Jingle Writing !! 147discriminating about the style of music chosen. Not being ‘‘musically’’
offensive to their target audience is of great concern. Focus group testing
becomes an important factor in helping to choose the final commercial and
the final music. Focus-group participants are asked to comment on the
various components of a potential commercial; for example, if the music
is not well received, the agency will most likely revise or change the music.
The Ford Motor Company conducted research to determine the genre
of music, if any, their pickup truck customers preferred. They found that
they generally favored country music. This type of information, in con-
junction with additional relevant knowledge, helps agencies develop pro-
files of their consumers. Research is essential to advertising agencies when
designing campaign strategies.
Several music houses are normally hired to submit jingle demos for
most national or regional commercials. After extensive focus group test-
ing, the final music is selected. The commercial(s) is usually tested in a
region and, if successful, is aired regionally and/or nationally. (This is the
usual modus operandi for the selection of jingles.)
Licensing Popular Songs
Licensing popular songs for commercials has been an accepted practice
for many years. Familiarity helps the audience immediately associate the
product with a song. Sometimes, agency copywriters write alternative lyr-
ics to popular melodies; other clients use songs in their original form but
edit the musical format so that announcers and/or actors can read the
copy over a familiar musical bed. For example, the introduction (no vocals)
to the Bee Gees song ‘‘Stayin’ Alive’’ might repeatedly loop under the
copy. Some agencies license original recordings and fade the music at the
end of the commercial without any editing.
High-profile artists such as Sting, Beyonce ́, and Elton John have per-
formed on commercials. When music celebrities were first used on com-
mercials, many believed they were jeopardizing their credibility. As time
passed, the exposure was so rewarding that the stigma was lifted. Artists’
sales have soared after appearing in well-produced, high-profile commer-
cials.
Celebrities know the format and visual ‘‘look’’ of a commercial before
agreeing to participate. Artists will walk off the set or will not allow their
music to be licensed if they feel their integrity is being compromised. Man-
agers and agents are concerned with protecting their clients’ images and
therefore include safeguards within agency contracts.
Popular artists receive considerable fees for their participation; com-
pensation can be in the millions of dollars. Substantial fees are also paid
to license popular music, such as the music of The Beatles.
In 2002, a European group called Dirty Vegas scored considerable suc-