Can a TV Sync Placement Really LAUNCH Your Music Career? [Flannery Johnston - Lyric House] - Music Business Insider Podcast

Episode Transcript
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(00:00):
On today's podcast, we sit down with Flannery Johnston, one of the leading
voices on the front lines of music sync in film, television
and advertising. Flannery shares the inside scoop on the most significant
shifts in the world of sync over the last five years. From the explosion
of opportunities to the increasing cultural impact of music in
visual media. We dive deep into the nuances of curating

(00:22):
music for scripted and unscripted television, the distinctive
role of brand identity in music for advertising, and the
relationship building secrets that drive success in this competitive
field. Plus, flattery reveals the most common
misconceptions that new artists have when entering the sync world, how a
single placement can transform an artist's career and the global

(00:43):
opportunities opened up by the streaming revolution. If you've ever
wondered how music makes magic on the screen or how to break into this
exciting corner of the industry, this conversation is packed with
insights, advice and inspiration you you don't want
to miss Insiders Are you ready?
Welcome to MUBUTV's Music Business Insider Podcast

(01:06):
where our mission is to educate, empower and engage artists
and music business professionals who are dedicated to having a successful
career in the new music industry. Here are your hosts,
Ritch Esra and Eric Knight. Welcome back, insiders, to another
episode of the MUBUTV Music Business Insider Podcast,
where our mission is to educate, empower and engage your

(01:28):
music career on today's episode Episode we're excited to welcome one of the most
dynamic voices in the world of sync, Flannery Johnston. Working on the
front lines of scripted and unscripted television, film and
advertising, Flannery shares insights into the rapidly evolving
landscape of music synchronization. From the booming cultural impact of
hit sync placements like Kate Bush's soaring up the charts after

(01:49):
Stranger Things to the nuanced art of matching music to brand
identity and advertising, we dive deep into the most common
misconceptions new artists have about sync, the true long term value
of great placement and how relationships Relationships are everything in this business.
Flannery also opens up her unique path into the industry and
offers must hear advice on how to break in even if you don't come

(02:10):
from a traditional music background. Plus, you'll hear about the expanding
global opportunities brought on by the rise of worldwide streaming and why
staying on top of media trends is essential for success. If
you've ever wondered how to get your music on tv, film or advertising, or
you just want to understand how sync actually shapes the industry in
2025, you won't want to miss this conversation. But first,

(02:32):
a word from Our sponsor. Hey insiders. Are you an aspiring
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(02:54):
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(03:17):
to branding and marketing strategies. We understand that every
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(03:39):
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(04:01):
15 minute discovery
call@book.mubutv.com for a
transformative coaching experience that will elevate your music career.
That's book.mubutv.com
hi, this is Fernando Gabriel, co founder and CEO at
Stream Music, and you are listening to the MUBUTV Music
Business Insider Podcast. Welcome back, Insiders. Today's

(04:24):
featured guest is one of the most dynamic voices in the world of sync,
Flannery Johnston. This was a really interesting interview on many
levels, Eric, because, you know, sync is a. It's a
developing element within the music ecosystem that
has a lot of nuances to it in terms of how you succeed
and also what the purpose of, you know, sync in terms of

(04:47):
the benefits are. Right. That's what I thought was interesting. One of the things that
she talked about that to me was really the most interesting was about
tailoring your pitches. And what that essentially means is that, you know,
music supervisors are not in the business of you sending your music,
hoping that they find five minutes to listen to it and find a place for
it in their world. It's your job to know what their needs

(05:09):
are. Their job is to serve the needs of the TV show, the
advertisement, the brand, or the movie or the
video game that they're making. It's your job to find
out what those needs are and to serve that. So that, that's. That was an
important point that she made, which, you know, I thought about tailoring your pitches,
knowing a brand or a TV show's history and current

(05:30):
choices, it helped to, I guess, you know, make the pitches much
more dynamic and much more accurate. Yeah. One of the other areas that I
thought was interesting was the monetization of sync, and that artists should
realize they. They get paid for sync placements sometimes
substantial amounts, and that these deals can lead to further opportunities.
And again, this is another spoke in that wheel of how an artist can

