i think it was last Saturday(easter weekend) when an ad came on for Law and Order on TV3. Nothing unusual for a few seconds until I realised they were playing fugazi in the background. JUMPING JESUS I said to myself , now thats a weird one.It was the opening bars of Waiting room so there were no vocals or anything. Anyway last night rumour has it that there was an ad for Miller Genuine Draft with fuckin SMOG playing! may i be the first to ask what the fuck?
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ads and my saneness (1 Viewer)
- Thread starter Squalch
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publishing rights?
might not be long 'til we hear the strains of "you owe me five potatoes" in the background of the next friends ad
...
might not be long 'til we hear the strains of "you owe me five potatoes" in the background of the next friends ad
...
Fugazi may be anti-ad, but it's not inconceivable that they allowed (or wanted) Waiting Room to be used in a tv show ... and therefore it might also be used in ads for that particular tv show. No big sell-out there, I wouldn't think
As for Smog in a Miller ad - re they anti-advertising? If not what's the big deal?
Oh, one other thing - unless you insist on it when signing a publishing deal, you might not get a say in who your publisher allows to use your songs.
As for Smog in a Miller ad - re they anti-advertising? If not what's the big deal?
Oh, one other thing - unless you insist on it when signing a publishing deal, you might not get a say in who your publisher allows to use your songs.
http://www.pitchforkmedia.com/news/02-04/10.shtmlModest Mouse, Smog Sell Miller Beer
The MGD Blind Date with Cat Power and Silver Jews is gonna rawk!
Will Bryant reports:
We can probably count on one fork the number of indie bands with endorsement deals -- you had Guided By Voices wearing freebie Converse high tops circa 1996, for instance, and Pavement's Stephen Malkmus did that print ad for designer Marc Jacobs last year. We remember Jon Spencer and Sonic Youth's Kim Gordon glamming it up for Calvin Klein a couple years back, and no one got hurt.
But with radio and video play on the decline, more and more indie artists are turning to the dreaded TV commercial as a form of income and exposure. It didn't surprise us much when Mary Lou Lord's cover of Daniel Johnston's "Speeding Motorcycle" was used in a Target spot earlier this year -- hell, something's got to pay the guy's rent. But we were really thrown for a loop when we saw Miller Genuine Draft's latest ad campaign, which features music from indie heroes Modest Mouse ("Gravity Rides Everything") and Smog ("Held").
Though the ads are a vast improvement on the recent "Generation X" typecasting that brought us Miller Lite's inane Beck lookalike "Dick" and those annoying "cyber-commercials" that turn your television into Windows 95 or whatever, the Miller commercials have been a hot topic on bulletin boards and mailing lists recently, as Modest Mouse and Smog are both artists with devoted fans and mostly unblemished integrity. In light of both the White Stripes and the Strokes reportedly turning down seven-figure paydays to lend their chic to Gap commercials (no worries-- Macy Gray, Shaggy, and Liz Phair took up the slack), the Miller spots seem particularly upsetting. And I don't even want to get into that McDonald's spot during the Olympics that used the Shins' "New Slang."
Sure, there are more offensive products to plug than beer-- a product pretty much anybody can get behind. But the stakes behind music placement in commercials expose a disturbing trend of backdoor deals and strong-arming on the part of record labels and advertisers. Volkswagen turned its trend of plugging Beetles and Jettas with semi-obscure music from Nick Drake, Stereolab, and Spiritualized into a cottage industry, even releasing a popular compilation (VW Street Mix, Vol. 1) of the tunes. And the record industry certainly paid attention: according to a 2001 MTV news report, sales of Drake's Pink Moon album soared from 6,000 copies in 1999 to more than 74,000 in 2000 as a direct result of exposure in the TV spots.
