I miss the days of “selling out” in rock and roll. It’s hard to fathom the purist fury that fans once generated over “plugging in” or signing to a major label. These days, not only does the clearest act of selling out – licensing music for teevee commercials and even performing in such commercials – not generate controversy, it is rewarded by higher sales!
The once-underground techno star Moby became famous by licensing all of the songs off of his 1999 album, “Play,” for use in movies and commercials. For many, it was their first exposure to his music, and it led to more radio airplay and huge record sales. Established “catalog” artists discovered that this strategy could work for them as well. An old Who album cut, “Bargain,” has become a classic rock radio staple after being used in some car commercial. New Who “best of” collections had to be assembled to include the track, which sold like gangbusters.
What’s worse is that some stars are appearing in these ads. As a fan, I want to go to concerts and see rock stars, not ladies’ lingerie salesmen. Yes, fine, my objection is partially some kind of hipster elitism about what is cool. So shoot me. It’s also based in my commie revulsion of crass commercialism. But, while many artists may not have once shared my objection to such commercialism, and thus can’t be argued to have sold out any of their own principles, they are still selling out something precious by licensing their back pages.
“People lost their virginity to this music, got high for the first time to this music,” says former Doors drummer John Densmore. “That’s not for rent.” That’s well said, even if his refusal to allow Doors songs to be licensed in commercials is a high-minded cover for his longtime estrangement from his former bandmates.
Still, Densmore is passing up a $15 million payday for sticking to his guns. That kind of money is something of an aberration, I’d wager. My friend, Alan Amalgamated (himself a rock drummer, who spent years in the industry), predicts that one day corporations will make artists pay for the privilege of having their music promoted in these ads. Already, with so many artists willing to sell out, I’m sure the market price of one’s soul has dropped considerably. $15 million for a famous rock song like “Break On Through,” which is not yet associated with any corporate product is kinda understandable. But what about a song like “Lust for Life.” That bugger’s been used for everything. What corporation is going to pay the big bucks for someone else’s sloppy seconds?
The problem for many of the artists is that they get robbed left and right, by producers, managers, directors, A&R men and many more. It is not uncommon for rockers who are made “millionaires” by their major label record contracts to wind up “thousandaires” once the final accounts are settled.
Recording artists desperately need some sort of collective action to balance the power at the major labels. Fans should engage in some kind of boycott themselves. I would say, don’t buy any song that’s used in a corporate advertisement. Don’t encourage this lousy system. If you like what you hear, and don’t already own it on scratchy, dusty vinyl, then, by all means, illegally download.
Even better, throw your teevee out the window, like I did years ago. You won’t even know who’s selling out anymore, and you’ll have more times to simply listen to the music.
