Power of Human Stories
The Power of Human Stories is a podcast about the lives we build, the work we pursue, and the experiences that shape how we see the world.
Hosted by Rolando Vega, owner and founder of video production company Vega Productions, each episode features an honest, unhurried conversation with creatives, entrepreneurs, leaders, and builders from a wide range of paths. Together, we explore where they came from, what they’ve carried with them, and how their stories continue to influence who they are becoming.
This isn’t a show about highlight reels or polished success narratives. It’s about the real journeys behind the work — the seasons of uncertainty, the turning points, the risks taken, and the moments that quietly changed everything.
Some guests work in film, music, business, education, or leadership. Others build companies, create art, or shape communities. What they share isn’t a formula, but perspective — stories in progress that reflect the complexity of real life and meaningful work.
At its core, The Power of Human Stories exists to slow things down. To listen well. To create space for conversations that often don’t happen when we’re busy performing, producing, or rushing to the next thing.
Along the way, you may recognize pieces of your own story — moments of clarity, doubt, ambition, or change — and find yourself reflecting on where you’ve been, where you are, and where you might be headed next.
These are conversations worth sitting in.
You might be surprised by the power some of these stories hold.
Power of Human Stories
02. Roland Bingaman, "From Band Life to Scoring Films"
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In this episode, Rolando interviews composer Roland Bingaman, who shares his journey from a musical upbringing in Pennsylvania to becoming a successful composer for films, commercials, and documentaries. Roland discusses his early influences, the transition from performing in bands to filmmaking, and the pivotal moment when he realized composing could be a viable career. He reflects on significant projects, including winning the My Rode Reel contest, and how personal experiences, including his wife's health challenges, have shaped his music. Roland also talks about fatherhood, his creative outlets, and the importance of maintaining a healthy perspective on success and creativity.
Every person carries a story. Stories shaped by choices, by struggle, by growth. This is where those stories are told. This is the power of human stories.
SPEAKER_01Welcome to
Introduction to Roland Bingaman
SPEAKER_01episode two of the Power of Human Stories. Today's guest is Rolland Binkeman. Rolland is a composer and singer-songwriter, working across films, documentaries, television, and national ad campaigns. He grew up in a musical household in a small town in Pennsylvania and began pursuing music seriously at a young age. After spending years touring in a band, his path shifted from performing on stage to composing and scoring stories behind the scenes. His work blends organic instrumentation with modern cinematic themes and includes projects for Apple TV Plus, Prime Video, Target, American Express, and The Ad Council. His work has received multiple Emmy nominations, including for the documentary series Golden, produced by NBC and Uninterrupted. In 2023, he won Pop Track of the Year at the Mark Awards. Rolland lives in Pennsylvania with his wife Momina and their son Jude. Rolland, thanks for being here. Welcome to the Power of Human Stories. Thanks. That pretty much wraps it up. Oh, um, how long have we known each other?
SPEAKER_02I don't remember the exact year we met, but it's been a long time.
SPEAKER_01Yeah, I think um I met you in a season of your life when we're gonna talk about this. That I didn't know you as a musician or composer. I knew you as a filmmaker and cinematographer, and you know, also filmmaker background myself. That's you can guess that's how we met. But along the way, we've stayed in touch and I've seen your journey, and I've always just been super interested in how you have shifted as a creative, how you've navigated life's up, ups, and downs. And so I thought, you know what? I think it'd be awesome if I could get you on the podcast. And you also have a really great name, too. So I wonder if people are gonna like look at the podcast video and be like, wait, Rolando's interviewing himself?
SPEAKER_03Like, what I'm one letter short of a really, really great name.
SPEAKER_01Yeah, but except you just schooled me in like your pronunciation. It's I've always called you Roland. Yeah, 90% of people do. And it's Rolland, like Holland. That's uh so I'm gonna try really hard to not screw it up or to call you by your nickname. So all right, so for our audience, I just want to start from the beginning. Like, tell tell a little bit about your early life. Um, where did you grow up? What was that like?
SPEAKER_03Yeah, I grew up in uh a small town called Greencastle, uh South Central Pennsylvania. I was in high school at a time when locally there was what we called a band scene. There was a local band scene. It's like not a thing
The Musical Roots of Roland Bingaman
SPEAKER_03anymore, but um, when I was in high school, specifically 11th, 12th grade, it seemed like there was a lot of people really resonating with like warptor and just the whole music scene in general. And so there were like bands forming at every school, like rock bands, metal bands, indie bands, punk bands. Everybody was in a band where where I was from, it seemed like uh you could you could go to a church in town or a VFW any Friday or Saturday night around this Franklin County area, and there was a show with just kids your own age playing music that they wrote in their garage or their basement. It was it was awesome. It was such a cool time that I didn't realize how significant of a time that was and how it's so different now with um high schoolers. They just there's no there's no atmosphere for that kind of thing anymore, it seems, at least around here.
SPEAKER_01But I assume there's gotta be some young bands out there.
SPEAKER_03Uh oh yeah, people are still doing it. I just it's such a rare thing around, at least around here. Um I go and speak at like career day at at our high school, and when I bring this up to the students, they're like, bands? I'd love to be in a band someday. And I'm like, well, now's the time to do it. This is when everybody is in a band. I don't know. It's just there's something about getting together with a bunch of stinky friends from school and and then other schools and the smell of cheap fog machines and I don't know, just super loud music. It was it was such a special time.
SPEAKER_01But what what decade was that? Because I know I think and you are a similar age, so like, but for our audience.
SPEAKER_03I graduated in 2007, so 2005, 2006. This was like I mean, even earlier than that, but I got into it around 2005.
SPEAKER_01I think that's peak like warp tour time, you know. Yeah, yeah, and they would sell out like crazy. And now some of those bands are still out there, they're they're doing reunion tours.
SPEAKER_03I know, but now it's like a nostalgia thing.
SPEAKER_01Like this is that went by fast. That's yeah, it's pretty crazy. So you grew up in that time when you were in bands, like, but what was your household like? From what I know about you, music was always a part of your kind of your youth and growing up. Tell us a
The Evolution from Music to Filmmaking
SPEAKER_01little bit about that.
SPEAKER_03Yeah, for sure. We were always involved with uh music at our church, and uh, my mom was a music teacher at the middle school here in town. So yeah, um, her family was very musical. So I grew up with my grandparents and cousins. Everybody played an instrument, and my grandparents still are active in their uh local uh parade band. I don't know what it's called, like a group. Uh they like play, they perform in parades and in old folks' homes they are like uh uh they play big band music and stuff. So like I just my yeah, music has always been just there at the forefront of everything else. And I just kind of assumed everybody I I thought everybody was just musical growing up because it just felt like everyone around us was doing some kind of music. So that was always just like the arts were in front of my face my whole life.
