Last week I posed a burning question: should libraries reach out to composers whose music was forwarded by Taxi but not selected? This ignited a spirited discussion among composers, publishers, and everyone in between, shared via YouTube comments, our 52 Cues community, DMs, and emails.Join me this week on the 52 Cues Podcast as we dive deeper into the Taxi debate with their President and CEO, Michael Laskow. We'll uncover the truth behind showbiz rejections, learn how to bounce back from bruised egos, and examine why Taxi-forward success might make make the silence sting that much more.Plus, in my Year of Taxi update, we’re going to check in on any returns or forwards and take a listen to this week’s submission which is a CSI-Style Investigation Cue, and I give my thoughts a drone tension cue written by 52 Cues Community Member, Michael Sinay (https://soundcloud.com/user-194186927).Watch this episode on YouTube!https://youtu.be/hga-2gawK7EMore about Taxi - https://www.taxi.com/00:00 - Intro & Welcome02:45 - Year of Taxi Check-In09:44 - Why Don't Libraries Always Reply?54:10 - Join the 52 Cues Community!55:22- "Droning in Sorrow" by Michael Sinay01:05:02 - Outro & How You Can Support 52 Cues!Support for the 52 Cues Podcast comes from ReelCrafter, the professional way to pitch your production music and know exactly when your cues are heard.Start your free trial at ReelCrafter.com/52Cues!Join the 52 Cues Community! – https://my.52cues.comIt's free to post your cues for feedback from the community, network with other composers, and ask questions about the industry!Plus, member subscribers get extra perks like workshops, livestreams, cue breakdowns, live feedback sessions, hundreds of hours of video archives, and opportunities to submit to real music libraries.One-on-one coaching sessions and video critiques also available at http://52cues.com/coaching!Note: Links may be affiliate links which generate a small commission but at no extra cost to you!

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“What did the council decide on item 42?” — answered with the speaker and the moment.

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