There are two key questions that dictate instant pop culture street cred: Did you hate high school? And do you like music?

If you answered "yes" to both, you probably tuned in May 19 to watch the debut of "Glee." The pilot episode of the Fox comedy, which centers around a high school glee club, aired after the season's final performance show of "American Idol," giving it a massive introductory platform ahead of its fall debut.

"Glee" was a rare bright spot in the TV networks' annual upfront presentations, which unveiled a slate of fall programming that offered little to excite labels keen on finding new promotional vehicles for their music. The show's pilot featured one song placement after another-more than 20 in an hour's time-including Amy Winehouse's "Rehab" energetically performed by a high school glee club decked out in frilly blue, polka-dot skirts.

Overseeing these placements is P.J. Bloom, who has emerged as one of TV's most prominent music supervisors. As a partner at the music supervision firm Neophonic, his recent credits include CBS' "CSI: Miami," Showtime's "United States of Tara" and FX's "Nip/Tuck." Bloom has also been a music consultant at HBO Films for more than a decade, overseeing high-profile projects like "Angels in America," "The Life & Death of Peter Sellers" and "American Splendor."

In an interview with Billboard, Bloom discusses the creative and commercial considerations involved in programming the music for "Glee."

How did you join "Glee"?
[Show creator] Ryan Murphy and I have worked together for about seven years now on "Nip/Tuck" and "Running With Scissors," as have many of the crew members on "Glee." Ryan's spent a lot of time developing a quality team to support his creative visions on all his projects. I'm happy to say, he's stayed loyal-an increasingly unique quality in our industry.

How do you decide what songs to use?
The creative music decisions start in Ryan's head. He either has a very specific song idea or a definitive tonal concept he wants to target. Oftentimes, the songs lyrically speak to the episode's plot points and are almost always a seminal classic or new hit.

At what point in the process do you see the script-or do you suggest songs before the script is written?

Click here for the full Q&A which includes details of a soundtrack, how the songs in the show will be exploited and more.