SPEAKER_01That sounds like uh something that maybe s you can take for granted in the moment, but in retrospect, it now that you're a father, I assume you can see that it's so much like a gift to be able to give that experience to a child and let them explore. And it sounds to me like your parents did that for you in a big way. Certainly, yeah.
SPEAKER_03Yep, they were pretty supportive once the band started to not write terrible songs. So towards the beginning, it was like, oof, are you sure? I don't know. I don't know if you should do this, but then it yeah, the the support quickly came once we like started to really take it more seriously and stuff, and um, yeah.
SPEAKER_01And so in high school, you're in the band. At what point did you pick up a camera alongside an instrument?
SPEAKER_03Yeah, um that was that would be when we started to play shows not so local. Um and so the thing was like in the in the MySpace days and early YouTube days, vlogs were like just kind of starting to be a thing. There were no there was no short form content. So if you could have someone in your band with a DSLR or some kind of like cinematic looking camera, you were already bumping your band up to the next level because you could film these behind the scenes and show all your gear getting set up and show like you guys goofing off in the van on the way to shows. Now it's just such a normal thing for content to be like n necessary and and constant. But you know, back then it was like, whoa, if you have a YouTube channel and there's actual videos on there, you're like a legit, you look like a legit band. So I got a I got a DSLR um when we started to kind of do more of that. Um and then I've gone through so many cameras because I also just found out that I really love images and and video and film and photography. So through through that, I I just started making videos for our band, making our music videos, which then sort of led to like other bands being like, who made your video? And then I would start making doing music videos for other bands as well. And so like the video part of my brain really started to take off. And the intersection was when you know the band got to a point where we we realized we it it wasn't sustainable full-time anymore. Um when that dipped off, naturally, just the video side of me was like, hey, this is what we're gonna do now. Um so that's actually what led me to filmmaking. And I got really into directing and cinematography and just the whole gambit of of making videos.
SPEAKER_01And you were making music videos most most of the time, right?
SPEAKER_03Yeah, I started out definitely doing a lot of music videos, and then through that I found like, oh, you can't make a it's hard to make a full-time job out of music videos where I'm from. Um so then the necessity of like corporate videos and trying to infuse the artistic side of what music videos provided into the corporate world. Um, and so that's how that's how we met. We met through just like filmmaking and and working for different companies and freelancing for different people, and yeah.
SPEAKER_01Yeah, and I at the time I think I was really inspired by your aesthetic. Uh, there was like I think back then, I think you could probably recall, and I had this conversation with Rob on episode in the last episode. There was a certain aesthetic that us in that era were trying to achieve this kind of cinematic, grittier, uh dramatic, darker, uh, with really good music. Um and I think I I think you know what I'm talking about because uh you you did stuff uh at that
The Shift to Composing Music
SPEAKER_01time. I distinctly remember a project. What was the um uh the short film contest that you won?
SPEAKER_03So that was the um the my road reel.
SPEAKER_01Oh, got it. Okay.
SPEAKER_03So road microphones hosted the short film contest. And it was the very first one, yeah.
SPEAKER_01Yeah, yeah. That was a big deal because they were giving away a bunch of gear. Um so tell me a little bit about that moment because like I was that a big moment for you or was it just okay, big deal?
SPEAKER_03No, it was a huge deal because this was a road microphones is pretty well known. Like they make most people in the creative space are familiar with Rode as a company. And so when they had that contest, I I just looked at the gear list on the on the prizes and my jaw dropped because it was like you can just get you could win all this stuff. And you know, it was a long shot, but I put a ton of work into that contest. And what's really interesting about that contest is um so you have to make a short film, you have to use a road product to make it, specifically a microphone back then, and then you have to make a behind the scenes to to pair with the final film, showcasing how you used Rode to make the it was a giant commercial, essentially. It was a genius idea. Like it was a giant worldwide commercial for road microphones that everybody did for free. It was an amazing idea. Um so I put a ton of work into like storyboarding this thing, writing it, getting the locations, and it was a really special project just because you don't really get the opportunity to put that much work into something that's just a passion project um when you're trying to make stuff to pay the bills. So just to make something like that uh just purely out of passion was amazing. But um the the best part for me through that project was writing the music, and that was kind of the first time I ever tried to really write music for a for a thing um since the band broke up because I had kind of stepped away from music, and so when I made that, you you know, you have to kind of make all the stuff yourself, and I wanted the music to really fit what I saw in my head and what I heard in my head, and so I just wrote it myself, but through that I was like that stood out to me a ton as like this really special moment where oh man, I really had way more fun writing the music for this than I had all the other stuff that that came with it. So that was special in that way, but then it was also special because we won like the main the pro the main thing. Um what was the concept again? It's been a while since I've seen it. So it was it was called The Tale of Benjamin Sawyer, and it was just a kind of like a a narrated montage of this kid who was just kind of an outcast, and he stumbles across what he thinks is an alien ship crash, and he becomes friends with this alien. But the whole thing is like as you kind of work through it, it's like, was there actually an alien, or was this kid just like coping because he was lonely? And so then like the alien like leaves, and so like the whole point was just to like make people watching it wonder was this real or was this just in his head? And um, it comes back through to show that kid as an older per uh an older version of himself, still hoping to see that alien again. Um and yeah, it was it was just really dramatic, and I tried to like that like you were saying, like the gritty dark vibe. I wanted it to look like a David Fincher film, and just really push the uh push the creative concept. But I think what really helped pull that all together was like the music. It was like the glue of the whole thing, and so yeah, it really stood out to me as like a moment where I realized I really like whatever this is, score scoring, I guess. I don't know. Um so yeah.
SPEAKER_01And what happened after you won? Like, did everything change, or was like, okay, this is awesome, like let's do the next one.
SPEAKER_03Yeah, no, not so much. I mean, like, I got a bunch of gear, which we divvied out amongst the people who helped, which was always the plan. We were like, all right, hands in, we're gonna do this for free. And if we win, we're gonna share the gear. Yeah, and then we did, so everybody kind of like walked away from that with some gear. Um, I still have one road mic from that contest that I still have, but everything else is sort of I think you've sold some of that stuff to me.
SPEAKER_01Really? I the wireless transmitter. Uh oh my word, yeah. That was from that. And the screen, uh, the monitor. I still have it actually like sli sit sitting somewhere back here. So that's from that. Yeah, yeah. I have a I'm really bad like at selling old equipment. So uh yeah, it's so interesting. Um, I was just thinking about that the other day. I was like, I need to get rid of this. Oh wait, I bought this uh from Rolland. Okay, great. That's so interesting. So you got gear, because I the at that time, I mean, that stuff was like awesome. Uh what at what point did you like did you continue your filmmaking endeavors in that? Uh because that yeah, there is a there is a fork in the road coming, but in your story back then, you were still into videography, filmmaking, etc.
