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Writers, actors, producers, directors – anyone who can – fights hard to receive well deserved credit. There are guidelines for who receives credit, what the credit is, and where the credit is placed. Did you ever notice that if credits are in the beginning of a show the director’s credit is last, and if the credits are at the back the director’s credit is first? Actors squabble over top billing. Single card vs. shared with other actors. Agents also negotiate over whether an actor receives an “and” credit, which distinguishes him or her from the rest of the cast. Writers and producers quarrel over which credit goes next to the director’s.  Writers negotiate their titles.   “Co-executive supervising producer”  “Executive creative consultant”, “Supervising Script Story Editor”, etc.   They’re all writers sitting at the same table working on the same script.

And for all the battles over credits, no one seems to say anything about the size of the credits on the screen. This becomes an even greater issue in television now that there are no longer opening titles. Credits are slipped in and out of the body of the show, under dialogue and action. No longer are they in opening titles where there is nothing to shift your focus. And they can be placed in the middle of the screen instead of on the bottom like an afterthought.

A number of shows have credits so small and in such unreadable fonts that it’s nearly impossible to read them. LOST was one such show. Tiny, thin letters in white. And if they happened to occur over a scene at a beach then good luck. They completely disappeared. Seems to me it’s not fair to the people involved. It’s bad enough that closing credits are now ridiculously squeezed, but you can blame the networks for that. Undecipherable opening credits is a stylistic choice often made by the showrunner.

I understand there’s a certain amount of humility involved. Absolutely filling the screen with your name is a little much. The MASH credits were huge. I admit it was fun seeing my name so big, but that size was already established so I could enjoy it guilt-free.

But there’s plenty of middle ground. The letters don’t have to be that large if they’re in a font style that’s easily readable and a color that pops. (Yellow or bright white seems to work best.)  In fairness, a lot of shows do just that. 

I don’t think that’s an unreasonable request. After all, who really reads these things? Relatives. And unfortunately, they don’t have a union.

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Despite the band’s British roots, Mumford & Son’s distinct Americana sound will fit perfectly into the legendary country heritage of Nashville’s Ryman Auditorium. Therefore, the group has announced they will undertake a three-night residency at the venue, known as the Mother Church, in March.

Taking place from March 6 – 8, the first date is only the second of the year scheduled so far for the band, which also will play Amnesty International’s Secret Policeman’s Ball at Radio City Music Hall in New York on March 4. A statement on the group’s website explained that the band is ready to get back on the road, and that the Ryman is a perfect venue for the group.

“In a world full of uncertainties, it’s good to know there are some things you can be sure of i.e, in this case, the fact that Mumford & Sons are not ones to stay away from the road for long,” the statement reads. “Sooner rather than later those feet, hands and hearts start to twitch, they reach for their amp leads and head out in search of some fellow music fans and a stage…

“And this time where they’re headed is Nashville, a city whose musical heritage and warmth occupies a very special place in each of their hearts.”

After the Nashville dates, the only other concerts the group currently has scheduled are four dates in Europe over the summer.

Mumford & Sons haven’t released a studio album since their debut album, Sigh No More, was issued in 2009, though band members have said that a new record is in the works. The group was nominated for the Best New Artist at the 2011 Grammy Awards show, where they performed live with Bob Dylan and the Avett Brothers. Sigh No More won the 2011 Billboard Awards for Top Rock album and Top Alternative album.

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