(05:52):
break and how you guys could break by getting a placement that turns out to
be this, you know, dark horse placement that all of a sudden just explodes your
career. We've, you and I have heard, Rich, several artists that that's happened to
on an independent level, where they went from not being known to
overnight being known around the world due to placement on a. On a film
or TV show. So it's another area that you guys need to be aware

(06:14):
of. It's an obvious one, but you don't realize that that could be the
avenue that breaks you as an artist today. Yeah, absolutely. And. And
I think, you know, Alex Petsavis, one of the premier music
supervisors, once said a very interesting thing that she felt was one of the
golden rules. Never pitch for television shows that you don't watch.
Right. That is absolutely crucial. And so, you know, essentially it's going

(06:37):
back to know thy product, know the work that
you're. You're pitching for, that. That's absolutely a crucial thing.
And, you know, she always said when she got music that
was completely inappropriate or wrong for a show, it destroyed
her relationship with that person from that point on. And with that,
insiders, sit back, relax, and enjoy our Featured

(06:58):
conversation from MUSEXPO 2025 live with Flannery
Johnston. Flannery, welcome to the show. Thank you
for having me. Thank you so much for coming in and doing it. You know
what, in your mind, have been the most significant shifts in
the world of music and sync in film and television and advertising over the
last five years. I think one really big shift is

(07:20):
now the amount of attention that's on it. I think a matter
of years ago, I don't think there were nearly as many people in the
game. People weren't as excited about necessarily doing collaborations. It
was not as a. As tapped into of A market at that point.
And I feel like now everyone knows about sync. Even
like little up and coming artists who I met at like my

(07:42):
gym who I wouldn't expect them to know about sync, they're already familiar
with it when they've never even worked with an agent before or know that
much about it. But they know it's important. They want to try and get their
songs and show. So it seems like it's becoming a more
well known thing even to people who might not be in this industry. And I
think that's kind of the power of certain sinks we've seen, like

(08:04):
how Running up that Hill by Kate Bush and Stranger Things can then
become a chart topping song after. Like I'm
27, I had never heard that song in my life before Stranger. Things 40 years
ago. Yeah. So it's really cool how these songs can
totally shift and then it translates from that to. To then an Instagram
influencer is using it in their little reel. So it can.

(08:26):
It's a really cool thing the way that music combined with media is
just at the forefront of everything right now. Flannery, thank you so
much for joining us. I wanted to ask you as a leading professional on
the front lines of sync, do you feel that music is used more
today to help tell stories in visual media than in the past? I
definitely think so. My so I work in scripted

(08:48):
tv, unscripted tv, film and advertising.
Those are my main focuses. Though I go a little outside of that at times.
But I think especially within the unscripted world, like
we are seeing so much music that is on the nose at times, but it
really explains the scenes, it shows what's going on. I think
in scripted TV or film, it's a lot more nuanced.

(09:10):
They still want to get the point with the song, but they don't
want to be so obvious as with some of the dating shows, which I'm a
big fan of personally, where they are literally saying
exactly what is happening. I am walking out the door because you broke my
heart. Whereas in a scripted show, you're not going to see that necessarily
unless they're having a really big moment. So, yeah, I

(09:33):
do think it tells a story. It's just different from medium to
medium. Even with advertising, I think there's usually a key word
or two that they're latching onto. Like you might use the word bounce
if you're having something that's fun and playful. But
all of the different mediums use sync a
bit differently, I would say. Okay, you know, I

(09:55):
want to Go back to a point you had made before, which was that
culturally you're seeing the expansion of sync in terms of people that
are becoming aware of it that weren't in the past. What have you found
are the most common misperceptions that new artists or
songwriters have about the sync industry? I'd
say maybe more so a few years ago, people not understanding

(10:18):
or some artists who were on the come up, like not
knowing how important a sync could be. And just what one
single placement in one show can do for your Shazams, for your,
your streams on any of the DSPs, it really can make
a big difference. And then also the fact that you can monetize off of it.
I think people who don't work in this industry might think,

(10:40):
oh, my song is being used in this ad. Like,
I would almost pay them to use my song, not realizing that that
brand or that show is going to actually pay me to use my
song. So this is a profitable business model for me and it can
lead to greater things down the road. It's not just I'm getting
paid and I'm getting more streams and I'm able to grow my career. So