SPEAKER_03Yep. Um, after that I I used I tried to use that as much as possible in like uh director reels, cinematographer reels, and just as promotion. And so I definitely used that as like a jumping off point to push more into video, but all the while like feeling like I really liked the music the best out of that. I didn't realize that that was a job back then, so it never even occurred to me at that point to pivot and focus on composing because I didn't I was dumb. I didn't know that was a thing. I thought composing was only for people like John Williams, and if it wasn't a feature film, then it wasn't a job. And so I was like, I don't wanna, I don't think I I don't have the chops for feature films and I don't want to move to LA. So I kind of just brushed it off. And um oddly enough, any other short film that I would try to do after that, I was only thinking about the music that I could write for it, um as sort of like the main motivator, and I didn't even realize that I was doing that back then, but um from that point on, music has was definitely like an unweird itch that was always like in the back of my mind that I really like that um and I miss that. But like I said, it wasn't a viable option, so I just pushed further into video and just kept doing that for a couple years.
SPEAKER_01When was the moment where you kind of had that realization that your framework for something like a viable option? Like you're using language that a lot of creatives stumble into where these these realizations were like, oh, I have preconceived notions and maybe outside pressures of this is how I need to use my creativity to make a living. But what was that aha moment for you where wait a second, there is something more here, and it's not just a passion or a hobby, but there is a living to be made here if I figure this out. Yeah. Like when did that happen?
SPEAKER_03It started happening around 2017. I started to kind of put things together that I was like, okay, there's music in everything, there's music in TV commercials, there's music in these like Netflix series that I like watching. And these composers are not massive Hollywood composers, they're they're attainable people, and and so kind of asking, starting to ask questions, um, and starting to kind of see like sample libraries take off, like um sampled orchestras that you could now afford that weren't thousands of dollars like they were previously. Now there was sort of a an entry point into putting an orchestra in your computer that actually sounded pretty good, um, and just starting to ask those
Realizing the Viability of Composing
SPEAKER_03questions. So for like a year, I kind of just messed around with some music stuff. And um, but then in I I decided that in 2018 I was gonna start cutting back my hours because I had a full-time job at the time of at a video uh at a marketing agency, and I cut down my hours in 2018. Um, and so that year I just took Fridays off, kind of went to like part-time, and then spent Fridays and um as much as my free time that I could practicing composing and just learning how the industry worked and reaching out to composers on Instagram and YouTube and um Facebook and just watching credits and finding people's names and then looking that person up. And that was sort of the moment where I I started to really understand like this is a whole separate industry than writing music for like movies. There's a whole world here where music does make people livings, and I I as soon as I realized that was possible, that's what I wanted to do with the rest of my life.
SPEAKER_01And what did that actually practically look like? Um, is it involving getting represented at some point? Um, was it trying to connect with these like licensing websites and trying to pitch? Like just again, I'm green to that. Uh so inform like educate me. Yeah.
SPEAKER_03Um, all of the above. Um, so it the the ground level of it honestly was sharing with my video friends that I was doing music, and if they needed music for their projects, I would be happy to do it for free or extremely cheap because I was also very aware that I was just getting into this. Um and so a couple of my uh filmmaking buddies, if they were to uh Zach Dalton stands out as one of them. Um, he's a filmmaker from Ohio, and he was just obsessed with writing and directing short films, and he put a lot of time into doing extracurricular creative projects outside of his like paying gigs, and I would get to write music for all of those. Um, and so it was just fantastic practice to get something that was actually pretty good to write underneath something that like wasn't mine uh from the beginning. So like getting someone else's ideas and and visuals and then getting to provide music for that, it was so fun, and I learned so much. So
Networking and Building a Career
SPEAKER_03doing a lot of that, um doing a lot of networking, and through networking with other composers, I I figured out there are these people that are middlemen between clients with marketing budgets and people who can write music. Um, and those are often called publishers. So the music publishers, um they either create libraries of music that clients can license directly from them, or they can set up a custom project where the client gives them a brief of what they're looking for and then they Send that out to specific composers on the roster to write for those things. So when I started to realize that, I started to kind of ask, like, how do you get in with publishers? Like, I don't really have that much work to showcase. I don't know what I'm doing. I don't want them to know that because I want to work with them. So um, it was a lot of learning from other composers who took the time to, you know, open those doors up a little bit and say, here, here's how it, here's how it goes. So um my foot in the door was just getting the opportunity to kind of collaborate on tracks that were for a publisher. Um, and then once my name was in the rotation with those guys, they they, you know, we set up a meeting and chatted. And now, I mean, I still do customs for for that particular publisher today. Um, but that was that was how it happened. It it was a very slow process in my mind, but you know, in retrospect, it was a year of of networking and practicing the craft and getting to a place where I could have a one-on-one with a publisher and uh uh kind of sign to their roster. Um so that year I'm getting ahead of myself. Like 2019-ish, uh 2020, kind of like COVID era, is when I was able to get a f a a sync. So I got I wrote music for a huge, huge commercial for um a digital like an app, and it was gonna be playing uh nationally on I don't know what the football, the football game that's on Thanksgiving Day. It was a big football game, and I only know this because I I was at my parents' house for Thanksgiving, and that commercial that I had written the music for played on TV. Um, and so it was super cool because we were like, unmute it.
SPEAKER_01So it's a big deal, it's it's a big client. Yeah, it's it makes me feel proud of the fact that you have something you can show family and friends. I got asked from a practical standpoint, did it pay uh to the point where like, wow, this is a real moment? Like as creatives, we all have that moment where like, oh my goodness, somebody is willing to pay this much for what I bring to the table. I can't believe that. Uh yeah, just curious.
SPEAKER_03Yeah, sure. So there is a lot of money in the marketing world and in the advertisement world. So clients are willing to spend money that to me makes no sense on custom written music. And it was a ton of work because there were 15 different versions of the commercial that all required different cutdowns and different different things in the mix. So it was, you know, it was definitely um not just like a here's the song. Yeah, it was money.
SPEAKER_01It's a very collaborative process.
SPEAKER_03Yeah, and and the this was through uh the publisher. So I I wasn't even dealing they weren't paying for Rollin Binghamman music. They were they were paying to have music that complemented the picture that they had paid a lot of money to make. I mean, this commercial, I don't there were so many green screen sets and so many VFX and so many extras. Like from a filmmaking perspective, it looked like a lot of fun to make this. It was a Christmas commercial, so it was um very, very Danny Elfman music, like fun, your classic uh Christmas style music. Um, so it was a lot of fun to write. And um, yeah, so they it that the budget for that was pretty big, I imagine, for the whole thing.
