[Paleopsych] Boston Globe: The irresistible, singable, stick-in-your-mindable jingle is dead
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Mon Jan 17 16:27:18 UTC 2005
The irresistible, singable, stick-in-your-mindable jingle is dead
With more and more pop songs selling products, the world of advertising is
being turned upside down.
By Joan Anderman, Globe Staff | January 9, 2005
In 1929, a barbershop quartet in Minneapolis sang a song about
breakfast cereal on the radio. So began the long, lucrative,
endearing, and excruciating heyday of the jingle, when cheerful tunes
about things for sale permanently lodged themselves in people's
brains. Humming consumers would then go out and buy Rice-A-Roni, the
San Francisco treat, or double their pleasure with Doublemint gum, or
be a Pepper.
But the jingle, as anyone with a television knows, is a vanishing art
form. It is too quaint, too corny, too oldschool for our ironic times.
Naming your product in a commercial for your product is just tacky,
say advertising executives. Modern pitchmen prefer pop songs that
create a mood or spark an emotional association or conjure up some
sort of vague but potent lifestyle-oriented craving that, if all goes
as planned, attaches to a product and translates to a sale.
Which leaves the jingle writers scrambling to adapt to a world that
has suddenly turned its back on their wares. How suddenly? Ten years
ago Eric Korte, vice president and music director at the ad agency
Saatchi & Saatchi, was commissioning original music for 90 percent of
the company's campaigns. This year, more than half of his workload
involves licensing published songs, and the trend is only gaining
"The jingle," Korte says, "is dead."
Of course there are exceptions. The Oscar Mayer wiener theme has been
in constant rotation since 1963, and good money says everyone reading
this newspaper can sing it start to finish. And jingles are still
vital in local and regional markets. Notes Jon Aldrich, who teaches
what he believes is the world's only jingle writing course at Berklee
College of Music and pens jingles for K-B toys, Filene's, and Jordan's
Furniture: "Everyone knows about Coca-Cola and McDonald's. They don't
need ditties about their stuff. But Joe's Pizza Place needs to tell
people where they are."
In New York and LA, however, music houses -- the companies that for
decades have supplied the advertising industry with original music to
accompany their national television and radio commercials -- are
closing their doors in droves. Phil Ashley, cofounder of New
York-based Rocket Music, folded his company in 2002. After creating
jingles for Pepsi, Pizza Hut, Visa, Federal Express, KFC, and
Gillette, Ashley says his decision was a simple matter of confronting
reality. Demand for custom music was dwindling. Fees were plummeting.
During his last few years in business, instead of composing original
tunes, Ashley was rearranging "Route 66" for Johnny Rotten to sing in
a Mountain Dew spot. Or not getting called at all.
"It's a cultural change. It's history moving on," says Ashley. "We're
competing against a much larger pot of sources, and it just doesn't
make sense to bang our heads against the wall. I know some people in
my field are waiting for a better day. But I don't think it's likely
For the shrinking circle of diehards, the business model has become
downright Darwinian -- less a question of who's writing the stickiest
song and more about who's able to adapt to the changing environment.
Joey Levine is a former bubblegum-pop songwriter ("Sugar Sugar" and
"Mony Mony" are his confections) who founded Crushing Music, the
field's biggest commercial music house, in the late 1970s. Levine's
first jingle was an inescapable Wheaties spot ("Too bad you didn't
have your . . .") and over the next two decades he created indelible
themes for the Peter Paul candy company ("Sometimes you feel like a
nut"), Toyota ("You asked for it, you got it" and "Oh, what a
feeling"), Budweiser ("This Bud's for you"), and Diet Coke ("Just for
the taste of it").
Like Ashley, Levine found himself pouring more and more time into
writing new arrangements for cover songs: Mike and the Mechanics' "All
I Need Is a Miracle" for Verizon, for example, and the "Get Smart"
theme for American Express. He realized he'd have to branch out even
further and totally revamp the services he offered if he wanted to
stay in business. So Levine accepted work penning themes and
underscores for television programs.
"I'm a songwriter by trade, and I miss writing songs," Levine says.
"Change is tough, but necessary, so you don't become obsolete. My
business is significantly smaller. It's hard to survive. The record
labels are music houses now."