(11:03):
it really is a full circle type of thing. It's not just one
quick deal like I sold one thing, it's this can lead to so many
more things. And once I say to a lot of our artists, once you have
like one placement, it's usually a bit easier to keep them going because
now more people are familiar with you and this supervisor has already
used your song and this supervisor likes that one. So maybe you

(11:25):
have a better chance of landing something with someone else. Flannery, looking
back at your proudest sync placements, how do you measure success
beyond the immediate financial gain? And what role does
the cultural and emotional impact of a sink have on its lasting
value? You kind of touched on it a little bit with the Kate Bush. Is
the question kind of phrased in terms of the artists themselves or are you talking

(11:47):
about, like, me personally? I want to make sure I answer. Yeah, I think you
personally. Me personally, I think something that I really
enjoy at my current position is getting to work with a lot of artists who.
They're not super massive names. They're not a name that
your normal midwesterner is just gonna. Oh, I heard. I hear this person on the
radio all the time. I really like working with these artists where I know that

(12:09):
these sinks are directly impacting their lives. I did have.
I remember one of our artists one time thanked me for sinks. I
was talking to him about like TV placement I had gotten him. And he's like,
thank you for doing this. This feeds my family. And when they said that, it
just really resonated with me. And I don't want to be out here
acting like I'm saving lives. I'm not a doctor, I'm not doing stuff like that.

(12:31):
But to know that these things really, truly influence
people's like our artists lives, that's what makes me
more inspired to work this job. And I think that's why I enjoy being on
the more indie side of things. Not that there's anything wrong with being
at a major label. I think that's still incredible. There's still everyone,
all these people are still artists at the end of the day. But knowing

(12:53):
that something I'm doing is directly changing
someone's life in a way, I think it makes the job a lot more fulfilling.
Yeah, it's amazing. I would agree with you. I want to go back to something
that you had mentioned before. You said that, you know, you work in film and
television. You mentioned scripted TV and advertising.
And my question is, what are the distinct nuances

(13:14):
involved in music, in advertising? You know, I
guess I'm curious about does brand identity, audience
engagement, emotional renaissance resonance, do
these things influence the selection process for you? Or is it
a different. I guess it's different than just a placement in a TV
show. When you talk about the advertising world. Yeah, I think it definitely is very

(13:36):
brand specific. And even with it being advertising,
I think it's the same way within even unscripted tv where
each individual thing they might be similar. Like you might
have a Jeep ad and a Honda ad and a Kia ad.
All of those brands still have different identities. Genesis, for example, I feel like has
a very specific sonic identity in the last few years. So even though it's

(13:59):
all cars, they have their own individual brand sound. So
if I'm pitching, I'm not like here is this great
rock and roll song for this car brand. Just because it's a car, it has
to actually line up and I have to know what the brand likes. Otherwise
I'm just sending over music that's not going to go all the way.
And I don't want to waste my time, my artist's time or my client's

(14:21):
time if it's something that's not going to work for them. And I feel the
same way with that with ads, same with reality tv. Because
a love is blind is not going to sound the same as a love island,
which isn't going to Sound the same as this other dating show, which I
think people might think that they're all pretty similar. There can be a little bit
of overlap at times, but one show goes a little bit more dance, one

(14:43):
goes a little bit more indie pop, one goes a little bit more this way.
And I think being able to know those nuances is how you're
able to get more placements and help more artists. Flannery.
Success in sync is often about relationships. How do you
build and nurture long term relationships within the sync community?
I think a good way to build relationships is just starting as soon as you

(15:05):
can. If you are an assistant or a coordinator, I think the
biggest thing you can do is start asking people to hang out right
away. People who might even be, especially your competitors. You never know if they're
going to switch over to the other side and then all of a sudden they're
your client, they're no longer a competitor. But I think building these
relationships that are actually based on friendship

(15:26):
and care, I think that makes a big impact. At the end of the day,
I really like to see a lot of my clients as my friends
because we met and became friends before either
of us had any form of power at all. We just, we're working under
other people doing our little day to day stuff. But we were able to
build real relationships off of that. And now seeing these people become

(15:48):
these full fledged supervisors, they know that I was with them
before they were in this position. So they know I'm not just trying to
get my placements and do my job. I care about their lives. I want to
know about their weddings, the kids they're having. I really, as
great as work is, work is not life's end all be
all. I really care about people's actual lives. And that's just the way

