For the purposes of this investigation, I have filtered all advertisements that make use of the music of the Beatles into four distinct categories (discussed below).
I will, in addition, attempt to prove that Beatles music has been used by different advertisers in two general ways: Advertisers adhering to the first method have used the music of the Beatles in a manner that seems similar to the messages of the song itself. Those that use the music of the Beatles in the other manner have tended to pick and choose messages that best suit their products. It is important to note, however, that although the message of the former method might appear to be more faithful to the messages of the songs in question, it is still designed to sell products.
Furthermore, I believe that there is a chronological pattern as to when these methods as employed. While there is, of course, some overlap, I have found that earlier advertisements tend to use the former method while later advertisements appear to adhere to the latter.
For lack of better phrasing at this early stage in my research, I will refer to the former method as message-allegiance and to the latter method as consumer-oriented. I fully expect these terms to change.
The first category that I will be discussing in this examination is that of the Beatles as a signifier of revolution.
Within this category, I will be focusing on two main case studies: a Christian Childrens Fund commercial using "Happy Xmas, War is Over" (message-allegiance) v. Nike "Revolution" (consumer-oriented).
The second category that I will be discussing is that of the Beatles as a signifier of love, friendship, and peace.
Again, there’s a duality. Songs originally carried a very specific message of love as being anti-war, pro-free love or both. They were written very vaeguly – all you need is love. These songs don’t say, stop killing each other and start loving each other. They just say love is a good thing. How the beatles songs go from specific to general over the years. That has something to do with the way the songs are crafted – there’s something about them that lend themselves to broader messages, and even broader commercial messages – musically they’re simple enough to be jingles and also they messae themselves – all you need is product.
I am less sure about the case studies that I would like to provide in this section. As of now, I will be examining the Amnesty International "Imagine" Campaign (message-allegiance) and a Luvs diaper ad that uses "All You Need is Love" (consumer-oriented). I will likely provide one mini-case study on both Nortel and Qwest's use of "Come Together" in their recent campaigns (consumer-oriented).
The third category that I will be examining is the Beatles as a signifier of nostalgia and memory.
While there is less duality in this category, it is important to note that the music of the Beatles, even in the initial years of its popularity, was inherently nostalgic. Although there are no commercials that fall into this category in the earlier years, therefore, it goes without saying that nostalgia was a part of the beatles. On Sgt Peppers, for example, they dress up in old military outfits and strive to evoke the old concert hall music that was essentially the antithesis of what rock and role music was about. Paul McCartney's "When I'm Sixty-Four", for example, maintains a 1930s style crooning and a 2/4 beat instead of the typical 4/4 beat for rock and roll.
The main case study that I will provide in this category, therefore, is that of the 2002 Allstate Insurance advertisement that featured Julien Lennon singing "When I'm Sixty Four" (message-allegiance).
I may also provide a mini-case study of an ESPN advertisement featuring "Hello, Goodbye (consumer-oriented).
The final category that I will be discussing is that of the Beatles as an appeal to youth.
Once again, this category can be examined through a pointed comparison. On the one hand, there are advertisements from the 1960s that used the Beatles to target a youthful population (refer to Thomas Frank) and then there are more recent advertisements that make use of the Beatles in an effort to attract a new youth audience. Whether the music is a strategic tool to secure a youthful audience, however, is unclear. It is, instead, more likely that the use of Beatles music in more recent advertisements is meant to bridge a generational gap that would allow products to appeal not only to youth but also to their parents. In this particular case, the importance of the play between audio and video is explicit: while actors in the commercial might, for example, be young, the music might be a tool to attract or appease older clientele.
The case studies that I will provide in this category are a variety of 2008 Target commercials that feature "Hello, Goodbye" (consumer-oriented) and a 1964 Marlboro advertisement that, although it doesn't feature the music of the Beatles, uses their image as an appeal to youth culture (message-allegiance).