SPEAKER_01And you don't have to say specifics uh for me to understand how much of an impact it had on you for like, oh, this is real now.
SPEAKER_03Yeah, it was it was almost equivalent to a year of m my full-time salary, just in one license.
SPEAKER_01Wow.
SPEAKER_03Um, and that doesn't not that's not a normal thing. Like I am used to and it's so competitive too that like but but that one that was that being the first one I ever kind of landed was enough for me to be like, okay, I'm a composer full time. Yeah, I'm doing this, I'm not gonna and you know during the transition period, I definitely tried to do as many things as I could. So I was still occasionally freelancing, and I we were talking, that's the last time you and I saw each other in real life.
SPEAKER_01Was I one of the last video projects you did?
SPEAKER_03Yeah, yeah, yeah. Yeah, for sure. And one of the one of the last ones where I left and I went home and I was so sore from walking around a college campus all day that I was like, I just want to, I just want to do music.
SPEAKER_01Well, you told me at the time you had this very um introverted, like homebody kind of vibe to you at that season of your life where you're like, I just want to be in my house, I don't want to be out here holding a camera anymore. Uh and I remember you distinctly telling me that I'm like, oh, this is a shift from the guy who helped shoot my wedding, you know. Oh my word, yeah.
SPEAKER_02I forgot it that I did that.
SPEAKER_01Yeah, you I for everybody who doesn't know I produced my own wedding video so uh because I'm cheap. And I just and so I was like, well, instead of hiring a company to do it, I know I do this stuff, so let me get some really amazing shooters and bring them to the wedding, and you're one of those. So um cool. So then so you have this moment where like this is happening, you're transitioning out of filmmaking. What what happens next? Like, what are the what's the series of we wouldn't call them kind of projects that confirmed that you were headed in the right direction?
SPEAKER_03Yeah, I hit the ground running really, really hard, especially the first two years. So this will be year technically year six, I guess. It doesn't feel like it's been that long. If um, because I still kind of feel like totally being honest, I still very much feel like I'm figuring it out. And I'm still like having meetings with people that are like just a little bit up to the next level of things, and I'm still very much figuring things out. But for that the first two years, I just did any any project that came in my inbox, I said yes to. Um, so what kind of happened was I I did all bunch of customs for the one publisher, and because of connecting with other composers, my name started appearing in other publishers kind of rosters. So I was taking on every project that somebody needed something for. And I mean, it's just been like a a progression of you land something here, you live off it for a couple months, and you write a bunch of music in the meantime that doesn't get used. And just when you think it's gonna run out and you're gonna have to go get a job again, something else lands, and it that's sort of been the the slow upward progression uh ever since then. So I've just written a ton of music in the last six years, and thankfully enough of it has landed in things that it's kept me going.
Top Experiences in Composing
SPEAKER_01Out of those six years, give me your top three experiences that you're like, wow, I can't believe I'm doing this for this commercial or this brand. What are your top three moments?
SPEAKER_03Currently, currently the the top is something that has not come out yet. Um but it's been advertised. So um the band 21 Pilots. Again, this is a crazy connection because I got involved with that band back in my filmmaking days from doing videos with bands and shooting concerts and stuff. So like that was a networking thing that popped back up all these years later.
SPEAKER_01Um so And for for the audience Rolland is a huge 21 Pilots fan. Yeah, like I am. You're one of the only people in my network that uh you're like very vocal about it. Yeah. So and you follow the whole lore of everything. Oh, yeah.
SPEAKER_03I mean and and so that must have meant a lot to you. It does. Every time I I see anything coming from that camp, I get I have to like, okay, just be professional. Don't be weird, don't be a weirdo, don't be a weirdo. But I'm so weird. I love that band, and I've loved that band for a long time. Um, so they filmed a live concert in Mexico City. Nice. And they made they shot that's in it's gonna be released in IMAX Theaters. It's a a live concert movie. Um, it comes out in February worldwide, and I got to score uh the documentary segments that sort of break up the concert, the live concert. Wow. So it will be it will, you know, it was not it's not a ton of music, but it's it ended up being like five different cues of music to to fill out the movie, and it'll be my first score uh theatrical theatrically released. Um so I'll get to go sit in a theater and hear score music that I wrote for picture in a movie theater. Incredible. Wow. So me and my son are very stoked. We're going to see it in IMAX because we're both and when is that? Um it c it comes out February 25th, I think. Okay. It's the the end of February. It's in it's in theaters for a limited time. It's it's like a week run, I think, something like that.
SPEAKER_01And by the time this episode airs, it might might already be out. So um, you know, that's incredible. Like I was just thinking about that the other day to see your work in a in a movie theater where that's like the mecca of of what we all strive for as creatives and filmmakers. And um I would say probably it's the first of many, hopefully.
SPEAKER_03So yeah, I hope. I mean, it's it's it was a a lot of fun. So currently that is like I'm riding the high of being able to do that. Um and then top three. So top second um was a series of American Express commercials. And again, these were Christmas ads. I love Christmas ads. Um, it was American Express commercials. Uh, they did this two years ago, where they got a list, their marketing department or whatever, they got a list of all their small businesses that use American Express business stuff, cards, bank accounts, whatever. And they they narrowed it down to like 50 different businesses. And they had my publisher exclusively write 50 different jingles for each one of those businesses. So each business got their own original song in the form of like uh your typical small business like jingle, like what people assume I do all day is write ace hardware theme songs and stuff like that. Um so then they took all of those different jingles and they had them re-recorded by uh Broadway actors and singers in New York City live, and then filmed 50 different ads for each one of those songs. It was a massive project. And so me and a handful of other composers from uh that publisher uh wrote, did like did all of the mock-ups and stuff for all of them. And so it was just one of the coolest projects um just to be a part of something that creative and that personal because like you know, they're a huge company, so like to to put the money and time into doing something like that for a bunch of small businesses was a really cool move from them. Um, so that was number two. That was super fun and still love like seeing stuff pop up from that still is like that's pretty cool. Um and I have a lot of things tied for third, so I don't know.
SPEAKER_01It's a lot of things. I think just go for it. It's okay. No, I mean they're not gonna get offended.
SPEAKER_03Yeah, I I'm working on a feature film right now uh for a group called Coronation Media out of Gettysburg. Um they're doing a film called The Shepherd about um America's first martyred priest. Oh wow. It's a it's a biopic that takes place in the um I want to say the sixties.
SPEAKER_04Okay.