(16:11):
I. I've always felt about my life and my relationships with people. So I
think having genuine connections, I think if you're meeting with
people, don't just be selling your music the whole
entire time. If you're taking a client meeting, they know that you want to
get placements with them. Yes, you can mention stuff, but I think it
is important to show you really care. And remembering

(16:33):
parts of their life, Remembering, oh, this day is so and
so's birthday, this day is their anniversary and I just happen to remember
it. Remembering stuff like that has way more of an impact than just being
like, here's another great song I have. If you really show
that you care about someone, I think you're gonna have a better chance of Having
a stronger business relationship. Hey, insiders, we hope that you've

(16:55):
been enjoying our featured conversation. Stay tuned because we've got so
much value coming your way. But before we dive back in, a word from
our sponsor. Hey, Eric, as an artist, what do you find are the most challenging
aspects to a music career, especially when you're starting out?
Well, I think one of the first things is just trying to get the direction
of who you are as an artist, where you want to go, where you want

(17:16):
to be. And, you know, we've talked about it on the show a lot. Who
is your target audience? Who you are, who, what do you stand for?
What do you believe in? What do you think would resonate with an audience? And
so those are some of the things that I would feel being a new artist.
Obviously, what I know now is different because I know these things, but for people
that are out there, like our audience, that don't have necessarily any direction

(17:36):
to go would be the first things that I would start off with. And having
the songs incorporate those elements that you're speaking
of into it, that's so important today. Yeah. And I think that's one of the
reasons why we started MUBUTV and why we started this new consulting service that
we're offering to all of our insiders out there. Because that is another one of
the big things. I mean, that is the big thing is like having the great

(17:57):
songs. That's what it really starts off. Our friend Don Grierson always said
it always starts with a great song. So that's probably. Besides putting
together what your audience and what your target audience is, is the single
most important thing. Where are your songs at currently, today? Are you
collaborating with people? Are you trying to go out to networking events where you
can connect with other songwriters and stuff like that? So, yeah. And what are your

(18:19):
strengths exactly? You know, are you a strong lyric
writer? Are you a strong melody writer? Are you a strong musician? A
player. Right. You know, and it's really important to get really
strong clarity on those issues before proceeding. I totally
agree, Rich. And, you know, with our consulting services, we offer
myriad of different packages that we've made it super affordable for everybody. So, you

(18:41):
know, if you guys are interested out there and connecting with us on a coaching
call, you can visit book.mubotv.com and start
off with a free 15 minute discovery call. Well, yeah, absolutely.
That we start with an initial 15 minute call where we can get a sense
of who you are, what are the issues that you specifically have and
want to work on. Exactly and we can go from there. Absolutely,

(19:04):
yeah. And we tailor everything to your needs. It's not like a cookie cutter thing.
We kind of really want to get to know who you are as an artist,
where you at today, what's the snapshot of you as an artist today?
And then start trying to craft something that's tailor made for you. So again,
if you're interested, Visit us at
book.mubutv.com for your 15 minute discovery
call. Hi, this is Mike Jones, manager of Creative Sync at

(19:26):
Extreme Music. Are you an insider? I am.
Subscribe now, Absolutely. I totally agree. You know,
I want to ask you about an aspect of your work that has sort
of. It's happened over the last, I'd say three to five years, which
is the global expansion of streaming. It has brought in
television shows from around the world that have become huge successes,

(19:49):
whether it's from, you know, Korea or from
Spain or from Europe or from, you know, all over South America.
My question is, has that expanded base
of shows, has that changed your world in the world of sync in
terms of broader possibilities that you can now
sink music into? I definitely think it has

(20:12):
changed the possibilities. I think having the same
formats of similar shows in other countries gives you more
opportunity at times. And then sometimes it's just
Americans recreating shows that have done really well elsewhere. So
that's just another show that exists that we can get placements in. But
I think a lot of us work with like agents

(20:34):
on my side or people in general. We're not just based in the us
it is a global thing and we have artists from Australia on our roster,
artists from Europe. We have people who are from these other places. So being able
to connect them on shows that take place in their actual
home countries, I think can have a bigger. It can
resonate more with audiences. But

(20:57):
there is just so much content and media out there that sometimes it
is difficult to have a sync that is
as impactful at times. I think there is just such
an abundance of media. The nice thing is that you still can
find fans and audience members because of
the. There's so much content to check out. There's

