It's Like Punk Rock, Only It's a Car: JSBX in a Subaru Ad

I think it's for Tommy Hilfiger, as they're label is red, white and blue. No matter, though: I agree, it's one of the worst distortions of a song for the purpose of selling merchandise. Criminal.

using songs in ads because they're cool songs = okay
using songs in ads because they've come to represent something and you want your shitty jeans to represent that without actually having them do anything = sucks

YOU AND ME BOTH SISTAH. You can DL the (rejected) song off of Ween's website though.

The world has gone musically mad

Music in Ads

I can't stand Spencer's fake-ass accent. The power of his fake accent is WAY STRONGER than the power of the rhythm section, which is a shame, because it's a great rhythm section, but it goes to show you my strange priorities. If your fake-ass accent sucks YOU ARE DEAD TO ME. And I dunno, the shirts, the shades, the total SCAREDNESS you can smell through the lights and the crowd, the impossibility of allowing anyone to see any of his vulnerability, even if it's an angry vulnerability, just kind of adds up to = first-class A-hole. YEAH, I SAID IT, A-HOLE. I still kind of like "I Dig You" though.

John Fogerty's fake-ass accent, on the other hand, rules.

And that Carnival use of "Lust for Life" is absolutley absurd/genius. "Do you like hard drugs and the dole? Then you'll love our cruise line!!!" Like Kathie Lee Gifford hanging out in some Glasgow shooting pad.

Tracer - I did ask him about it, on the WHGMM thread:

'mark s - I really hesitate to question, but I don't know about what you said: I don't know what kind of contextless 'power' a piece of music can have?
Can't this be just a matter of personal connectivity and conditioning?
Isn't there any music you love that carries some cultural/personal meaning to YOU that you feel would somehow be sullied by a more generic use - do you really appreciate everything you like in that kind of isolated or socially-abstracted or impervious-to-recontextualisation way - or is it that there's no context for it that could conceivably piss you off? '

OK - that might not be a 'serious' challenge by yr (or his!) standards, but I do find his notion sort of puzzling at the same time as logically coherent.
looking at it again, i guess i'm comparing diff ways of liking diff sorts of music -
eg i like some baroque music but would not be bothered by its use in ads because it does not mean much to me wrt personal history/cultural-personal identity-formation/representation/metaphor of understanding
(but it might do to someone of a different background - or who was 300 yrs old)

mark's contention asserts its own criteria of (music)love:
'i loved that song and those gits have spoiled it now'
'well, if its that easily ruined you never *really* loved it in the first place'

so to those of us caught in the middle - 'loving' it beyond context and only 'liking' it regardless of context look like they => the same comfort-in-the-face-of-marketing-use, so each can suspect the other of being the opposite of what they think they are

i think to regard sensitivity to context as a 'lesser' form of appreciation because its makes yr love more a hostage to fortune is not an attitude we carry through unreservedly to other things unless labouring under romantic idealism - and sensitivity to those factors can be more than just 'darling they're playing our tune' sentiment or pavlovian drool

they can be regarded as part of the timber framework constituting yr music-love, not just a load of airbags attached to its barnacle-encrusted leaky hull

ppl who love the whole pop panjandrum can't have it both ways here