The Null Device
Posts matching tags 'integrity'
The shadowy phenomenon of product placement in pop music was thrust into the spotlight when culture jammers the Anti-Advertising Agency, who were running a virtual jeans-making sweatshop in Second Life as an art project, received a proposal from a product placement agency, offering to put his brand of jeans in a Pussycat Dolls song, which they published online
In the e-mail, Kluger (who has represented Mariah Carey, New Kids on the Blog, Ne-Yo, Fall Out Boy, Method Man, Lady GaGa and Ludacris) explained via e-mail that for the right price, Double Happiness Jeans could find its way into the lyrics in an upcoming Pussycat Dolls song. Crouse posted the e-mail on his blog at the Anti-Advertising Agency, an art project of sorts that's basically the philosophical mirror image of a traditional ad agency.
The Anti-Advertising Agency declined and has already drawn some attention to the practice of selling space in lyrics to advertisers through its blog. "Maybe Ludacris wants to rap about a luxury SUV, and is just looking for the right one," said Lambert. "We'll never know (everything about) how it works, because that takes the mystique out of it, and the mystique is one of the things that they can sell." But thanks to this e-mail, we at least have proof that the phenomenon is real.Meanwhile, the agency, Kluger PR (who have emailed WIRED and disowned responsibility for the actual email) has asserted that when they place products in songs, they take every care to ensure that artistic integrity is not affected:
"We are just financially taking care of the people that should be taken care of," he told us via e-mail. "If an artist like Sheryl Crow has the same target audience as XZY brand, we feel it's nothing but a strong and strategic way to pinpoint a market.
"Now, we don't want an artist to write a song specifically to promote a brand, we just feel that if it's a product that's admired by the artist and fits his/her image, we now have the capability of leveling out the playing field and making things financially beneficial for all parties involved. 'Brand-Dropping' is the term that the Kluger Agency coined to describe discreetly advertising by product mentioning in song, and we feel we can make this the way of the future without jeopardizing any artists creative outlet or typical style."I wonder how much it takes to arrange that your (virtual) brand of jeans is sufficiently admired by the Pussycat Dolls for them to (quite sincerely, of course) sing its praises. Which sounds like the artistic equivalent of the question of how much money it takes to win the amorous affections of a lady (or, indeed, gentleman) of negotiable virtue. In which case, would that make Kluger PR a pimp?
Here is a tale of two indie bands and their respective negotiations of the contentious issues of commercialism and integrity that arise when an artist is tempted by the siren song of advertisement licensing revenue.
A while ago, Band Of Horses decided to licence one of their songs to Wal-Mart, that scary right-wing bète noire despised by a significant proportion of the sorts of people who buy independent music. After the ad was tested on a limited web release, they started getting bad feedback from fans who heard about it, had a change of heart and pulled the ad, returning Wal-Mart's 30 pieces of silver.
"Some fans, they don't even give a crap," he continued. "They're like, 'Whatever, bands got to get paid.' But at the same time, I was reluctant to do it in the back of my mind, and some fans reminded me there is a reason to feel that way about it. "So once I saw our fans were let down by it, I nixed the TV commercial, and said, 'You know what, this isn't for me. Keep your money.'"Meanwhile, after copping a lot of flack for licensing a song to restaurant chain Outback Steakhouse (itself a major Republican Party donor), Of Montreal's Kevin Barnes digs in and comes out swinging for the moral defense of capitalism, like some kind of indie-hipster John Galt:
The worst kind of person is the one who sucks the dick of the man during the daytime and then draws pictures of themselves slitting his throat at night. Jesus Christ, make up your mind! The thing is, there is a lack of balance. When capitalism is working on a healthy level, everyone gets their dick sucked from time to time and no one gets their throat slit. It's impossible to be a sell out in a capitalist society. You're only a winner or a loser. Either you've found a way to crack the code or you are struggling to do so. To sell out in capitalism is basically to be too accommodating, to not get what you think you deserve. In capitalism, you don't get what you think you deserve though. You get what someone else thinks you deserve. So the trick is to make them think you are worth what you feel you deserve. You deserve a lot, but you'll only get it when you figure out how to manipulate the system.
The thing is, I like capitalism. I think it's an interesting challenge. It's a system that rewards the imaginative and ambitious adults and punishes the lazy adults. Our generation is insanely lazy. We're just as smart as our parents but we are overwhelmed by contradicting ideas that confuse us into paralysis. Maybe the punk rock ethos made sense for the "no future" generation but it doesn't make sense for me. I like producing and purchasing things. I'd much rather go to IKEA than to stand in some bread line. That's because I don't have to stand in a bread line. Most people who throw around terms like "sellout" don't have to stand in one either. They don't have to stand in one because they are gainfully employed. The term "sellout" only exists in the lexicon of the over-privileged. Almost every non-homeless person in America is over-privileged, at least in a global sense.The devil, of course, is in the details. Capitalism doesn't reward those who make good art per se, but those who can find a niche in the market and fill it. Occasionally these two goals line up, but most market niches are for unchallenging populist fare. If one restricts oneself to making significant art, one will find the pickings relatively lean. (Just ask the members of OMD, who started making songs about nuclear war and, once they had mortgages to pay off, went on to manufacture commercial pop groups like Atomic Kitten.) The most successful capitalists in music aren't the most highly critically appraised artists, but rather the likes of 50 Cent and Simon Cowell.
What happens when a company known for its ethical principles and alternative business culture is taken over by a multinational corporation? The outcomes vary; in many cases, the "funky"/ethical brand becomes merely a fig leaf over the parent's more conventional business practices:
Body Shop has just become part of the French cosmetics giant L'Oréal; Tom's of Maine fell to Colgate-Palmolive last month; Wales-based Rachel's Organic is a subsidiary of the American conglomerate Dean Foods, which has come under fire in the US over its industrial-scale organic dairies and factory-farm milk production. Pret A Manger is one-third owned by McDonald's; Ben & Jerry's has been under Unilever's ownership for six years and Green & Black's belongs to Cadbury-Schweppes, the world's biggest confectionery company.
At Ben & Jerry's in the US, the relationship with Unilever remains an uneasy one. Ben & Jerry's most recent social audit highlighted a "disappointing" lack of social initiatives at the company and poor morale among employees. It questioned whether the company was "simply a Unilever marketing operation using the brand's reputation for social responsibility to promote sales."
Ethical Consumer magazine runs an online shoppers guide, at www.ethiscore.org, which rates companies and their products on their ethical credentials. Body Shop's rating has plunged from 11 out of 20 to just 2.5 since the L'Oréal deal and the magazine has urged a boycott of its products in protest not only at the French cosmetics group's ownership, but also its links with Nestlé, which owns 26% of L'Oréal. Nestlé has faced boycott campaigns over issues from animal testing to the marketing of baby milk substitutes.This gloomy scenario, however, is not always the case; occasionally, a parent manages to keep its hands off a smaller unit and its culture, and the subsidiary continues on as before, only with the benefit of the parent's resources:
Like most of the niche businesses bought by multinationals, Green & Black's is run as an entirely separate operation within the Cadbury empire. "It's a case of how they can help us, not telling us what to do," Mr Palmer says.
He adds: "You can be fiercely independent and not have any funds to grow. But does that help the cocoa growers in Belize?"Perhaps Green & Black's having fared well is more a result of Cadbury's not particularly ruthless corporate culture (weren't the Cadbury family, who owned the company until not that long ago, Quakers or something?). I suspect that had they been bought out by, say, Nestlé, it may be a different picture altogether.