I enjoy the very deliberately placed weight right in the middle there. #gymshark.
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I'm catching up on recent developments and I have to go back to Greer's announcement that he's writing another song with the intent to pitch it for commercial use. We've seen how Greer tends to approach these things: pay for a list of ice-cold industry contacts, and spam them with his “awesome story” and a link to his soundcloud account.
I don't know anything about the music industry, but this seems inefficient, if nothing else. I was curious about what it actually takes, so I googled this article:
How To Get Songs Placed in Film and TV (8 Rules You Need To Know). And now, with slightly more knowledge than I had 10 minutes ago, I can say with all confidence: this will never happen for Greer.
The writer makes it clear that the best course of action is to get a licensing agency to rep you. However, he also notes that it is possible to get a song placed via a cold call, under
very specific circumstances. After reading the article, I can't imagine Greer doing any of it. Literally 0.0% of it.
I especially can't imagine him paying for instrumental versions of his songs (which hadn't occurred me before). He relies heavily on other people's talent to play the instruments, sing the lyrics, record the session, arrange it, mix it, and produce the final recordings. The only part of his songs that is 100% Greer is the lyrics. Remove those, and is there anything left of his original concept?
The author also makes the point that the song needs to be universal, and it should be pitched for a real, existing, specific project. Greer does the exact opposite, writing a song about a specific person, and putting it out there in the hope that somebody somewhere will love it so much they'll figure out a way to use it.
The way Greer does these things couldn't be more wrong if were actively trying to shoot himself in the foot.