Download As Heard on TV: Popular Music in Advertising (Ashgate by Bethany Klein PDF

By Bethany Klein

Using renowned tune in ads represents some of the most pervasive mergers of cultural and advertisement ambitions within the smooth age. regular public reaction to renowned track in T.V. ads, starting from the celebratory to the outraged, highlights either unresolved tensions round such partnerships and the necessity to unpack the complicated matters in the back of daily media perform. via an research of press assurance and interviews with musicians, song supervisors, advertisements creatives, and licensing managers, "As Heard on television" considers the commercial adjustments that experience supplied a beginning for the elevated use of renowned tune in ads, and explores the severe matters and debates surrounding media alliances that blur cultural pursuits with advertisement goals.The perform of licensing renowned tune for advertisements revisits and maintains a couple of key subject matters in cultural and media reports, between them the relationship among authorship and possession in well known track, the legitimization of ads as paintings, business alterations in radio and song, the function of song in branding, and the restructuring of that means that effects from advertisement exploitation of well known tune. "As Heard on television" addresses those subject matters via exploring circumstances related to artists from the Beatles to the Shins and numerous dominant firms of the final half-century.As one instance inside of a much broader debate in regards to the function of trade within the creation of tradition, using renowned tune in ads offers an access element wherein various practices may be understood and interrogated. This publication attends to the connection among pop culture and company strength in its advanced edition: now and then at the same time precious and playfully suspicious of built limitations, and at others conceived in pressure and symbolic of the triumph of hypercommercialism.

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Yet there is a growing chorus of voices (not least, and expectedly, in the advertising industry) that join Miles and Kohn in suggesting that the practice is no longer perceived as a threat, and that the stigma once attached to “selling out” is diminished or gone. ’ Now it’s no big deal” (2003: 6). Later in the issue, a headline calls music licensing by advertisers “what used to be called selling out” (2003: 26). R eporting on the practice, the N ew York Times suggested, “The stigma of selling out has begun to wane” (Hanson 1999) and the N ew York D aily N ews took it a step further, stating, “After decades in which musicians would sooner part with their firstborn than relinquish their songs to the ad industry, suddenly serenading clothes and cars has become the hallmark of cool” (Farber 2001: 12).

Kurt Heasley of Lilys, who licensed a track to a Nike campaign that ran during the 1998 Olympics, was well aware of Nike’s position in the history of music licensing: “Oh absolutely, the whole ‘Revolution’ argument. , 2005). This instance of music licensing, while not the first, was significant because it was the Beatles, whose treatment as sacred and untouchable has never been matched by another group. Thus, as BBH’s Hegarty put it, “U sing a real Beatles track in an ad is crossing a final barrier I suppose” (qtd.

Y ou could bomb Mecca, blow up S t. Peter’s, dynamite the Washington Monument, wash your car with the American flag, burn the Magna Carta, sack Jerusalem, throw eggs at Graceland and (maybe) admit publicly that you prefer Julian to John Lennon. But sell sneakers with “Revolution”? This is sacrilege! ” 1987: 14) 34 As Heard on TV : Po pular M usic in Ad ver tisin g For all of the joking, the press coverage did recognize Nike’s use of “Revolution” as marking an important moment in advertising history: Brandweek reported, “Revolution started the revolution; that is, Nike’s use of the Beatles’ rock anthem to peddle its product pioneered today’s endlessly proliferating use of pop music in ads” (Shanahan 2003).

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