I've been building production music catalogs since 1996. What I describe here isn't the story of someone naive to the music business… it's the story of someone who kept making the same structural mistake while getting better at everything else.

A false rumor. A disgruntled musician. Twenty years of saying nothing. Here's what I learned about reputation, defamation, and the only revenge actually worth having.

The NYT Magazine just ran a major piece on production music and sync licensing. Here's the perspective they couldn't get from the outside—from someone who sold a catalog to Extreme Music.