The use of pop songs in advertising isn't new. What's changed is the
willingness -- or more accurately, the eagerness -- of labels and
artists to allow their material to be licensed for commercial
purposes. Case in point: In the 1980s, Sting refused to allow the
lyrics to the Police song "Don't Stand So Close to Me" to be used in a
deodorant ad. In 2000, a major Jaguar campaign featured the rock star
meditating in the back seat of an S-Type to the tune of his song
"Desert Rose." That track had been released a year earlier on the
album "Brand New Day," a sluggish seller that rocketed up the charts
on the heels of the ad campaign.
Today, the stigma (of a musician being perceived as a sellout) and the
once steep price tag attached to this collision of art and commerce
have been vastly diminished -- fueled in large part by years of
mounting losses in the recording industry.
"Once upon a time [selling a song to an advertiser] was a pact with
the devil," says Gregory Grene, music producer at Foote Cone &
Belding, whose clients include Hilton, Kraft, Taco Bell, and Diet
Coke. "Now totally legitimate artists are thrilled to perform
mini-concerts for ad people. The whole paradigm has shifted. The
labels have no money to promote music. They're the driving force
Indeed. Desperate for alternative promotional and revenue sources, the
major record labels have quietly established marketing units that
exist exclusively to reach out to potential advertising partners.
Keith D'Arcy was hired by Sony/BMG in April to pitch recordings from
the company's catalog and respond to the needs of ad agencies
searching for music. He's one of 33 employees at Sony/BMG who work
"We're creative experts that are on call to the ad community," says
D'Arcy. "Eric Korte [at Saatchi] can call me with a concept and within
three hours I'll have a compilation of songs to upload for him. It
used to be that only big songs got licensed, but now even the major
labels are paying attention to the opportunity that's created by
having a new band in a cool ad."
And yet, Darcy concedes, one of the key things that's been sacrificed
in the glut of pop music licensing is the most basic of advertising
goals: product branding. Familiar songs may evoke an emotional
response -- targeting baby boomers with classic rock tunes has been
especially popular in recent years, with Led Zeppelin's "Rock 'n'
Roll" careening through Cadillac commercials and the Rolling Stones
singing "Start Me Up" for Microsoft. But there's rarely an explicit
association between the song and the product being pitched, and that
can cut both ways.
On the one hand, companies are increasingly looking at unorthodox ways
of reaching a generation of young, sophisticated consumers who are
turned off by traditional advertising -- which accounts for the recent
collaboration between mainstream retailer Kmart and the cutting-edge
Danish garage rock band the Raveonettes.
"You're trying to create a club for people who don't want to join
clubs," says Ron Lawner, CEO of Boston-based Arnold Advertising, whose
1999 VW campaign using British singer-songwriter Nick Drake's "Pink
Moon" sparked a huge surge in the late artist's album sales. "We've
moved on to messaging that includes more of your life than just the
But the connection -- like so many aspects of modern life -- is
ephemeral. D'Arcy notes that advertisers are licensing songs for
shorter and shorter periods of time, sometimes just a few weeks, and
considering the speed at which modern culture moves and changes, the
ad world's constantly shifting landscape of rock tunes makes a certain
sense. One has to wonder if product loyalty is headed in the same
direction: destined to become as fleeting as the shelf life of a pop
The bottom line is we're in a hurry. It takes much longer for a
company to build equity -- adspeak for audience familiarity -- with an
original jingle than a pop tune, which comes with an immediately
captive audience. And in practical terms it takes much longer to write
and produce an original piece of music -- which is roughly the
equivalent of a horse and buggy in these days of instantly
downloadable digital music files.
The future of the jingle looks bleak, but Levine isn't giving up. He's
downsized Crushing Music from 10 staff writers to a revolving stable
of freelancers who can crank out musical moods on demand, from
abstract sound designs -- a few beats on a synth pad, a chorus of
whooshes -- to faux Bowie. He's radically reduced his
once-labyrinthian network of studios. And in what is perhaps the most
telling nod to the jingle writer's decline, after nearly 30 years in
business Levine is changing his company's name.
"Certain people have certain perceptions. If I put this under a new
banner, and show you new people, some young lions, you never know,"
Levine says. "I might get hotter."
Joan Anderman can be reached at anderman at globe.com
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