FROM CHOCLAIR TO KEISHA CHANTÉ: HOW 'THE OFFICE MOVERS' TURNED SYNC PLACEMENTS INTO CULTURAL STATEMENTS

Written by dj5rivers/Staff Writer - Soundtracked Sessions
Published on July 22, 2026 - 10:00

TORONTO — The art of the sync placement remains a powerful, undeniable force in music discovery, especially in an ever-growing digital age. Few shows understand this better than Crave's breakout comedy hit, "The Office Movers," starring Jermaine "Jae" Richards, Trevaunn "Trey" Richards, and an all-star lineup featuring; Lucas Lopez, Hassan Phills, with cameos from Marlon Palmer and long time collaborator on projects like T-DOT Goon Scrap DVD (iykyk), Drake.

“The Office Movers” premiered on October 11, 2024, with a six-episode first season, becoming an immediate success; landing among Crave's top 20 most-watched titles in the weeks following its release, won (6) Canadian Screen Recognitions and (2) Canadian Sync Award nominations.

Now going onto it’s third season, the series has been praised for its authentic portrayal of Toronto's multicultural communities and everyday humor rooted in Caribbean, African, and Latinx family life. The Richards brothers call in trademakers like their masterful use of subtitles that turn a practical accessibility tool into a running joke about the city's linguistic texture. Elevating Toronto beyond mere stereotypes and depeciting “the culture” as a living-breathing way of life. This choice is deeply significant in the context of Toronto, where the use of Jamaican Patois-derived slang beats at the core of the Greater Toronto Area and cultures that surround the boroughs; putting the city on a global stage.

The origins of “Judge Tyco”

Before “The Office Movers” Jermaine "Jae" Richards and Trevaunn "Trey" Richards were two Brampton brothers trying to make people laugh through a new format, at the time, called vlogging. After gaining an organic global audience they began collaborating with Bell Media in 2015, launching their YouTube channel, originally known as 4YE Entertainment, later rebranded as Random Order Studios.

This began their journey of carving out a niche in Canada's digital comedy scene. Their sketches featured hyperlocal references and characters who sounded like people you'd hear on the TTC, tossing around words like "waste yute" and "marved" with unapologetic pride. When Crave approached them to develop a 30-minute comedy series, Counterfeit Pictures brought in Clara Altimas (from Kim's Convenience) as showrunner to help the brothers translate their sketch comedy instincts into a 30-minute television format. The series is filmed at recognizable Toronto and GTA landmarks, giving viewers a sense of place often missing in Canadian TV.

Beyond the laughs

The series has become a powerhouse for sync placements, secured by their Canadian Sync Awards noms, championing artists like Choclair, Keisha Chanté and an impressive lineup of Caribbean music, featuring tracks like the soulful "Keep It Funky" by Bobby Barnes, soca hit "Wah Yuh Want" by Melly Rose ft. Sekon Sta, and "Jump Up Nah" by Iwer George. Kasey Phillips alongside College Boy Jesse, Teddyson John, Badjohn Republic, and Preedy, and Ray Watts join the sync lineup for the series so far.

The most impressive of the music are two standout Canadian tracks that are re-introduced to viewers through new age content for the next generation.

The Introduction in Season 1 Episode one sets the tone with “Let's Ride" serving as the show's thematic backbone, paying homage to Canadian hip-hop royalty from Scarborough, Ontario, Choclair. Released in 1999, “Let’s Ride” was produced by fellow Canadian hip-hop heavyweight Kardinal Offishall, with ad-libs by Saukrates. The song is instantly recognizable for its catchy piano hook and memorable chorus and memorable Toronto views with the music video Directed by Little X (now known as Director X). The video was a Much Music staple if you are old enough to remember cable television, winning the MuchMusic Video Award for Best Rap Video in 2000.

Placement: The iconic track bookends Season 1, appearing as the theme song for Episode 1 and as the outro for Episode 5 ("The Offer")

“Bad Boy” gave me instant nastolgia, reminding me of school dances where entry was a canned non-perrisable foot item for the local food drive. The Brampton-born R&B sensation Keisha Chonté was for me, the Canadian Aaliyah, with this video circulating daily on chanel 29. It's a placement that underscores the global appeal of Canadian R&B. Keshia Chanté's "Bad Boy" was a pivotal single from her self-titled debut album, released in 2004 when she was just 15 years old, through BMG Music Canada and achieved gold certification in Canada. The album went on to win the Juno Award for R&B/Soul Recording of the Year in 2005, making Chanté the youngest winner in that category at the time. The track became a major milestone in her career and remains one of her most recognizable songs.

Placement: Episode 2 ("Not In Front Of The Client") gave viewers a jolt of adrenaline with Keisha Chanté's "Bad Boy." Soundtracked to an action-packed scene with Tyco and his crew, utilizing the track's driving beat to amplify the tension and destruction of Trey’s Auntie’s home.

Jo Stunnah, South Carolina native and heart transplant survivor, saw his track "GOAT" placed in a high-energy moment that introduced his music to Canadian audience. Similarly, Bio Ritmo, the Richmond, Virginia salsa orchestra, brought their Latin groove to a comedic elevator scene, earning licensing income that supports independent musicians navigating a challenging industry where streaming payouts often fall short.

All to say;

The global sync licensing market is projected to reach billions. With placements on shows like “The Office Movers” a single moment on screen into a sustainable economic engine. The scarcity of shows like this  that actively champion independent hip-hop, R&B, and Caribbean music in major Canadian broadcast deals, leaves countless talented artists without a platform for lucrative sync placements. This void makes the series (and those like it) rare and vital for independent musicians, to gain national exposure, performance royalties, and career-changing opportunities that are typically reserved for major label acts.

Can’t wait to see what Season 3 brings us…