As the executive producer of an original music company—and as a former agency writer, producer and CD—I’m finding the current back-and-forth debate about original vs. licensed music to be interesting, if not a little entertaining. I also think stints on both sides of the business have given me a unique perspective on what, I feel, is a debate with much larger implications than just a simple feud between two warring factions of the commercial music industry.
On one hand, you’ve got us, the original music purveyors, espousing the evils of spending gazillions of dollars on songs that have absolutely no relationship whatsoever to the brands they represent or to their target audiences. Quick, name the truck brand that Aerosmith has been singing about lately. I, myself, had to double-check and ask around. If you happen to be among those who know, that would make you the first I’ve actually heard of.
On the other hand, you’ve got the licensing folk who can just as easily trot out the value of a song like The Beatles’ "Revolution" for Nike, undoubtedly a benchmark execution and the epitome of relating a licensed piece of music to a brand and its personality. They just as rightfully point out the propensity for self-indulgence and wretched excess that exists on our end of the business, with original music companies charging $15,000 for demos or spending months developing original music and/or sound design that includes weeks of travel in search of the perfect Tibetan yak belch.
Caught in the middle of all of this? The agencies and clients themselves. And their carefully nurtured brands. And their meticulously crafted (in most cases) brand marketing strategies. And their increasingly volatile budgets. And their growing need for accountability from their supplier partners, whether it be for music or film or postproduction. From their point of view, who is right?
Or is everybody wrong? And are we, as a service industry, missing the real point: value for our agency clients and their clients, in turn?
I can’t read a single issue of the industry magazines without wondering whether or not the folks about whom I’m reading are getting a real value for their production dollar. Without wondering if we’re not once again returning to the days of excess and irresponsibility in the advertising business.
A ton of cash gets dumped on a licensed tune that simply doesn’t make any rational sense. An extortionate amount of money is foisted on demos from one of those special music houses that "doesn’t do demos." Scarce production dollars are heaped upon a director whose vision cannot possibly be worth the pain and suffering one has to go through to work with him or her.
Are we really doing justice to ourselves and our clients and their needs by working this way?
Those of us on the production side who can honestly answer "yes" to this question are probably the ones best prepared to meet the challenges of our ever-changing business. Best prepared to deal with the harsh realities of an industry in which "return on investment," "value" and "partnership" should be the rule rather than the exception.
Granted, there are clients who can afford six- and seven-figure lapses in judgment. But I have to believe that most of the agencies out there—and, more importantly, most of their clients—can’t afford for us to be irresponsible or self indulgent in our pursuits. Nor should they tolerate it when we are. Whoever we may be.
And a message to the agency folks: Good, smart work doesn’t have to come at a premium. It really doesn’t. And don’t let anyone tell you differently.
There are directors out there who are really good and really good to work with and affordable. There are music license opportunities that don’t border on highway robbery—and great licensing companies that are very adept at facilitating them. And there are original music companies that do, indeed, do demos. Some even on spec, because they recognize the value and importance of helping an agency crown a creative achievement or attract a new client or assist a fledgling brand in finding its wings.
There are a lot of production companies out there who offer their client partners a good measure of added value. And if you can’t find them, they’ll find you. Look in the pages of SHOOT, look online or simply ask around. Easier still—simply review the demo reels that come across your desk from time to time. Or take that phone call from the rep you’ve never heard of.
The world has changed. Our business has changed. Are we all smart enough, adept enough—concerned enough about our clients’ well-being—to change with the times?
Is that Tibetan yak belch really all that important?
Is it really worth it?