SPEAKER_03In Guatemala. Whoa. Sorry, eighties. The eighties. Okay. My dates are wrong. I'm really bad at dates. Um but yeah, it takes place in Guatemala and it's about a a a priest who set up a church and was caught up in the middle of a civil war going on in Guatemala between uh native people and Guatemalans. Um and so there's a lot of really interesting history that I didn't know anything about until I read the script and hearing about this guy's sacrifice and what he did, um and then ultimately what his death led to is a really inspiring story. Um, especially as a believer. It's just really cool to hear people doing things like that, and then sitting back and being like, Oh man, I d I just write music. That's like, yeah, that's pretty cool. So to get to write music for something like that, I'm I'm really excited um for the story, and then also at the same time, it's my first feature film that I'm yeah composing the score for. So that's full score.
SPEAKER_01Yeah, yeah.
Current Projects and Future Aspirations
SPEAKER_01So you mentioned you briefly mentioned this just now, like when you are faced with a project in like inspiration and having to experience the emotion or or emotional arc for something. In some of these jingles and stuff, I can assume that it's a little bit uh more corporate, if you know, um whereas you're doing other things that are more creative and more dramatic, you you can source that inspiration from somewhere else. You have a lot of other personal projects along the way. Um, you're you've got some music that under your name uh over the years. Um tell us a little bit about that. Like, is that just an extension of you wanting to stay in the music space? Is that is that an extension of your personal seasons of life that you've used as an out a creative outlet for?
SPEAKER_03Yeah, yeah, I think you're exactly right. That so I I kind of released music under the alias Rollin Lewis, um, which is my first and my middle name. And that began that that project actually started before I even got really into like composing music. That started as, like you said, just an outlet where I wanted to try and do something in music, but I was still very much into filmmaking, and that was my full-time job. So that project started just as a way to kind of deal with real life situations where it's it's hard to it's easy to to bundle up your emotions and and put it into a song. For me, it was really difficult to let those emotions out making videos for businesses, you know what I mean? So it didn't connect with me emotionally, so it started out as just a way to to put stuff like from here out into a song. Um and so that project has always just been there kind of on the sidelines with whatever I was doing as my main focus, um, which I love because you're right, it's it can get really annoying to write trailer music because it all starts to sound like Brams and hits and epic drums and stuff, and it's great and it's fun, but if I want to write about how much I love my wife and my kid, I that's my space for that. So it's nice to have something where I don't have expectations of money, I don't depend on it for uh money to pay my bills, it's just an artistic outlet that's that I have set up there where if I want to access that, I I have that place to
Personal Music as Emotional Outlet
SPEAKER_03do it.
SPEAKER_01How has uh that project or your own personal music helped you navigate through some of those seasons and you know feel comfortable to share what you're comfortable with, but I know you've been through you've been through it uh these yeah, yeah.
SPEAKER_03Um, definitely. Oh man. So my wife has um oh I should say, speaking of my wife, the only reason that I'm still doing music is because she has encouraged me. I have wanted to quit every other month since I started, maybe because this is such a hard job to see through the thick of it and and believe that it could still work. Um, and it always works out because um it's just how how it works out sometimes. Um, but yeah, speaking of her, she's got a number of health difficulties. So when we got married, it was a a quick dive into what autoimmune diseases um can wreak in a person. And so just spending a lot of time in the hospital with her and calling ambulances to our house, it it got real heavy and real dark for me. And so yeah, I definitely found that when I would get home from the hospital after a couple nights' stay or whatever, um, and she's good to go, like she's in bed resting, just kind of letting that stuff fall out into voice memos was really helpful. And um, yeah, a lot of those recent songs that I released through that project were really about just walking through that kind of stuff. Um, what it looks like to grieve things that aren't lost. You know what I mean? It's like it's hard to walk through someone who's suffering constantly, and then it's interesting because the person that's suffering, that doing the actual suffering is so faithful to um, you know, her faith and the hope that she has. And so it's both like encouraging and also just makes me see what a selfish wretch I am when I see her suffer so well, and I'm like, I'm the one that's been out of shape, even though it's her that's suffering. And so I don't know, writing about it helps sort that out in my head a little bit, but um it's cool because it's I've seen that I've been humbled to see that it's blessed other people who are going through suffering and just can relate to the music in a in a personal way, not so much as like I like the vibe of that song, it it hits them uh they can connect to it emotionally because they know what it's like to walk through that kind of stuff as well. So even though it's not like my main focus or my what's paying my bills at all, it's just it's neat to see how it's been used.
SPEAKER_01And I remember I distinctly remember even when uh you had your son, like you wrote a song that I still remember it was like such a good song, and you did a little music video with it, and yeah, so I always thought like, oh, you know, he uses his music as a language to process major life things that we all process differently. Um and uh what was it? The uh it was about a tree. Old oak, yeah. Yeah, it's it was a good song. Um Thanks, man. Yeah, my son really likes that one. And so has Jude kind of inherited some of that creativity. Where does his where do his passions trend today?
SPEAKER_03Yeah, um, he definitely has. I'm so glad. I only have one child and it is him, yeah, Jude. Um, I'm so glad because he he and I like all the same things. I feel so blessed that he's just like my best little buddy because we connect over the same stuff. Um, so music stuff, we love the same stuff. Lord of the Rings, Chronicles of Narnia, anything, Red Wall, we got into Red Wall recently this past year. Um, anything that's like fantasy or just uh about valor and good versus evil, we're just both we love it. Um and musically, yeah, he's he just pretty much wants to be like doing whatever I'm doing. And so it's been really fun to teach him how to run Logic Pro and watch him mess around on the keyboard, and he's he's gonna turn 10 in March. Um for Christmas we got him a ukulele, like a good ukulele, and he's been learning every 21 Pilots song that he can on the ukulele. Um yeah, it's so great. And he I just love hearing him sing and play stuff, and he's very, very creative, but he's also very interested in science, and he loves studying bugs, and he wants to be an entomologist when he grows up, which is really cool. Um, so that's like his main goal. It's like, I just want to study bugs forever. And like, all right, I hope you get to do that.
SPEAKER_01And you're doing the I've seen some of your Instagram stories where you're like, are you still doing some of that intense um uh macrophotography? Oh yeah. Dude, where you're getting really close up to those insects in Alexander. We sure are. How are you doing that where the spider doesn't Don't run away, you know, from your big softbox.