(21:19):
Korean content is everywhere and there's only certain
groups of people that are going to watch specific shows. So by being able to
diversify the places where you can get placements, you do have a better chance of
gaining more fans. That's what I was thinking. Yeah, exactly.
Yeah. Flannery, throughout your life, have there been any books, films or
documentaries that have really inspired you, professionally speaking, that you

(21:41):
could Recommend to our listeners. I know when I was in high school, so my
path to getting to where I am now, this is going to be a little
bit of a roundabout story to tie it back in. I always
knew I loved film and tv and that's actually what I went to college for.
I did not study anything music related at
university, so I think that's an important thing to share, is that you can still

(22:01):
work in this industry and find your way in not going a traditional path. I
was not an artist and I did not go to music school. And I always
knew I liked film and tv. I went to college for TV writing and
production, and it just took me a little bit of time to realize that what
I liked a lot was music within the world of film and tv. I
loved soundtracks, and I can definitely think of, in high school, I

(22:23):
loved all the Wes Anderson movies and his song choices in
those. Him and the supervisor. Obviously, I want to make sure I'm giving them credit.
Those songs were songs that felt like they were
soundtracking my life then. Or Lost in
Translation is one of my favorite movies of all time. And
when I went to Japan last year, I remember just

(22:44):
listening to the soundtrack again when I was there and just. I was like crying
listening to some of the songs because I just connected so much with that movie,
the feeling that it gives me. And yes, movies
and tv, they impact me, but the song choices within
them, at the end of the day, what really moved me, and it just took
me a little bit of time to catch up and realize that this is a

(23:06):
specific part of the music business and it's a career you can have. I
didn't know 10 years ago that this was a thing. I grew up in
Pennsylvania. I didn't grow up around the entertainment industry. And I just.
It took me a little bit of time to figure it out. And
I think anyone can. As long as you can watch any
TV show, any film, even an advertisement, and if it touches you and makes you

(23:28):
feel a certain way, I think you should explore why it's moving you.
Is it the song? Is it this? Is it that? And I think that's the
most important thing. And to go from there based off of how you're
inspired, then you can start researching other books or similar
movies or going down a rabbit hole that way.
Okay, let me ask you. What advice would you

(23:50):
have for someone out there in our audience who's interested
in having a career like yours in the world of film and television?
Music Sync. I think networking is the most important thing to do.
To be able to get your foot in the door. Me, I did not study
something necessarily pertinent to what I do. I do think having a
degree in television makes me knowledgeable of a facet

(24:12):
of what I do day to day. But I did not study music. And I
think the reason I was able to get into this industry was because I was
very determined and I said I was going to go to networking events, I was
going to reach out to any person I could, I was going to get any
person I knew to connect me to this person. And I was
very persistent without being annoying because I know it is a line

(24:33):
you need to walk. You can't be just emailing the same person every
single day because then they're gonna just stop answering because
that's a little bit much. But I was just very determined and that was
kind of how I found my way into this. I had one person at
my first full time job out here, which was at a management company for film
and TV unrelated to music at all. And he connected me

(24:55):
with one person who connected me with another person who connected me with another
person. Person who connected me with the guy then who became my first boss. Working
in sync and it just. I got lucky and I just was very
determined to make these connections happen. So I think if this is something
you really want to do, you can make it happen. Regardless of what
background you're coming from, you just need to really be

(25:16):
committed and lean into it. You can't just think you're going to stumble into it
because it's getting more and more competitive. To get into this
industry, you have to be sure this is what I'm going to put my time
and energy into. And then once you're in focus on your
relationships and then you can keep growing from there. Are there essential
qualities or aspects that you feel people

(25:38):
pursuing what you've just suggested should be learning? Whether
it's publishing or copyright or are there things that can help them?
Definitely. Like making sure you're good with people in relationships
as I think we've touched on today. But I think
staying ahead of music trends, watching a lot of
content, if you want to work in sync and you watch

(26:00):
like no TV or film at all, you're just not
gonna. You are going to need to do research before every single search.
I think the reason why, especially with like my favorite medium, which
is unscripted tv, I watch every single episode of every
single one of those shows I watch. It takes a lot of time, but it
is something that I enjoy too. But I Think the more you truly know

