There's an extraordinarily over-optimistic piece just turned up on Reuters trumpeting the role played by US dramas in breaking new music.
Sure, getting a background slot on The OC or Grey's Anatomy does a lot of good work for a band's profile, but is it really a replacement for radio exposure? After all, just how many tracks does the US TV industry need each year? Two dozen? Three dozen?
TV reckons it's more likely to take risks:
This would be a lot more convincing if the biggest breakthrough using this route hadn't been, erm, Snow Patrol, who are like five tracks from Coldplay playing simultaneously.
And do TV soundtrack programmers really take more risks than mainstream radio programmers? If by "risk" you mean playing a band whose name isn't a household word, perhaps. But if by "risk" you think of exposing an audience to a style of music they wouldn't normally come into contact with, forget it.
And Calamar admits this isn't so much about artistry as bottom lines:
There is the attraction of a band with no track record: they don't come with a high price tag.
If they sound like Coldplay, of course, that's just a bonus.