In at least one case this year, music was even used without the artist's knowledge. After turning down a Volkswagen ad featuring his song "Beautiful Freak," Eels frontman E was astonished to find another song, "I Like Birds," appear in a Spanish-language commercial for a shopping mall. The commercial was authorized by an overseas subsidiary of E's publishing company, Rondor Music, which has an agreement specifically barring Eels music from commercial use. This January, Rondor settled the case by pulling the commercial from circulation and donating all proceeds to the Sweet Relief musician's charity.
So does corporate rock still suck? Well, yes, but there's no avoiding it. We're living in a world, after all, where innovators like Beck, the Flaming Lips, Sonic Youth, and yes, Modest Mouse record for the biggest corporate media conglomerates on the face of the planet. Hearing your heroes' music in a beer commercial may even be preferable to hearing them on commercial radio, which is awash in so-called "legal payola" and big-money partnerships with major labels.
However, our favorite tip of the week has got to be the link to Miller Genuine Draft's own answer to Pitchfork, the MGDownload area of Miller's web kingdom, which features thesaurus-addled album reviews and interviews alongside MP3 offerings from predictably aggressive mainstreamers like Slipknot, Nickelback and Machinehead. This week's "featured artist" is friggin' Creed! Or perhaps you were looking for MGDownload's opinion on the new Cyclefly: "Cyclefly's follow-up to the brilliant Generation Sap is nothing more than underwhelming-- it feels like the essential madness has been diluted and the melodies mainstreamed."
Check out the album reviews archive, which features some of the most unintentionally hilarious rock journalism since Western Homes, including reviews of Ryan Adams, Clinic, Radiohead, the Strokes, Alanis Morissette (sorry, MGD, beat ya to it), "Tanya Donelley," and... what's this? Smog?!? Do I smell some corporate log-rolling here? Aww, screw it, it's Miller time.
***
suckers of satan's cock.
The MGD Blind Date with Cat Power and Silver Jews is gonna rawk!
Will Bryant reports:
We can probably count on one fork the number of indie bands with endorsement deals -- you had Guided By Voices wearing freebie Converse high tops circa 1996, for instance, and Pavement's Stephen Malkmus did that print ad for designer Marc Jacobs last year. We remember Jon Spencer and Sonic Youth's Kim Gordon glamming it up for Calvin Klein a couple years back, and no one got hurt.
But with radio and video play on the decline, more and more indie artists are turning to the dreaded TV commercial as a form of income and exposure. It didn't surprise us much when Mary Lou Lord's cover of Daniel Johnston's "Speeding Motorcycle" was used in a Target spot earlier this year -- hell, something's got to pay the guy's rent. But we were really thrown for a loop when we saw Miller Genuine Draft's latest ad campaign, which features music from indie heroes Modest Mouse ("Gravity Rides Everything") and Smog ("Held").
Though the ads are a vast improvement on the recent "Generation X" typecasting that brought us Miller Lite's inane Beck lookalike "Dick" and those annoying "cyber-commercials" that turn your television into Windows 95 or whatever, the Miller commercials have been a hot topic on bulletin boards and mailing lists recently, as Modest Mouse and Smog are both artists with devoted fans and mostly unblemished integrity. In light of both the White Stripes and the Strokes reportedly turning down seven-figure paydays to lend their chic to Gap commercials (no worries-- Macy Gray, Shaggy, and Liz Phair took up the slack), the Miller spots seem particularly upsetting. And I don't even want to get into that McDonald's spot during the Olympics that used the Shins' "New Slang."
Sure, there are more offensive products to plug than beer-- a product pretty much anybody can get behind. But the stakes behind music placement in commercials expose a disturbing trend of backdoor deals and strong-arming on the part of record labels and advertisers. Volkswagen turned its trend of plugging Beetles and Jettas with semi-obscure music from Nick Drake, Stereolab, and Spiritualized into a cottage industry, even releasing a popular compilation (VW Street Mix, Vol. 1) of the tunes. And the record industry certainly paid attention: according to a 2001 MTV news report, sales of Drake's Pink Moon album soared from 6,000 copies in 1999 to more than 74,000 in 2000 as a direct result of exposure in the TV spots.