(26:22):
about it, the better you're gonna be. If you want to do music for
trailers, you should be watching every single new movie trailer that comes out,
because otherwise you're not going to be on top of these trends. I think you
always need to be, like, keeping, like, your finger on the pulse,
otherwise you're gonna get behind. So I think,
yeah, the biggest thing you can do is just stay up on media and

(26:43):
content. You can't just take it back and assume, oh, well, I already
pitched to this person, so I'll just keep sending the same stuff. Sounds
evolve, sounds change in the same show two seasons later might
be doing something totally different. So you just need to stay up on everything.
Absolutely. And to your suggestion, which is the great thing about, you
know, like, trailers, Every single trailer is available

(27:05):
on YouTube, right. Even the movies that haven't come out.
IMDb, you can go everywhere. Single one.
I mean, you know, back in the day, you had to, like, go to movie
theaters. You could just binge watch trailers, watch television. Yeah. Ten days straight
to really get into your point, which is a great one, about deep diving
into that subject and really learning what works, what doesn't, what are they

(27:27):
trying to do? Because trailers and advertising, to me, that's a whole
different field than a song placement. 100 different, different worlds,
different purpose. You can watch ads online too. And I think same with that. If
you are really in to advertising, you should be checking
out, hey, this new brand came out with this spot. What are they using? I
did a search recently, last week, I think it was last week,

(27:48):
for a car brand, where I ended up pitching a couple songs in a different
direction based off of the ad they had done two months ago, which was
a totally different sound for the brand than they've ever previously done. And
I was like, I feel comfortable doing a mix of different
stuff because it seems like the brand is trying to. To branch out. But if
I hadn't seen that ad, which I've seen probably 50 times on

(28:10):
TV, they're definitely running it, I would go the more
traditional route for that brand. And I don't know if that's what they're looking for
anymore. So I think you need to make sure you're staying up on
whatever brand, trailer, any of it, because those
trends do evolve and people do kind of copy each other.
Once one thing works, another brand might try and do it, but then the original

(28:30):
brand might try and do something else. So you just need to kind of stay
up on it. And I think another thing that's very commendable about your story and
a lesson that for our listeners was, is you knew, you said that there was
a little bit of luck, but I think you created that luck by going down
those roads and your determination. So, you know, I think that luck came as
a part of your, you know, wanting to. Wanting

(28:51):
that, you know. So I think it's really commendable to hear that story how that,
you know, you created that luck to a certain degree, you know, because if you
wouldn't have been so persistent about it, that person wouldn't have introduced you to the
other person, to the other person that introduced you to the guy. So it's a
very interesting lesson that I'd like for everybody to hear because
it's your persistence and your wanting to do this that created

(29:12):
that luck for you. Well, thank you. That's very sweet of you. Yeah, no,
definitely. I wanted to ask you, Flannery, how can people reach you?
Is it through your website, socials? What's the best way to get a hold of
you? You can reach me through my email, which is on
my company's website. You can hit me on Instagram.
I'm not necessarily someone who posts on my

(29:34):
feed a bunch of stuff about what I'm doing. Work related. I will share stories
when I have song placements, but I'm not. My social media is still
kind of more about me or me,
I'd say, outside of a work life. But if you do want to see like
what I'm up to, I do share on my stories when I have new song
placements. Great. Wonderful. We can't

(29:55):
thank you enough for taking the time to do this. Thank you. Lovely conversation.
Really, really appreciate it. It's been a wonderfully insightful conversation. Thank you
again for doing it. Thank you. Such great
info. Yeah, really, really solid. You know,
Flannery talked about a lot of things that I thought were really, really important.
One of the most significant to me in this conversation was how she

(30:17):
talked about the global expans and
how, you know, now we're thinking globally. We're thinking like
TV shows in Spain, in Australia, in England, in
France. You know, that we're now a global market. It's not just
American. Right. You know, we're thinking far more
kinds of different cultures and we're seeing that. Look at, you know,

(30:40):
squid Games. Look at a lot of these shows that have become,
you know, the one out of England. Cultural phenomena. Cultural phenomena.
The one about the, the child who killed that girl
that's become this most successful streaming show in Netflix's
history. Oh, I forget the name of it, but I know which one you're talking
about. The incident. I forget the name of it. It's. It's. It's

