After the bass player in his band quit to join a Yes tribute band, Kyle Staggs moved to Los Angeles with the goal of establishing a career in the music business as an attorney. He graduated from Pepperdine School of Law after internships at Rhino Records and Warner/Chappell Music, afterwards landing the job of his dreams at Bug Music.  Working in Business & Legal Affairs meant working with spectacular publishing catalogs and clients including Muddy Waters, Los Lobos, The Guess Who, Ryan Adams, Johnny Cash, Iggy Pop, Buddy Miles and The Meters, just to name a few. While there, he specialized in sampling issues and the recapture of copyrights, legally establishing heir/estate catalogs for the works of Gram Parsons, Townes Van Zandt, Shifty Henry, Kid Ory, and Pete Ham and Tom Evans of Badfinger. 

As Bug Music changed hands, Kyle moved on to the Film Music Department at Universal Pictures.  Working in Business & Legal Affairs, he negotiated and drafted the composer, producer, artist, songwriter and licensing agreements that effectively allowed the use of the optimal music for filmmakers to tell their stories and for the studio to market and promote its films, soundtrack albums and other properties. During his tenure, Kyle had the pleasure of helping to craft such music-intensive Universal films as Scott Pilgrim vs. The World, Straight Outta Compton, Sing, the first two films in the Pitch Perfect and Fifty Shades Of Grey franchises, and four films in the Fast & Furious (4-8) and Despicable Me (1-3 and Minions) franchises. While the music played a foundational role in the success of each film itself, some songs and recordings also became bona fide hits in their own right, notably “Happy” – Pharrell Williams (from Despicable Me 2), “Earned It” – The Weeknd and “Love Me Like You Do” – Ellie Goulding (both from Fifty Shades Of Grey), “Cups” – Anna Kendrick (from Pitch Perfect) and “See You Again” – Wiz Khalifa featuring Charlie Puth (from Furious 7). Kyle also helped establish the studio's in-house record label, Back Lot Music, and advised personnel for both Universal Studios Orlando and Universal Studios Hollywood regarding various music use issues arising in the theme parks. 

Wanting to work with more independent productions, companies and creators, Kyle departed NBCUniversal.  He then spent several months supporting the theatrical marketing and television animation groups of Warner Bros. Entertainment. He then founded MB&LA with the intent of bringing his 20+ years of practical experience to independent and studio projects alike. As MB&LA has grown over the past few years, Kyle has been able to continue working with unique films ranging from big studio pictures such as Joker, Shang-Chi and the Legend Of The Ten Rings, Bullet Train and The Hunger Games: The Ballad Of Songbirds and Snakes to compelling, dutiful pictures such as To What Remains, to horror pictures such as The Black Phone, M3GAN and Five Nights At Freddy’s, as well as expand into podcasts and significant music-heavy television properties such as Zoey’s Extraordinary Playlist, Minx, and P-Valley. It has also been his joy to work on children’s television programming and films such as Green Eggs & Ham, Lyle, Lyle Crocodile and Gremlins: Secrets Of The Mogwai.