SPEAKER_03Right? It's crazy. Yeah. I mean, that led us down a whole nother because I still love cameras. I still am obsessed with I don't want to do video ever again for the rest of my life. Ever. V that that profession burned me out. That's why when you when we hung out, I was like, I just want to live in my I don't want to be a hermit. I don't want to talk to anybody. You want to be a hobbit? I want to be a real hobbit. Because that industry burned me out so bad. Just like the sales pitching, the I love music so much because someone else is front facing to the client. All I have to do is make the music good enough. And I'm happy. But I still love cameras. Um, I love photography. And when when Jude, you know, when we realized, oh man, we could go take pictures of bugs, and that's combining like our interests, and he he saved up for his own camera. He worked really hard and he got to buy his little camera. So we will just when it gets nice outside, you'll find us outside at different parks looking for bugs and taking macro pictures of bugs.
SPEAKER_01That's sounds like a great lifestyle, right there. It's really fun. It's like it reminds me for some reason of like the whimsical nature of like up, up, you know. And are you the grumpy Carl sometimes? You know, I can be. I've been known to be grumpy occasionally, but I like to think that I'm a pretty positive guy. Uh that's awesome.
Balancing Work and Passion
SPEAKER_01So um now, kind of back to where you are today. Yeah, paint a picture of like what your day-to-day looks like. You showed us kind of this journey and this trajectory of there were days and seasons where you're like, Oh, I don't know if this is gonna work. I think I'm gonna quit. Your wife encourages you to stay, yeah, and you're climbing this like ladder slowly where there's enough momentum of and I this is a universal experience for good creatives, I think, where you have built your network. Um you've got the flywheel going, momentum is built, um, referrals keep coming in, people keep calling you every year. So I assume that today it's less feast or famine, or is that too much of a generous dude like yeah?
SPEAKER_03No, it's so that's what's so crazy about this industry. From year to year, it can change so dramatically. My tax guy is so confused by my life. So confused. It's so because it's almost I feel like I'm year six, I now feel like I have some kind of foundation under my feet and I I have a plan. Up until now, I have I have really embarrassingly just been riding this wave of like something might work out, I'm just gonna do the next thing, I guess. And it's just kind of been hobbling along. Um, and yeah, no, it I feel like for anybody in this industry, it can be feast or famine. I know people who are way further along than me that just can't explain it, but they just have terrible years sometimes. Um, because it's so subject, music is so subjective. I can write some of my favorite songs I've ever written have never made me a dollar. Um, because they've never been licensed. And I'm like waiting for those songs to get to find the right home. Um, but until then, I've made some money off songs that I don't ever want anyone to hear ever. Um, but it pays the bills. So it's like trying to get to a place where you can just make the cool stuff, it that seems like a far-fetched goal because for any for any career, any creative field, you just sometimes have to take the jobs that pay because that's what you got to do. Um, and so I'm at the point now where I have I have figured out the lay of the land industry-wise, and I see the people who are doing exceedingly better than me, and I kind of feel like I now know what I need to do differently to get there. And so whether or not it works out, we'll find out. But this is the first year where I feel like I really have a plan moving into 2026, and um, that plan is just consistently writing, even if I don't have an email coming through. I kind of got into the habit where it was like I was just waiting for things to happen and waiting for the next project and then getting distracted by whatever life brought. Um, but yeah, I I've had to refocus myself and set up uh boundaries for myself, social media, YouTube, um side hustles, any anything that could distract me, I've really limited myself this year.
SPEAKER_01So have you had to also like in a weird way guard your joy and your peace? Because as a musician, like if that gets tainted, yeah, like you read the wrong headline in today's world that we're living in, and you're like, oh, now I have to write a joyful track for this Christmas uh commercial. I don't know. Yeah, like do you have to do that or you find have you found a way to compartmentalize a little bit? Um yeah, I I think so.
SPEAKER_03I think I've found a way to do that. Because, you know, when it when I open up a session and it's supposed to be a fun ad, m something just sort of clicks off and I just write the fun stuff, and but often, yeah, if it's like a really emotional piece, sometimes that hits at the perfect time and I feel like it's awesome, but then it doesn't get licensed. But the track exists, so it's it could get used someday. Um but yeah, it's this year I'm gonna be making way more than I I ever have in years past. Like my my goal for songs finished is really high this year uh compared to ever. Um and so yeah, it's and just hoping that those songs find homes someday, essentially. Um yeah, so I'm really excited about that.
SPEAKER_01And where can people find your music if they actually wanted to like license some of your stuff outside of the publisher? Yeah. Um I it for streaming, you mean? Or if someone wanted to buy a track from you, could they? Are you yeah, like and use and use and license in their like are you on any of the popular licensing sites?
SPEAKER_03Yeah, so um Musicbed. Uh currently I have two projects on with MusicBed. So Roll and Lewis, all my folk music is available for licensing on Music Bed, and I have a project called Orchest, which is from Lord of
The Evolution of a Creative Identity
SPEAKER_03the Rings as well.
SPEAKER_01Oh yeah, I was gonna ask you about that because like I feel like you have all these like projects. Where does Orchest fit in all of that?
SPEAKER_03Yeah, that's one of my favorite things to write for. Um so the reason that there's different aliases is because I found that it's easier for me from like a brand perspective, and I don't know if this comes from just the marketing world or having a band at one point. I really like things to fit nicely in boxes. So like Rollin Lewis is a folk, a cinematic indie folk project. If I can put it in that box, it'll go in that it'll go in that box. Orchest is music that is mostly piano or strings. And the the only goal of that, other than just the enjoyment of writing that style, is making whatever I want in that style that I think might might be useful for somebody making something. But I don't have a brief for it, I don't have a publisher for it. It's just this another box that if I want to make something for that box that day, I put it in there. Um pretty much everything else just sort of falls under the generic Rolland Binghamman composer name. And whether that's pop music or trailer music or soft ambient underscore music, that all kind of just goes there.
SPEAKER_01Gotcha. No, that makes sense. So back to like describe, yeah, like what your day-to-day looks like today. Like, yeah, are you is it a combination of commissioned work and just creative, like let me add this to the bucket? Like, what does that look like?
SPEAKER_03Yeah, sure. Um, so pretty much my day-to-day, I have, like I said, I have a goal that I want to hit with how many songs I write this year, whether that's going in the Ron Lewis box or Chris or or something else. So depending on what my week looks like, I'm I'm in my studio and I'm creating music for for those outlets. Um I still get custom work from publishers. So anytime I get something like that, that takes immediate priority and everything else can be paused. And I focus all my attention on whatever project still comes into my inbox. Um now, when the when the film starts coming, like I'll start getting scenes probably in the next month or two. Um that'll probably take up a good bit of my time. But yeah, I just have so many different little forms of revenue that I'm just trying to fill all of those avenues this year instead of just sitting around waiting for something to come into my inbox. So I'm just being way more proactive. Um so yeah, every day is writing something for something.