(31:02):
out right now, but talking about just the Internet, like the world is becoming
smaller. And she addressed that, you know, by talking about the whole, you know,
global expansion. It changes the possibility, she
said. You know, she says, I think having the same formats of similar shows in
other countries gives you, you far more opportunities, which is a very, very
interesting point. So, you know, insiders, when you're, when you're pitching, you know,

(31:23):
don't only think of American shows. There's a whole world out there
that's open for more possibilities than you ever thought in the past.
Yeah, one of the other areas that I thought, and this was her speaking about
her side of the networking, which I think is so important. We've talked about
networking and how important it is to establish relationships, but I really loved what she
talked about. Her story and her journey. Networking. And I quote, you know, I

(31:45):
think networking is the most important thing to do to be able to. Your
foot in the door. I was going to go to networking events. I was going
to reach out to any person I could. I was just very determined, and that
was kind of how I found my way into this. So I think if this
is something that you really want to do, you can make it happen, regardless of
what background you're coming from. And her case is, I forget where

(32:06):
she came from. She's not from la, but, you know, she came here with an
intention and a goal and. And this is another part of what we
talk about that, you know, about how important it is. And I always look up
to you, Rich, because you're the master and the king of that which
is networking and meeting the. The people that are. That are the old people
in the industry, the people that are just coming into it and how important it

(32:27):
is, because you just never know who that person is going to end up becoming
to be in the industry. Yeah, you know, networking was
something that I think is. Is very important if this is
to be your career. I think that's an absolutely crucial element, because
as you well know, Eric, this is a business that's totally built
on relationships. And the best way to build those

(32:49):
relationships is through networking. Yeah. Whether that's through industry
events, whether that's through conferences, whether that's just, you
know, going to these different kinds of organizations like the ccc,
the California Copyright Conference, or the nmpa, the National Music
Publishers association and their Lunches. This is the way you do it that, you know,
you get to know people, you get to know who they are, what they do.

(33:11):
Different companies, ascap, bmi, it's all about that
networking, if this is to be your career. Yeah. And I would be remiss to
not add our good friend and my former teacher, Dan Campel, which has written
a brilliant book on networking. He's another master about
how to the intricacies of meeting people in a setting whether
you feel comfortable or not. And I remember being in that class at

(33:33):
MI and how, you know, he would do examples where he would bring, you know,
some of the students up and he would go through different scenarios about how to
break the ice and how to meet people and how to just engage with somebody
quickly. And it was just really brilliant to watch. So another
master, Dan, which was, you know, a good friend of ours. Absolutely. Yeah.
Dan was a master at that. I mean, I, I used to love

(33:55):
listening to him speak about those things. He really knew
that world and, and he was very, very effective at, at building
relationships much more. So. So, you know, hope
that you, you know, a lot of great things in this. Hope that you guys
got a lot of great info out of it that, you know, one of
the things that I thought also was another interesting point, which is sort of future

(34:16):
looking, is the fact that the world of sync is expanding
into a lot of online content in a way that it never did before.
Not just films or television shows or video
games or commercials, but going to online content and
being licensed specifically for online content. Talking about a lot
of brands that do just, you know, marketing for online

(34:39):
content. Big brands like BMW or Mercedes or Louis
Vuitton or those kinds of, you know, brands that just do it for
online. And this is another possibility that you guys want to keep in mind.
So start paying attention to that kind of thing in your world. You
know, it's not just the obvious. It's looking for the new opportunities
that are coming about. That's where the future is. Hey insiders,

(35:02):
thanks so much for tuning in to this episode. We really appreciate it. To get
show notes, links and everything that was mentioned during this interview, head on
over to our Official website at
mubutv.com/podcast/shownotes. If you're
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(35:23):
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(35:45):
T V. Don't forget to catch our flagship show, the MUBUTV Music
Business Insider Video Series, airing every week on YouTube
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show was produced and created by Ritch Esra and Eric Knight theme
music by Disciples of Babylon. And be sure to tune in next week
for another episode of the MUBUTV Music Business

(36:07):
Insider Podcast.

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Can a TV Sync Placement Really LAUNCH Your Music Career? [Flannery Johnston - Lyric House]

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Can a TV Sync Placement Really LAUNCH Your Music Career? [Flannery Johnston - Lyric House]