TV / Advertisement Music - Public Performance Royalties

Production music earns differently from artist catalogs, and this one shows why in sharp relief. There is no recording artist here and no streaming fan base. These are songs written for television, film, and advertising. They earn when they get placed inside a show or under a TV commercial. When a placement runs heavily, the money comes fast. When it ends, that income stops. So the catalog earns in waves, and reading those waves is the key to understanding it.

The waves have been big. The catalog earned about $75,000 in 2022 and about $69,000 in 2024. Some single quarters topped $26,000. Almost all of that came from commercial placements, songs used in TV ads. These fall into two kinds: bespoke jingles written for a named brand, like "Cheerios Oat Crunch" and "Bullheaded (Mini Cooper)," and existing library cues dropped into a commercial. From 2022 through 2024, commercial use made up about 90% of what the catalog earned. 

Underneath the commercials is a steadier layer. These are the in-show placements, where the cues get used as feature, background, and theme music inside programs. Take out the commercial spikes and look only at this in-show income, and a more stable pattern shows up. It ran about $2,500 to $3,100 a quarter through early 2025. That income comes from reruns and syndication, not from one-time campaigns. This is the key difference. Commercial money is a one-time event. In-show money keeps paying as long as the shows keep airing. The top earners show both sides. "Hold Me In The Night" and "Just Us" have long commercial histories that are now fading. Cuts like "Drop It," "Reasons," and "Smack Your Booty" earn from in-show use and hold up better.

For an investor, this is not a bet on the next campaign, because none is promised. It is a fixed-return deal. The buyer collects 100% of the catalog's income until a set dollar amount is paid back, and that amount is capped. So the return you can earn is known and limited. What is not fixed is how long it takes. That depends on how well the in-show income holds up, plus any new commercial placements the cues happen to catch. The peak years are history, not a forecast. But that history is useful. These same cues have been dropped into new commercials again and again over the years. So that upside is not gone after one campaign. It is a chance that has paid off before and is still there, on top of the steadier in-show base. The case rests on a capped return, earned from a catalog that still has a steady in-show floor and can still catch the occasional commercial spike.

This is a library of production and commercial music, compositions written for use in television, film, and advertising. A track's value here comes from where it has been placed and how often that placement keeps airing.

The catalog's placements fall into three groups. The first is in-show music, used as feature, background, or theme cues inside programs like The Young and the Restless, Ridiculousness, Love Is Blind, House of Villains, and Dude Perfect. The second is bespoke commercial jingles written for a named brand, identifiable by the brand in the title, such as Cheerios and Mini Cooper. The third is existing library cues dropped into TV commercials, songs written for general use that a brand licensed for an ad rather than commissioned. 

Taken together, the catalog is a working television music library whose recent identity is shifting from campaign-driven commercial income toward a smaller, more consistent base of in-show syndication earnings.

How This Investment Works. As the winning bidder, you will collect 100% of payments until you receive the fixed amount of $30,000 from this asset. 

Early Repayment. The seller of this asset can repay the remaining advance balance at any time. 

Tracklist Note. This listing includes both the songwriter's share and the publisher's share of public performance income for some of the catalog's works. For a song-by-song breakdown of what is included, view the tracklist here.

This catalog cannot be added to the Secondary Market of The Exchange.