84: Settling the Underscore Vol. 3 - Gate Keepers & Key Masters
Imagine walking into a restaurant, ordering a meal, eating the meal, giving the chef a hard time, giving the waiter a little bit of an attitude, and then deciding not to pay for the meal at the end of the night. In many ways, that's how the business of writing music for advertising is set up. Why is that? Who set it up that way? Is it possible the music creators, the composers, and music houses are responsible for giving away too much for too little?
In this third installment in a series of episodes about music in advertising I’m talking to former advertising executive Ken Yagoda, commercial music producer Mike Boris, and editor Maury Loeb.
In the first of these advertising episodes, I spoke with two music house proprietors about how they see the business. Last week I focussed on the freelance composers in the business, who I refer as the freaks and geeks.
This week, I explore the business from the other side - the advertising agency and editorial world - and discover who influences the music that gets chosen.
Ken Yagoda got into the advertising business in the early 70s. He saw the business completely change, in fact, he helped the business change. Here he lays out the evolution of the business of production in tv commercials really, from the 70s into the aughts.
Mike Boris has worked on music for advertising for 3 decades both from within agencies and outside. Here he lays out the changes in the business and his vision for the future.
Maury Loeb is partner and editor at PS260, the editorial, post-production and visual effects company. And here he reveals a basic truth about music in advertising - most of the time, the editor is playing a huge part in the decision.