In at least one case this year, music was even used without the artist's knowledge. After turning down a Volkswagen ad featuring his song "Beautiful Freak," Eels frontman E was astonished to find another song, "I Like Birds," appear in a Spanish-language commercial for a shopping mall. The commercial was authorized by an overseas subsidiary of E's publishing company, Rondor Music, which has an agreement specifically barring Eels music from commercial use. This January, Rondor settled the case by pulling the commercial from circulation and donating all proceeds to the Sweet Relief musician's charity.
So does corporate rock still suck? Well, yes, but there's no avoiding it. We're living in a world, after all, where innovators like Beck, the Flaming Lips, Sonic Youth, and yes, Modest Mouse record for the biggest corporate media conglomerates on the face of the planet. Hearing your heroes' music in a beer commercial may even be preferable to hearing them on commercial radio, which is awash in so-called "legal payola" and big-money partnerships with major labels.
However, our favorite tip of the week has got to be the link to Miller Genuine Draft's own answer to Pitchfork, the MGDownload area of Miller's web kingdom, which features thesaurus-addled album reviews and interviews alongside MP3 offerings from predictably aggressive mainstreamers like Slipknot, Nickelback and Machinehead. This week's "featured artist" is friggin' Creed! Or perhaps you were looking for MGDownload's opinion on the new Cyclefly: "Cyclefly's follow-up to the brilliant Generation Sap is nothing more than underwhelming-- it feels like the essential madness has been diluted and the melodies mainstreamed."
Check out the album reviews archive, which features some of the most unintentionally hilarious rock journalism since Western Homes, including reviews of Ryan Adams, Clinic, Radiohead, the Strokes, Alanis Morissette (sorry, MGD, beat ya to it), "Tanya Donelley," and... what's this? Smog?!? Do I smell some corporate log-rolling here? Aww, screw it, it's Miller time.
***
suckers of satan's cock.
I like the way Dreamteam makes full use of faux indie hits-sters, such as using the Dandy Warhols every single week.
And the Hives.
And in a new benchmark, you just know somethings not cool no more if if's on the Teachers soundtrack.
And the Hives.
And in a new benchmark, you just know somethings not cool no more if if's on the Teachers soundtrack.
Are u talking about sky one dreamteam?Thats the greatest load of shite i've ever come across.But what is the story with tv stations using a bands music for ads about shows,i've heard loads of good music being used.Do the bands give permission?Maybe some of the chaps in a band on here could tell us if they've ever been asked for this kind of thing?
What!? Dream Team rawks in a Bad Girls / Footballers Wives kinda way. And I don't even LIKE football but if I did, Hardchester UTD would be *my* team.
Dream Team rules. All the scandal and intrigue and scandalously fat 'players' who I am intrigued into wondering how they haul their beery asses about the pitch make it a reason to stay in of a Sunday eve.
As to the other thing, fucked if I know.
Dream Team rules. All the scandal and intrigue and scandalously fat 'players' who I am intrigued into wondering how they haul their beery asses about the pitch make it a reason to stay in of a Sunday eve.
As to the other thing, fucked if I know.
a Capratone track got used in some RTE documentary about the J1 visa and what kind of madness all the cuclchies who go on it get up to, like LAAAADDDDSSSS!!!
yeah anyway it was all before my time, but maybe some past Caprahead can confirm this but as far as I know Capratone or the label were never approached and never got any royalty payment. So basically the production comapny took the track thinking sure its some small Irish group who no one has ever heard of, sure we'll never have to pay them, sure they'll never know
but we do... or someone does... or something
I think thats what happened
yeah anyway it was all before my time, but maybe some past Caprahead can confirm this but as far as I know Capratone or the label were never approached and never got any royalty payment. So basically the production comapny took the track thinking sure its some small Irish group who no one has ever heard of, sure we'll never have to pay them, sure they'll never know
but we do... or someone does... or something
I think thats what happened
snakybus
Well-Known Member
I think it's an interesting dilemma. What would you allow your music to be a part of?