This, of course, is simply a tentative outline. There are other factors that will be added to the examination and there will likely be several changes to that which is already laid out.
If you'd like to see the spreadsheet that I have been working from, you can access it here: http://spreadsheets.google.com/ccc?key=piOcrPGnHN9c5bPWINhs2NQ&hl=en
Sunday, November 30, 2008
Instant Karma
After the release of the Nike 'Revolution' commercial in 1987, Nike found itself tangled up in a mess of red tape. The surviving members of the Beatles demonstrated outright contempt for the use of their song in the Nike commercial, and Apple Corp., which had not been included in the commercial licensing process, filed a lawsuit against the sneaker company.
Although Nike stopped running the Revolution advertisement in 1987, it was provided with another song by an unlikely donor.
Indeed, Yoko Ono proved to be a powerful ally for Nike. She has been quoted as supporting the release of Beatles' music in television advertising, claiming that it allows new generations to obtain access to her late husbands legacy.
While Nike could no longer use the master recording of Revolution, Ono granted it a license for Instant Karma, one of Lennon's solo songs, in 1992. Since all of Lennon's solo rights - both master and publishing - had passed to Ono when John was assassinated, she alone was in control of his catalog.
Although Nike stopped running the Revolution advertisement in 1987, it was provided with another song by an unlikely donor.
Indeed, Yoko Ono proved to be a powerful ally for Nike. She has been quoted as supporting the release of Beatles' music in television advertising, claiming that it allows new generations to obtain access to her late husbands legacy.
While Nike could no longer use the master recording of Revolution, Ono granted it a license for Instant Karma, one of Lennon's solo songs, in 1992. Since all of Lennon's solo rights - both master and publishing - had passed to Ono when John was assassinated, she alone was in control of his catalog.
Tentative Thesis Description
Title:
Hello, Goodbuy: The Use of Beatles’ Music in American Television Advertising
Description
Hello, Gooybuy will be an in depth examination of the use of the music of the Beatles in television advertising from 1964 to the present. It will consist of several case studies of advertisements that have been organized according to four general categories: The use of the Beatles as a signifier of revolution, the use of the Beatles as a signifier of love and friendship, the use of the Beatles as an appeal to nostalgia and memory, and the use of the Beatles as an appeal to youth culture. With each example, I will attempt to prove that in later advertisements make use of the Beatles simply as a means to sell a product versus later advertisements that tend to employ as a vehicle to convey a message that is similar to the message of the song itself.
Hello, Goodbuy: The Use of Beatles’ Music in American Television Advertising
Description
Hello, Gooybuy will be an in depth examination of the use of the music of the Beatles in television advertising from 1964 to the present. It will consist of several case studies of advertisements that have been organized according to four general categories: The use of the Beatles as a signifier of revolution, the use of the Beatles as a signifier of love and friendship, the use of the Beatles as an appeal to nostalgia and memory, and the use of the Beatles as an appeal to youth culture. With each example, I will attempt to prove that in later advertisements make use of the Beatles simply as a means to sell a product versus later advertisements that tend to employ as a vehicle to convey a message that is similar to the message of the song itself.
Nike Rights, Revolution
Nike
- Song: Revolution
o Recorded at EMI studios in London, 10-12 July 1968.
o Album: Hey Jude – released U.S. 26 February 1970.
o Written by lennon, credited as a lennon/mccartney composition
• The first version of "Revolution" to be released (though the last to be recorded) was the B-side of the "Hey Jude" single, released in late August 1968. The single, as a stand-alone, reached #12 in the U.S.
• A product of the recording sessions for The Beatles (aka The White Album), "Revolution" featured distorted guitars and an electric piano solo by session musician Nicky Hopkins. This track is said to be one of the loudest and most aggressive Beatles songs; it begins abruptly with a loud, overdriven electric guitar played by John Lennon, a thundering, compressed drum beat from Ringo Starr and a ferocious scream from Lennon (the scream was an overdub added when Lennon double tracked his vocal. Paul McCartney performed the scream on the semi-live performance for the promotional film because Lennon could not deliver the scream and catch his breath again in time to launch into the first verse).
