Skip to main content

Jingle jangles

For quite a while, I thought having one's music in commercials seemed like a good thing. A VW commercial introduced me to a Nick Drake song. An AT&T commercial gave Kings of Convenience a second chance for me (I originally blew them off as a Belle & Sebastian knock-off). After reading an interview with Tom Waits in The Onion AV Club from 2002, I wonder about the real pros of having your music be used in commercials.

Here's a snippet that really clicks with me:
O: I still can't hear "Good Vibrations" without thinking of Sunkist.
TW: Oh, wow, yeah. That's exactly what they want. They want to plug your head into that and change the circuitry. While you're dreaming about your connection with that song, why don't you think about soda or candy or something? It's too bad, but it's the way of the world. They love to get their meat-hooks in you.


Mr. Waits has a great point. Combine a song (popular or not) with a commercial and chances are good you're going to remember the product and the song. Yes, I know "advertising works" but when a song not originally intended to used for an advertisement is used in one, which is more memorable in the long-run?

I say the song is the one that stands out longer only if it's not attached to the commercial forever. State Farm will probably always be remembered for their "And like a good neighbor/State Farm is there" jingle but that's their own jingle. In the case of Circuit City currently using the Cars' "Just What I Needed," I think of the flashy commercials with laptops and flat-screen TVs more than the band's album covers or video for the song. No matter how much I like the song, I'm still not going into Circuit City (when you have Best Buy and Frys in town, why bother?).

Then there are songs that were once used in commercials that aren't anymore. Given the amount of time and the people not exposed to the commercial, chances are good that there won't be a connection to a commercial. Case in point: I believe Carly Simon's "Anticipation" was used in a Heinz 57 ketchup ad in the '80s. Since I vaguely remember the commercial (a pre-Friends Matt LeBlanc tilted a bottle on the roof of a building and bought a hotdog just as the ketchup flew down), I vaguely remember the usage of the song. These days, I remember the song more for its opening line ("We can never know about the days to come/but we think about them anyway") more than anything else.

In the case of Nick Drake's "Pink Moon" being used in a VW commercial, I don't think of VWs when I drive around to his music. Reminded of the moon shot in the commercial, I tend to look up to the night sky when I have the song on in my Toyota. I'm not thinking about how I should own a VW, but it keeps their name in my mind.

Advertising is a really sneaky medium. Ads get into your brain whether you like the product or not. While I'm not one to become a zombie and think that because of Circuit City using a Cars song I must buy my next TV from them, this kinda spoils the enjoyment/privacy of listening to music. Sure, using songs in commercials may be a good thing for an unknown artist getting its name out, but most artists don't set out to be jinglemakers.

Comments

Popular posts from this blog

The Complete Idiot's Guide to Catherine Wheel

Originally posted: Tuesday, August 29th, 2006 Despite managing to release five proper albums, Catherine Wheel was one of those bands that always seemed to slip past the mainstream rock crowd. Yes, they got some nice airplay in their day, but people seem to have forgotten about them. You may hear “Black Metallic” or “Waydown” on a “classic alternative” show on Sirius or XM or maybe even on terrestrial radio, but that’s about it. For me, they were one of most consistent rock bands of the ’90s, meandering through shoegazer, hard rock, space rock and pop rock, all while eluding mainstream pigeonholing. Led by the smooth, warm pipes of vocalist/guitarist Rob Dickinson (cousin of Iron Maiden’s Bruce Dickinson), Catherine Wheel featured Brian Futter on lead guitar, Dave Hawes on bass and Neil Sims on drums. They weren’t a pretty-boy guitar band, but they weren’t a scuzzy bunch of ragamuffins either. Though the band hailed from England, Catherine Wheel found itself more welcome on American air

Best of 2021

  Last year, my attention span was not wide enough to listen to a lot of LPs from start to finish. Too much went on in 2020 to focus on 10-15 albums, so I went with only a couple to spotlight. Well, 2021 was a little better, as I have a list of top four records, and a lot of individual tracks.  (I made a lengthy Spotify playlist ) So, without further ado, here’s my list of favorites of the year: Albums Deafheaven, Infinite Granite (listen) Hands down, my favorite album of the year. I was not sure where Deafheaven would go after another record that brought My Bloody Valentine and death metal fans together, but they beautifully rebooted their sound on Infinite Granite. The divisive goblin vocals are vastly pared-down here, as are the blast beats. Sounding more inspired by Slowdive, the band has discovered a new sonic palette that I hope they explore more of in the future. It’s a welcome revelation. I still love their older material, but this has renewed my love of what these guys do.  J

Hello, Control

I'm still a big fan of iTunes . I haven't tried Napster , Urge or eMusic as I've been perfectly happy with Apple's program ever since I downloaded it two years ago. However, an annoying new feature has come up with its latest version, 7.0. Whenever you pull up your music library, a sidebar taking up 3/4ths of the screen appears plugging the iTunes Music Store. Why is this an annoyance? Well, first and foremost, since you can't close the sidebar, you can't escape it. I believe a music library is a private collection, a spot away from the music store. So what's the need for constant advertisements and plugs? To provide a better visual, let me describe what I see whenever I pull up a song in my iTunes library. When I listen to "This is a Fire Door Never Leave Open" by the Weakerthans, I see a graphic for Left and Leaving , the album that it comes from (and available in the iTunes Music Store), along with a list of the Weakerthans' other albums,