a) A mainstream film? Films are for making money too. They may be an art form, but they're for mass consumption same as GAP clothing, aren't they?
b) An art film? Even art films cost lots of money to make, and therefore need to make money. And they're for mass consumption too, just a smaller mass, otherwise they wouldn't be made. But it seems at this point that the shakiness of scenario a) doesn't seem as relevant - is it because the money involved is less, or because the audience is smaller and more discerning, or because the film is cool and therefore it's okay to be involved? Or what about a just a low-budget film that's not in the least arty?
c) A TV ad. If you need the money, is this bad? Personally I think it is, but if I found myself broke who knows ...but it sucks. Anything that attaches music with commerce sucks, they're unhappy bedfellows.
By the way, I just love Finches Orange. mmm, that cool refreshing taste
you like Finches?
a) A mainstream film? Films are for making money too. They may be an art form, but they're for mass consumption same as GAP clothing, aren't they?
b) An art film? Even art films cost lots of money to make, and therefore need to make money. And they're for mass consumption too, just a smaller mass, otherwise they wouldn't be made. But it seems at this point that the shakiness of scenario a) doesn't seem as relevant - is it because the money involved is less, or because the audience is smaller and more discerning, or because the film is cool and therefore it's okay to be involved? Or what about a just a low-budget film that's not in the least arty?
c) A TV ad. If you need the money, is this bad? Personally I think it is, but if I found myself broke who knows ...but it sucks. Anything that attaches music with commerce sucks, they're unhappy bedfellows.
By the way, I just love Finches Orange. mmm, that cool refreshing taste
you like Finches?
I think there is a definite distinction between using music for tv ads and for films.Of course it depends on the film,mainstream film,no way.Independent/art film,i think is ok because these films are on the whole not made for a profit.
Tv ads are a whole different thing.Their sole purpose is to sell products.So,if somebody allows their music to be used in an ad,their music is devalued a great deal because it's being used to shift units.
Tv ads are a whole different thing.Their sole purpose is to sell products.So,if somebody allows their music to be used in an ad,their music is devalued a great deal because it's being used to shift units.
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Finches rock shandy in a pint glass wiv loadsa ice on a hot day nursing a hangover... mmmmmm
but for example, look at the heineken ad with 'love will tear us apart'. surely the remaining members of joy division don't need the money?
- Thread starter
- #16
i don't think its a question of doing anyone harm, i just think, as has been the main gist of this thread, that bands loose crediblility. i guess a lot depends on the credidibility of the product or company the music is being used for, i mean with gap and mcdonalds being who they are, i think most people with a social conscience would at least think the matter over first before handing their music over to such a concern.
oh, as I said it was all before I got on board, but I'm pretty sure the songwriter was not contacted....hhhhmmm
*shrug*
anyhow how come nobody has metioned Moby yet...
snakybus
Well-Known Member
Actually the guy who was resposible for that Ash/Heineken ad was going to put a band I used to be in into an ad. We were all like "Yeah! Rock stardom at last". At the time, we had recorded a single/EP that we were going to release ourselves and saved up a load of money to do this. But this guy says to us that he wants us to RE-RECORD a song we had previously recorded as a demo type thing, in a pro studio. We were like "Yes Mr big balls sir" and spent our money on that. He wanted to make us big quickly, and we were all for it. Needless to say, he didn't use it. I think he just enjoyed screwing us to be honest. He was a right sleazy rich fuckwad who really believed in the power of money.
Moral of the story: we would have been better off releasing our own thing, and richer too. Also, it tells me that anyone who wants to make money quickly out of music is misdirected.
Moral of the story: we would have been better off releasing our own thing, and richer too. Also, it tells me that anyone who wants to make money quickly out of music is misdirected.
yeah but look at you now with your fancy video on No Disco, Mr fancy pants video on No Disco...
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