A lot of people in life who feel like they haven't gotten the necessary breaks coming their way have an expression: "It's not what you know, it's who you know."
That can often sound like bitterness, especially when it comes to being a musician toiling in obscurity.
From my vantage point in the lower levels of show business, the concept that connections matter as much as talent has a lot of truth to it.
My Moderate Successes in Music
Let's not get too far out over our skis: Any successful placements in film and television I've gotten for music I'm involved with are very limited.
My ASCAP royalty payments in a month typically are just enough for a burger and fries, unless I've had a recent strong placement.
That said, for a local musician frequently playing in bizarre spaces or to sparse crowds, I've actually done OK for myself getting our music out there.
More often than not, it's been networking or who I know, when it comes to film and TV usage.
My good friend Mike Stutz has worked in Hollywood for years, we're super close, he's seen me play, I've attended his events, we've collaborated on a lot of things.
A few times, he's needed some music in some basic cable shows he's been working on.
Yes, a prominent network placement like Grey's Anatomy are game-changes for some singer-songwriters but I was certainly thrilled to have been of use and had music credits on things like LOLWork and My Crazy Ex.
First of all, having some credits confers that a musician or composer has credibility; breaks lead to more breaks.
But also speaking as somebody who will still play at a bar for $80 on a Wednesday, a $400 check for a music license may not sound like much, but it's even better as $23 or $45 performance rights organization (eg ASCAP, BMI) payments keep trickling in while I'm sleeping or eating.
Additionally, Mike directed a great documentary called Don't Change the Subject and needed music.
I'd wanted to get into film scoring and what a great opportunity to do a lot of it.
There's something like 63 of its 90 minutes with my music score in there.
I loved the experience.
Nothing about any of those assignments would have happened but for being friends with Mike.
A great film placement that I had with a couple of songs that Spud Davenport and I did (as our Leaders In The Clubhouse project) was getting two songs in the film Last Call At Murray's.
It really just came because I have been friends with musician and indie film producer Marvin Glover.
Marvin's a terrific guy and we've always stayed in touch and helped each other on anything we can; that's the way the esprit de corps SHOULD be for musicians.
Rack up another nice credit from knowing somebody; and my girlfriend and I went to the red carpet premiere for that one and embarrassed ourselves in a fun way being overly friendly with the film's star John Savage.
("Rory!" for those of you Inside Moves fans.)
I've done a lot of work for Backyard Green Films with their indie and TV projects.
I met Rick at a backyard party of a mutual friend 5 or 6 years ago and we immediately became fast friends.
He needed music for some projects fast and cheap; I myself am fast and cheap - and we've loved working together on things ever since.
Even usage on a couple of podcasts came via friend routes: I'd known the host of the Something Ventured Silicon Valley / venture capital podcast since high school, and I'd become friendly online with the brilliant Ricky Cobb of Super 70s Sports who needed some theme music.
I've done some jingles with some now-friends whom I met at music conferences.
Again, WHO you know.
We’ve reached our first stop - Part 2 is coming next week (available September 15, 2026) where you get to hear how we ended up.