- Rights:
o Published by Northern Songs
o 1987: MJ holds publishing rights as owner of ATV music
o (Original?) Recording company: Capitol Records
o Apple Corp – in charge of beatles interests
o Sold to Nike for reported $250,000.
• Clearance for Nike granted by ono on basis that Lennon wrote the song (she owned the master rights). Following that, Jackson agreed to issue a license and capital records, not wanting to oppose Ono, agreed to allow the use of the beatles original version of the song.
• Unfortunately, neither Capitol nor Ono had bothered to alert or ask Apple, the company which represented Beatles and their business interests, which Ono was obliged to do under the terms of Apple board which required unanimous agreement of all directors.
• Apple’s opposition might have been enough, in normal circumstances, to persuade capitol from withholding the original recording. As it was, apple sued capitol and nike for $15 million, but nike continued to run the ad for another year while the law suit was pending.
• Speaking nearly 10 years after the original nike commercial, MJs attorney said Yoko liked it. (southall, 191)
• McCartney and Harrison very upset about it. 191
• In 1988, Nike switched to instant karma, to which ono owned the publishing and masters rights, while apple, emi, and capitol agreed that no beatles version of any lennon & mccartney song would ever agan be used to sell products. 191
Southall, Brian and Perry, Rupert. Northern Songs: The True Story of The Beatles Song Publishing Empire. London: Omnibus Press, 2007.
- Song: Revolution
o Recorded at EMI studios in London, 10-12 July 1968.
o Album: Hey Jude – released U.S. 26 February 1970.
o Written by lennon, credited as a lennon/mccartney composition
• The first version of "Revolution" to be released (though the last to be recorded) was the B-side of the "Hey Jude" single, released in late August 1968. The single, as a stand-alone, reached #12 in the U.S.
• A product of the recording sessions for The Beatles (aka The White Album), "Revolution" featured distorted guitars and an electric piano solo by session musician Nicky Hopkins. This track is said to be one of the loudest and most aggressive Beatles songs; it begins abruptly with a loud, overdriven electric guitar played by John Lennon, a thundering, compressed drum beat from Ringo Starr and a ferocious scream from Lennon (the scream was an overdub added when Lennon double tracked his vocal. Paul McCartney performed the scream on the semi-live performance for the promotional film because Lennon could not deliver the scream and catch his breath again in time to launch into the first verse).
- Rights:
o Published by Northern Songs
o 1987: MJ holds publishing rights as owner of ATV music
o (Original?) Recording company: Capitol Records
o Apple Corp – in charge of beatles interests
o Sold to Nike for reported $250,000.
• Clearance for Nike granted by ono on basis that Lennon wrote the song (she owned the master rights). Following that, Jackson agreed to issue a license and capital records, not wanting to oppose Ono, agreed to allow the use of the beatles original version of the song.
• Unfortunately, neither Capitol nor Ono had bothered to alert or ask Apple, the company which represented Beatles and their business interests, which Ono was obliged to do under the terms of Apple board which required unanimous agreement of all directors.
• Apple’s opposition might have been enough, in normal circumstances, to persuade capitol from withholding the original recording. As it was, apple sued capitol and nike for $15 million, but nike continued to run the ad for another year while the law suit was pending.
• Speaking nearly 10 years after the original nike commercial, MJs attorney said Yoko liked it. (southall, 191)
• McCartney and Harrison very upset about it. 191
• In 1988, Nike switched to instant karma, to which ono owned the publishing and masters rights, while apple, emi, and capitol agreed that no beatles version of any lennon & mccartney song would ever agan be used to sell products. 191
Southall, Brian and Perry, Rupert. Northern Songs: The True Story of The Beatles Song Publishing Empire. London: Omnibus Press, 2007.