SPEAKER_01Yeah, yeah. Six, how many years has it been? This is six. Six years in, six plus years. Um what would you say is different about you today in your identity as a creative, as a husband, father that is that was not there five years ago?
SPEAKER_03Yeah, that's a great question. Um thick skin, first and foremost. I finally don't want to quit and cry into a pillow and give up. I feel like I I I've seen what consistency and persistence can do. And so I'm I'm amped up this year. I I don't think I'll need any pep talks about wanting to give up. So we'll see if check in with me a year from now and see if that stayed true. Um, other than that, I think the main thing is the realization that
Finding Purpose Beyond Commercial Success
SPEAKER_03as a as a Christian who makes stuff, um I've sort of realized over the years that I I very easily used to get wrapped up in what I did was who I was. And when I was in the band, I was the dude in the band. And that's that's it. When I was making, when I was in filmmaking, I was the filmmaker guy, the guy with the camera. That's who I wanted to, I wanted to be that. Um, and even with composing starting out, I was like, okay, I want to be the music guy. I just want to be the music guy. And now I'm realizing that how much time I wasted and how much pride went into making who I was what I did. And I sort of realized in more recent years, I guess, that as a cr as a Christian who makes stuff, we make things in response to what's been done for us, not as a way to to fill us. I I feel like I it used to be like I I make stuff to make me feel good, or I make stuff to build who I am up to other people. But now I'm realizing like, man, we were created in the image of God, and we are here for a very limited time. And so anything I can do creatively is is in response to what has been done for me and what gift I've been given. And now I get to use it and bless my family, bless other people. Um, I love talking to other people about you know, music and any any kind of art form that I can contribute or help somebody else find their way through it. I love doing that.
SPEAKER_01And um, yeah, I've just tried to make it I don't know, in a in a way like less about making it about me and who I am and stuff, and trying to make in response to yeah, yeah, that I think you're describing having a an an adequate philosophy and theology of beauty. Like, like when you have a grounded theology of beauty, what is what is beauty? Like, why should it exist? Like uh because the arts and the creativity can get commercialized, but there is something uniquely purposeful and pure in creating just for beauty's sake, uh that is shared both in the faith and outside of faith, just across, you know, the world. It is ultimately um a reimagining of the lifestyle and calling and vocation of a creative and an artist that that's just itself is great to create beautiful things. It does not necessarily have to be useful or there's there doesn't have to be utility in it. Um it's the existence of beauty itself is so I I I struggle with that myself as a creative because of trying to monetize you know my vocation and and find useful, you know, things so that they have a return on investment. And that's an important part of you know, of like selling something that's valuable. But I think I often ask creatives how do they stay filled and so that the the source of their creativity can still remain pure and not just commercialized, and that's how you can burn out like you did in video, you said. Yeah, you know, yeah um that's super interesting. I'm sure that could be a whole nother podcast. Uh and
Future Aspirations and Creative Goals
SPEAKER_01so where do you think things are going next for you? So you've painted a picture of like where you've been and where your things are today. What what does the future of Rolland Lewis, uh Rollin Binkaman just composing and or Chris or add two or three you know projects to that in the future? What what do you what are you inspired by today that you think okay, this is what tomorrow I'm going to invest in?
SPEAKER_03Man, honestly, I I don't I know I have goals for this year, but they're more like productive goals. I think as I look into the future of what I hope to get out of this is if I can keep just like making money doing music, I think that that would be more than enough for me. I mean obviously ever I everybody kind of hopes to become more successful, and I could do more with more money, of course, and make a bigger studio, buy some new equipment, have to big give a nicer house to my family. You know what I mean? Like there's there's good things that can come with more money and success. So I hope for those things, but at the end of the day, and I've I've told people this before, when I the fact that I get to do this as a job sort of feels like I'm I'm already retired and I'm just like I just have a hobby that I get to do every day that makes money. Um and I don't I so I I would love to just keep that feeling going. I love feeling like I don't really have a real job, but I'm still paying the bills, I'm still living, and I really like that feeling, so I just I want to keep I want to keep that going. And whatever that looks like, if I'm in five years when you do another podcast and you ask me that, and I'm still doing the same thing, I hope to still be as happy as I am right now. Um because I just love doing this, I love making music.
Mentorship and Sharing Knowledge
SPEAKER_01Have you sensed I I've sensed a shift in my career, and I'm curious if you've sensed it. That shift where you start getting questions and people coming to you for advice or for help. Has that started to happen in in your race yet? And like, what has that looked like for you?
SPEAKER_03Yeah, for sure. Um and it's really exciting too, and I'm always very honest with people. I I love sharing as much as I know with with people who are getting into composing or other composers who have been doing it maybe longer than me and are like, hey, what's what's working for you and what's you know, what's not. Um but I I love being honest with people too, and just being like, I I'll tell you everything I know, but I don't know everything.
SPEAKER_01Yeah. I don't know what I don't know, basically. But like that's a uh that's an important shift that I observed where I was a video guy that felt that I didn't have it all together, but people were still coming to me for advice on business or running a creative business. And yeah, I'm like still I you feel that imposter syndrome of like, I feel like I just finally got um the momentum that I think is helpful, uh, my feet on the ground, and you were asking me for help, but then I noticed that that you'll never gonna like arrive at that point of expertise where you can start giving back to people. It's like both and so I was just curious if you've have experienced that with younger people in the field and if they reach out to you asking for help or inspiration, et cetera, et cetera.
SPEAKER_03Well, the I mentioned it earlier, but one of the most fun things has been I um connecting with the uh career day team at our at my old high school. And so like for the last couple of years, I've gone in and um do career day at the high school. So I do get to talk to students who are interested in a career in music. And so, you know, for like a half an hour, I get to talk to a student for like 30 minutes at the school and in a room filled with every person from every occupation ever, um, with kids going all over the place. It's great. It's a lot of fun to share and to like customize my advice for the student. You know, it's very different when you have a kid that's like, I want to do exactly what you're doing someday. I can talk to that kid way different than I can talk to, I want to be in a metal band or I want to be a hip hop art, I want to be a the next huge rapper.
SPEAKER_01I'm like okay.
SPEAKER_03So you have a lot of work to go. Let's talk about that. Yeah. So it's you know, the the the spectrum is very wide, but it's always fun to because it even in it's when it is something like like that, I there is actual advice to give somebody who wants to be in a band someday. And you know, I it would have been great if I had gone to career day in in high school and talked to somebody who actually knew what being in a band was like. That would have been very helpful. So it's really rewarding. Side note, I've always thought you've been one of the video people who knew exactly what they were doing way a long time ago. You got you were always the dude that was like, because you have a very producer mindset about projects, and so even early on, it was like you you had you had everything laid out so well organized, and you knew I don't know, man. I didn't know that you struggled with that. Oh, dude, to me like you knew exactly what you were doing.
