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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : July August 2008
SOUND +MUSI C Charlton Hill (Supersonic) Dan Higson (Noise) SOUNDS LIKE A Sound and music in TV and cinema commercials has never been more popular, led by the Cannes Grand Prix winning ‘Gorilla’ spot for Cadbury via Fallon London. Campaign Brief takes a look at a sector of the business that is truly enjoying a renaissance. A MAN DRESSED IN A GORILLA SUIT drumming to the 1981 hit, ‘In the Air Tonight’ for C adbury’s Da iry Mi lk Chocol ate has seen Phil Col lins enjoyi ng a r esurgence of popu lari ty arou nd t he wor ld. Create d by Fallon London, the hugely popular ‘Gor illa’ won t he Cann es Grand Prix in Film th is year and has helped deliver some generous royalty checks to Collins. The week the ad premiered in th e UK las t Sept emb er, it r each ed number 14 in the UK singles chart and number nine in the UK down - load chart and in the last two weeks of July became t he n umb er one song in New Zealand, beat ing its 1981 debut. It’s also indicative of the mutu al benefit a great soundtrack can have for both th e advertis er a nd th e musician. “As the income s tream for many music artists in Australia dries up to but a trickle and the exposed ethics of record labels means they are no longer the Mecca at t he end of the hard slog, the choi ce of fun ding body to survive is free game,” says Charlton Hill, Supersonic’s produc- er/general manager. 66 CAMP AI GN B RIEF A recent trip to Tokyo g ave him great insight in to the new world of music promot ion – stig ma fr ee music usa ge in TVC, in tern et, mobile and branded content. Afte r all, if you’re not being he ard, y ou may as well give up the game. “Record labels actively pur suing TVC opportunities, ag encies o ver- seeing music produc tion unaided by post production houses - a gen- eral cutting out of a link in the old chain,” says Hill. Just how close is appropriate for musicians to get to advertisers with- out losing their rock-star cool factor is a matter of conjecture. There will always b e ar tists th at have an artistic aversion to working within advertising or fo r c ertain products and/or comp anie s, say s Hylton Mowday, composer at Jam. “I al so think most see it as an opportunity to advertise th eir own music and make a bit of dosh,” he says. Some musicians are cashing in on their celebrity cachet by appear ing in the ads or creating multi-layered deals with brands for cross-promo- tional opportunities. Going beyond Beyon ce appe ar ing in ad s for American Express and L’Oreal and Gwen Stefani for HP, Sean Diddy Combs – or P Diddy – struck a deal with Diageo’s Ciroc Vodka . This put him in charge of all brand man- agement decisions in exchange for a profit share, a deal pundits are esti- mating is worth $US100 million. Then ther e’s R&B singer , Rihanna, who became the face of CoverG irl and her single, ‘Umbrella’ was launched in a TVC for the product, Wetslicks Fruit Spri tzers. Created by Grey New York, the spot ends by saying her new album is now in-s tor es . Furthermore, her music video men- tions CoverGirl and her album was on-sale at the cosmetics counter. When the discussion of music and advertising came up on The Gruen Transfer, panellist, Todd Sampson, managing director of Leo Burnett, Sydney, said the Rihanna deal was a very clev er stra tegy: “She’s an ic on, t he you th as soci at e wi th bran ds i n a much mor e obvi ous way, i t’s who they are. Linking it with music, then linking it with the album is fantastic work, they would have sold millions of the product because of it,” said Sampson. JU L Y /AUGU ST 2 0 08
May June 2008