Thursday, November 6, 2008
'Imagine' the new Amnesty International
In 2003, Yoko Ono gave Amnesty International a huge donation. Rather than (or, perhaps, in addition to) giving financial support, however, Ono gave the prominent human rights organization the publishing rights to her late husband's epic peace anthem, 'Imagine.'
As Ono revealed during an Interview with Amnesty International, "I thought it was important to say yes to this "Imagine" campaign because of Amnesty International. I always respected their activities and the high ideas. What they were doing was always very effective, wise, and with very good intentions and good power."
Below is the entirety of the Ono/Amnesty International interview.
On the eve of the our Imagine Campaign rollout, we sat down to talk with Yoko Ono about the "Imagine" song, her thoughts on the world and working for peace. Here are some of the highlights.
So why was "Imagine" written?
YOKO: John wrote it with a very deep love for the human race and a concern for its future.
Do you think it's more relevant today than it was at the time it was written?
YOKO: Well, it's getting relevant, isn't it? But it was always relevant and I hope that one day we don't have to sing it anymore. It's a song that is really concerned about the betterment of the world and I think it's effective.
Do you think that things have maybe escalated to a worse place than at the time when it was written?
YOKO: I wouldn't say it that it's in a worse place. I think this is the big confrontation. And we really have to see that and confront it and do something to make it better.
Do you think there is anything we can do on a personal level?
YOKO: Yes. I think what we do really effects the world. I know that most of us think we can't do anything, it's up to the politicians or something like that. But it really isn't true. Politicians are a reflection of us in a way...but we have to always know that each one of us plays a part in changing the world.
How does one do that?
YOKO: Every drop in the ocean counts. I'd like to tell you a very simple thing that we can do. Every day, do something that makes your heart dance. And if your heart is so depressed that you can't dance, then do something that will make other people's hearts dance...it could be as simple as giving a phone call. If you kept doing that for three months, you'll see an incredible change in your life. Your life totally changes. And if your life changes, well, in the same manner, we can change the world, too.
So one person at a time?
YOKO: Yes. One person at a time. But together.
And what was going on with John when he wrote it?
YOKO: He was really thinking in terms of a concern for the future of the human race. And the planet. And he had this love - this deep, strong love -- for the human race and its future.
What do you think this song means to the current generation?
YOKO: Along with what Ghandi preached and Martin Luther King, Imagine is a very powerful statement that will live inside the children, and it will help them.
What world do you imagine?
YOKO: I imagine a world where everybody will live in peace together.
Can you talk a little bit about the meaning and purpose of this "Imagine" campaign?
YOKO: The "Imagine" campaign is such a beautiful campaign. I'm just enthralled by it. I've found that most children, even when they're five or six, they know the lyrics of "Imagine." It's an amazing world. By bringing this "Imagine" campaign all over the world, and by asking children of different countries to sing the song, it's a way of getting children to come together. And I think it's beautiful.
I thought it was important to say yes to this "Imagine" campaign because of Amnesty International. I always respected their activities and the high ideas. What they were doing was always very effective, wise, and with very good intentions and good power.
You've agreed to have "Imagine" be re-recorded by children around the world. Why do you think it's meaningful to hear children sing this song now?
YOKO: Through singing the song, "Imagine", children will learn about human rights,...the importance of world peace...(and) that we are all together in this. We are all dreamers creating the next world, the next beautiful world for ourselves and for our children.
Do you feel an urgency to get out the message now?
YOKO: Well, the world situation is pretty tense, as we know, as we all know... There are many things that are happening that leads us to believe that it can go into an incredible negative situation, as well. So we have to really hurry up. For that, we have to really know that we are together in this. You see, the most interesting thing is, even when we are arguing with each other, our hearts are beating in unison. We should know that we are all part of the whole, we are all together. And everything that we do effects each other.
If you could imagine one thing for this campaign, what would it be?
YOKO: If there is one thing that I wish for this campaign, it is to come together knowing the power of the people and what we can do together.