SPEAKER_01It's all it's kind of like that analogy, and you're gonna like this. You remember in episode one, you know, of Star Wars? Yeah, yeah, yeah. Yeah, yeah. Um, when they're going into the underground underwater, you know, city uh where um wow, I'm blanking on his name right now. The Gungins. The Gungins, yeah, live. And there's this whole sequence where Qui Gon is in his like an underwater sub and and they're trying to get away from the the big fish that's gonna eat them, and then there's a big fish that comes and eats them, and then it's another big fish. It's a really fun you know sequence. Um I know there's exactly I think as any any industry, but it's specific specifically creatives. There's this stay in your lane approach, which is a nice balance of I stay in my lane, I don't I shouldn't compare. But sometimes that produces siloing, and siloing, nobody's talking about how are you doing really? Like, what does your day-to-day look like? I see it on social. You're you seem like you're successful. Those logos on your website are amazing. You must be so successful, and I think there's a lot of fake it till you make it involved in this in this space, just like any other space. But because of that siloing of information and the advice to stay in our lanes because you know, this is our path, we shouldn't compare. Sometimes we just don't know how other people are doing. So you didn't know how I'm doing because I'm trying to like not necessarily always fake it, but yeah, there was definitely early years where I was trying to fake it till I made it. But then there was other I'm looking up to the bigger fish above me, and I'm looking at them and I think they have that they have it all together. Um, and they're really good producers. I have a buddy of mine, Blake, who's an amazing producer. He can pull together a crew of like 30 people and yeah, those people like that are awesome, and rock out like a Super Bowl commercial, uh like a local Super Bowl commercial, but still a Super Bowl commercial. Yeah. And he's confident in the cash flow risk of assuming that huge amount of risk to pay contractors in their net 14, net 30. 30 payment plans and then not have any cash come in from a client if they're like net 30 or net 60. He's totally comfortable doing all that stuff. And he lives and breathes for those kinds of big projects where there's tons of pre-pro. And I'm just like, look, I just want to show up and tell a story. Uh and I just want to sit down and do this, what we're doing, but in front of a camera and get people to be themselves. So to make a long story short, I think everybody is just trying to figure out how they're doing. And you can only look to your left and look at the smaller fish. In this case, you weren't the smaller fish. I think I I looked at you and I thought, wow, you're doing great stuff. Like it's different, but it's like super amazing. And yeah, and then I look over to the right and and producers like Blake and other people, I'm like, wow, they must have amazing top line revenue. And but I don't want to assume that stuff. So I think there's a trap there, a mental trap that it's healthy to have awareness, but then you have to deal with what what that means for you. And you're gonna have some imposter syndrome, but that's also okay. And back then, uh, to go back to what you're saying, I think there was moments where I was like, Yeah, I'm trying to figure it out, dude. Like, and I think there's moments today that I I still still am. Uh nobody knows what they're doing really. I think that's as I've done some consulting uh in the corporate space, and I walk into these rooms, people making crazy uh good salaries, nobody knows what they're doing. They're all just trying to figure it out.
SPEAKER_03So um I guess it's just then about like having enough confidence in what you bring to the table to make somebody feel like to feel confident that they're paying you to do what you do. See what I mean?
SPEAKER_01Yeah, and I think the best you can do is literally here's the best thing that I'm gonna try and and communicate those expectations and and just do it. And then you debrief, hey, did that meet or exceed your expectations? Great. All right, now someone deposits some confidence into my piggy bank. Like I can I can go to the next project and do a 20% bigger project. So um
Advice to Younger Self
SPEAKER_01I was just um curious because if I was talking to my younger self, I probably would try to reassure him, like, hey dude, it's gonna be okay. So for you, yeah, now that you're you talk to these high schoolers, imagine if you were meeting with you know, I'm gonna call you now. Back then, yeah, you were known as Ronnie, you know. Yeah.
SPEAKER_03So like scrawny Ronnie.
SPEAKER_01I didn't know that. I did not know. Get it correct. If we're talking about high school, yeah, and you had the emo haircut and everything. Oh, yeah, yeah, you had the whole vibe. Um, and you had you were talking to Ronnie back then. Yeah, what would you tell him?
SPEAKER_03I would say don't be in a band, get into composing immediately, write a million library tracks, and find a young woman named Momina Khan and marry her. There you go.
SPEAKER_01Boom. I would if it only were that easy, you know? I know. I'd be boy. Awesome. Um, well, I asked this before, but where should people find you today? What's a good website?
SPEAKER_03Oh, yeah, yeah. So Rowan Lewis is available to stream on all platforms and available to buy on Amazon and iTunes and all that stuff. Um, Orchrist is also available to stream on everything. And then um my if you search my name into any streaming, you're gonna get a the whole spectrum of stuff because a lot of publishers sometimes publishers will release publicly the albums that I write for them. So it gets confusing because one song will be a just the most radio pop song ever. Because I I still do like songwriting and and singing for the purpose of it being used in TV shows and stuff. So some of the songs are are pop, some of them are real dramatic, and then it'll go to like a trailer song. So a lot of music is out there. If you are bored and want to listen to stuff, there's plenty uh under all three of those.
SPEAKER_01And if I wanted to put some money in your pocket, like what's the website that I can license some of your music in a future you know production?
SPEAKER_03Yeah, um, Music Bed has has those, uh, or Kristen Ron Lewis, but for anything custom, um I do I direct with uh one-on-one with directors. I I definitely compose with uh teams, with small teams, with one-on-one projects, with uh people doing indie films. Um and so I really like working with people's budgets and uh if it's a passion project, sometimes it's worth just doing something fun. Yeah. Uh and seeing where it goes. But um yeah, uh Ron Binghamman at gmail.com or my website has a contact form as well.
SPEAKER_01So and that's uh R-O-L-A-N-D-B-I-N-G-A-M-A-N dot com.
SPEAKER_03Yep, her all right.
SPEAKER_01Um awesome. Well, this has been uh cool conversation. Episode two, I think we've we're starting to get the hang of this, you know? Yeah, uh and thanks for being on and taking the time to share your story. You know, ultimately, what I hope for these conversations is uh to give us a chance to slow down, uh, listen closely to how people like you, your stories are unfolding, and maybe it helps us reflect our own stories along the way. Ultimately, that's what the podcast is about. So, Rolland, thank you for spending some time with us. And I am Rolando, and this is the Power of Human Stories.
SPEAKER_00You've been listening to the Power of Human Stories. If you enjoyed this episode, please subscribe, leave a review, and share it with someone who might appreciate it. Visit Power of Human Stories dot com for more.