (57:04):
I don't know if i'd win the show.

Speaker 4 (57:05):
I feel like I could be creative and do some
things that might be a little unexpected, but I also
experiment too much, and often it's a.

Speaker 3 (57:15):
Fifty to fifty with me when I'm cooking dinner, Like.

Speaker 4 (57:18):
It's like the Chanelle quote, always take off the last
thing you put on, but you can't do that with food,
like once it's on.

Speaker 1 (57:23):
There, right Yeah, And they feel like that happens to
me a lot. I'm like this needs something? What does
it need?

Speaker 3 (57:28):
And then I try something, I'm like, Nope, that wasn't it.
But now.

Speaker 1 (57:32):
Nailing And could have a cooking show too, They would
like a good watch, right Yeah. Excuse Oh my god,
skills in deb yeah.

Speaker 5 (57:41):
Oh my god, skills in deb in the kitchen, Oh,
your top is just always an apron.

Speaker 1 (57:46):
Wait, that would be like the Netflix one where they
don't ever make things. Well, what's that show? Nailed it,
nailed it, nailed it, Devin skills On nailed it done.

Speaker 6 (57:56):
It would just be funny if every episode they never
finished the dish because they always end up just like
making out and falling off camera. Yeah, it's like they
always start, but it just never quite gets there.

Speaker 1 (58:07):
I feel that I didn't really answer how Tyler got cast,
but I know, like we you know.

Speaker 6 (58:12):
We're gonna save that for when you come back. Lindsay, Oh,
good do to lure you back.

Speaker 3 (58:17):
That's right, we do need that, We need that.

Speaker 1 (58:19):
You so talented and you guys are so awesome. This
was really fun. Thank you for having me.

Speaker 6 (58:23):
Thank you so much overdue, thanks for coming out, Lindsay,
all right, have a good.

Speaker 1 (58:28):
One you hey, thanks for listening. Don't forget to leave
us a review.

Speaker 5 (58:34):
You can also follow us on Instagram at Drama Queen's o.

Speaker 4 (58:38):
T H or email us at Drama Queens at iHeartRadio
dot com.

Speaker 1 (58:43):
See you next time.

Speaker 2 (58:45):
We all about that high school drama girl, Drama Girl,
all about.

Speaker 1 (58:49):
Them high school queens. We'll take you for a ride
at our.

Speaker 2 (58:53):
Comic Girl shared for the right Drama Queens Girl Fashion.

Speaker 1 (58:59):
But You'll tough.

Speaker 4 (59:00):
You could sit with us Girl Drama, Queens Drama, Queens Drama,
Queens Drama, Drama, Queens Drama, Queens