Whether it helps U2 Put on a choir Live studio visitors, Casting Beck In a surreal Imagine the work of the day, Or framing Pusha T. In a series of a series Optical illusion, Mac Burus is one of the main players when it comes to making music Jimmy Kimmel Live! It wasn’t his initial plan to become a television producer, but he was called to a band outside of six years. Self Unexpectedly prepares him for this role. Once you’ve created a complete album using toy instruments (see 2000’s) Gizmodgery), A TV show doesn’t seem so difficult to help keep his music gear right.
Burrus’ JKL! The journey began when he took a job as a backline technician in 2004, but his role has evolved somewhat since then. Today, he co-manages the music department, books talents and builds their performances with the help of highly skilled crews (“a band is as good as its drummer,” he quips). We spoke with Burass about what we see among musical guests, how the show adapts to social distance, and why it’s important to take every opportunity in the industry seriously.
Spotify for Artists: Describe what you do and give an overview of how you got there.
Mac Burrus: In 2000, the band that I was on, Shelf, moved from Murfreesboro, Tennessee to Los Angeles to get in touch with our label DreamWorks. It gave some film work, but around 2004, just before we released our next album, the Universal label was exploited and the shelf was one of many projects that were dropped. By then, I had enough audio experience to land as a backline technology with a company called Centerstagging, which had an account called a new show. Jimmy Kimmel Live! Like most people who find work in the entertainment industry, it has become the right place at the right time.
I didn’t want to work on television, but I quickly fell into the show and made myself as useful as possible – I hurried, always said “yes” and tried my best to know what I could do about each category. I’ve been the fulltime music coordinator from Backline Tech, now, creating categories and booking artists. At sixteen, I run the music department with the legendary Jim Pitt, who joined us three years ago after working Canaan And Live Saturday night.
Were you an artist fan of growing up, the story you heard, or an artist with whom you crossed paths that encouraged you to pursue a career?
Okay, I didn’t get a job at TV until I introduced myself to it. I’ve watched a lot of MTV and late night shows getting bigger. And my dad was the general sales manager at a TV station in Nashville, but I never thought TV would be a way for me to hone my skills as a musician. Once I started working on the set, I quickly realized that I had been training for this job all my life.
I would say, self-founder Matt Mahafe is an inspirational person – he always knew when and how to get the best collaboration. The band eventually turned into a “best idea win” project, which makes it feel more collaborative. “Won the best idea” is something I still try to live with Kimmel.
How has your work been affected, or developed, in light of the coronavirus epidemic?
The show has seemed a bit unfocused in recent episodes. It produces a lot more through phone and conference calls, but mainly it was trying to come up with creative ways that move from the highly produced in-studio department to illustrated performances from people’s homes with unlimited possibilities. It was also important that we try to differentiate ourselves from what others were doing – not just other shows, but anyone with an iPhone and internet connection. Thus, “Jimmy Kimmel Live from Ltd.“Born. Fortunately, most bathrooms have good sound.
Beyond that, Group love Was one of the first video chats Compilation Performance. I asked the band to play each film their parts with their original album track. This gave us a realistic performance of the instrument at the right time which we needed to edit together in the post.
Photo by Mac Burrus, Scott Speigel
What are you looking for in the artist you want to work with?
A good song. Growing up my dad played me a lot of his records and helped me understand that every album has at least one good song. So I’m always looking for that best foot forward and then asking myself, “What’s the best thing about this song and what can I do to translate it on TV?” Sometimes artists have only one chance to get the audience’s attention, and so I look for artists who have a clear vision of what they want to present. But if they don’t, I hope they believe I will do my best to get them there. I understand that a TV performance is a big deal, and I’m always here to specialize in their looks and to represent that artist.
From your perspective, what is the biggest tool for an artist in 2020 and why?
Smartphone. Which is not one New Tool – I mean, I don’t want to say in old age, “We didn’t have shoes in my day!” But, really, the world is shutting down and we’re still creating broadcast-quality performances using the iPhone. Of course, artists don’t have control over your angles and lighting with their self-portraits so you have to be creative – for example, if they film at 1080p, you can slowly move the editing footage a bit – but most of the time, viewers don’t realize it’s happening . After all, the ability to go from phone to fan is why I think, yet, in 2020, no one really has a bigger tool than this.
What is the best advice for you at the beginning of any artist?
First, be beautiful, whether you’re starting, finishing, or anywhere in between. Each crew member Jimmy Kimmel Live! They are as talented as they are helpful, and that attitude comes from the top down. It is inspiring and nurturing. Second, immerse yourself. Take any opportunity to explore your art that goes your way. You still need to be in the right place to arrive at the right time. Finally, try to say “no”, “it’s impossible” or “I can’t do anything”. You’ll be amazed at how far you can get with the can-do attitude and, most importantly, the things you can achieve that you never thought possible.
– Chris Martins