Every conversation about a catalog eventually arrives at the same place. Not whether the music is good, and not whether the moment is right, but whether the paperwork exists. Documentation is the one criterion with no workaround, here or anywhere else.

What that means in practice is narrow and specific. Who wrote it, and in what shares. Who owns the sound recording. Who performed on it, and under what agreement. Whether the splits were agreed in writing at the time or remembered differently by three people afterward. Whether the work is registered with a performing rights organization, and whether the registration matches what the parties actually agreed.

None of this is glamorous and none of it can be assembled in the week a placement is offered. A supervisor working to a deadline will move to the next option rather than wait for a chain of title to be reconstructed. That is not a judgment about the song. It is a scheduling decision, and it happens quietly.

The work is worth doing while nothing is pending. A documented catalog can be sold. An undocumented one cannot, by us or by you.