A final thought?
YOKO: Imagine a more safer and peaceful world. Imagine all of us living life in peace.
As Ono revealed during an Interview with Amnesty International, "I thought it was important to say yes to this "Imagine" campaign because of Amnesty International. I always respected their activities and the high ideas. What they were doing was always very effective, wise, and with very good intentions and good power."
Below is the entirety of the Ono/Amnesty International interview.
On the eve of the our Imagine Campaign rollout, we sat down to talk with Yoko Ono about the "Imagine" song, her thoughts on the world and working for peace. Here are some of the highlights.
So why was "Imagine" written?
YOKO: John wrote it with a very deep love for the human race and a concern for its future.
Do you think it's more relevant today than it was at the time it was written?
YOKO: Well, it's getting relevant, isn't it? But it was always relevant and I hope that one day we don't have to sing it anymore. It's a song that is really concerned about the betterment of the world and I think it's effective.
Do you think that things have maybe escalated to a worse place than at the time when it was written?
YOKO: I wouldn't say it that it's in a worse place. I think this is the big confrontation. And we really have to see that and confront it and do something to make it better.
Do you think there is anything we can do on a personal level?
YOKO: Yes. I think what we do really effects the world. I know that most of us think we can't do anything, it's up to the politicians or something like that. But it really isn't true. Politicians are a reflection of us in a way...but we have to always know that each one of us plays a part in changing the world.
How does one do that?
YOKO: Every drop in the ocean counts. I'd like to tell you a very simple thing that we can do. Every day, do something that makes your heart dance. And if your heart is so depressed that you can't dance, then do something that will make other people's hearts dance...it could be as simple as giving a phone call. If you kept doing that for three months, you'll see an incredible change in your life. Your life totally changes. And if your life changes, well, in the same manner, we can change the world, too.
So one person at a time?
YOKO: Yes. One person at a time. But together.
And what was going on with John when he wrote it?
YOKO: He was really thinking in terms of a concern for the future of the human race. And the planet. And he had this love - this deep, strong love -- for the human race and its future.
What do you think this song means to the current generation?
YOKO: Along with what Ghandi preached and Martin Luther King, Imagine is a very powerful statement that will live inside the children, and it will help them.
What world do you imagine?
YOKO: I imagine a world where everybody will live in peace together.
Can you talk a little bit about the meaning and purpose of this "Imagine" campaign?
YOKO: The "Imagine" campaign is such a beautiful campaign. I'm just enthralled by it. I've found that most children, even when they're five or six, they know the lyrics of "Imagine." It's an amazing world. By bringing this "Imagine" campaign all over the world, and by asking children of different countries to sing the song, it's a way of getting children to come together. And I think it's beautiful.
I thought it was important to say yes to this "Imagine" campaign because of Amnesty International. I always respected their activities and the high ideas. What they were doing was always very effective, wise, and with very good intentions and good power.
You've agreed to have "Imagine" be re-recorded by children around the world. Why do you think it's meaningful to hear children sing this song now?
YOKO: Through singing the song, "Imagine", children will learn about human rights,...the importance of world peace...(and) that we are all together in this. We are all dreamers creating the next world, the next beautiful world for ourselves and for our children.
Do you feel an urgency to get out the message now?
YOKO: Well, the world situation is pretty tense, as we know, as we all know... There are many things that are happening that leads us to believe that it can go into an incredible negative situation, as well. So we have to really hurry up. For that, we have to really know that we are together in this. You see, the most interesting thing is, even when we are arguing with each other, our hearts are beating in unison. We should know that we are all part of the whole, we are all together. And everything that we do effects each other.
If you could imagine one thing for this campaign, what would it be?
YOKO: If there is one thing that I wish for this campaign, it is to come together knowing the power of the people and what we can do together.
A final thought?
YOKO: Imagine a more safer and peaceful world. Imagine all of us living life in peace.
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