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(单词翻译:双击或拖选)
STEVE INSKEEP, HOST:
Hey, let's talk about the 21st century strategies for making a song a hit. The music industry has always had its ways over the generations, from the musicians known as song pluggers who were paid to promote sheet music in the early 20th century all the way to the payola scandal of 1950s radio. Well, how's it work today? Allyson McCabe reports on modern efforts to blur1 the line between entertainment and advertising2.
(SOUNDBITE OF MUSIC)
ALLYSON MCCABE, BYLINE3: "The Clicquot Club Eskimos," the "Champion Spark Plug Hour," "King Biscuit Time" - major brands often produced and underwrote live broadcasts during radio's golden age, says media historian Cynthia Meyers.
CYNTHIA MEYERS: There were no advertisements during the music program. And so they hoped that the audience would feel very favorably toward them for financing free radio programming.
MCCABE: Television took off in the '50s, taking with it sponsors and stars. But radio remained vital, thanks to disc jockeys like Alan Freed, who introduced audiences to new music, including rock 'n' roll.
(SOUNDBITE OF ARCHIVED RECORDING)
BERN BENNETT: And here is the king of rock 'n' roll himself, Alan Freed.
(APPLAUSE)
ALAN FREED: Thank you, Bern Bennett, and welcome to our "Camel Rock 'N' Roll Dance Party."
MCCABE: DJ's became influential4 tastemakers, and record labels plied5 them with cash payments and gifts in exchange for airplay. Media reports led to congressional hearings. Hundreds of DJ's were implicated6, and Freed was eventually fired and fined. But Cynthia Meyers sees payola as an inevitable7 consequence of radio's evolving business model.
MEYERS: When you think about it, the music industry was buying airtime just as brands were buying airtime in order to promote their product, which was music recordings8.
MCCABE: In 1960, Congress amended9 the Federal Communications Act to require that pay-for-play arrangements be disclosed on the air. But record labels quickly found work-arounds, using independent radio promoters as middlemen, to covertly10 fund airplay, contests and giveaways. Kevin Erickson in the nonprofit Future of Music Coalition11 says the consolidation12 of the radio industry in the '90s corporatized payola.
KEVIN ERICKSON: When we talk about payola, people have an image of somebody, like, sliding a briefcase13 full of cash to a DJ, and that Alan Freed model is not really how it works anymore.
MCCABE: Today, large media companies own most major market radio stations and playlists are set at corporate14 headquarters. Payola investigations15 in the mid-2000s led to multimillion-dollar settlements by several major label conglomerates16 and four of the nation's largest radio station owners.
(SOUNDBITE OF MUSIC)
MCCABE: Now, a new model of brand sponsorship has supplanted17 label-funded payola.
(SOUNDBITE OF ARCHIVED RECORDING)
UNIDENTIFIED WOMAN: You don't jump on the bandwagon. You drive it. But that doesn't mean you have to go it alone. Dr. Pepper is all about being a one-of-a-kind flavor. So they're right there with you. And when it comes to helping18 promote independent artists, they're all in.
MCCABE: Dr. Pepper's One Of A Kind Sound was designed by the tech start-up Music Audience Exchange to sound a lot like pre-release album teasers. CEO Nathan Hanks says this allows major brands to reach specific demographic targets while emerging bands gain valuable exposure.
NATHAN HANKS: Artists are calling us months in advance to be in the program, and they're thinking about these partnerships20 as the marketing21 strategy for the single or for the album.
MCCABE: On an even larger scale, Pepsi launched The Sound Drop this fall. It's a partnership19 with MTV, the music app Shazam and iHeartMedia, formerly22 Clear Channel Communications, the country's largest radio station owner.
(SOUNDBITE OF ARCHIVED RECORDING)
SWAY CALLOWAY: Pepsi invites you to discover your next music obsession23 in episodes where we profile new artists.
MCCABE: The Sound Drop spotlights24 artists who are already on major labels and in rotation25 on iHeartRadio. Emma Quigley is Pepsi's head of music.
EMMA QUIGLEY: It's not a traditional spot. It's - because it goes deeper. It's telling you a story.
MCCABE: Sort of like a mini documentary.
(SOUNDBITE OF ARCHIVED RECORDING)
LUKAS FORCHHAMMER: We are Lukas Graham.
(SOUNDBITE OF SONG, "MAMA SAID")
LUKAS GRAHAM: (Singing) Your mama said that it was OK.
FORCHHAMMER: So "Mama Said" is about how I grew up without all these things that people say you need to be happy and yet I was happy.
MCCABE: Soundbites from the artists - in this case Danish pop band Lukas Graham - are woven together with audio clips of the song being pushed and aired on all of the iHeart stations playing that format26. Quigley explains that these are in addition to regular airplay of the single.
QUIGLEY: We work with iHeartRadio at a pivotal time in the cycle of the single that will connect the dots between the single that's on air and in rotation and the artists themselves.
MCCABE: There is also a longer mini documentary hosted on Pepsi's YouTube channel. The only part of the campaign that resembles a conventional commercial is the banner ads Shazam runs on its app. Quigley insists that The Sound Drop isn't advertising under the guise27 of entertainment.
QUIGLEY: We're not advertising anything. There's no, you know, that ad's running, they have to play the track after the ad or anything of that. Yes, it's very clear that The Sound Drop is a Pepsi-owned platform, but the star of that platform is the artist and that song.
MCCABE: The approach seems to be working. Pepsi's first artist, Lukas Graham, just picked up three Grammy nominations28, including song and album of the year. For NPR News, I'm Allyson McCabe.
(SOUNDBITE OF GOLD PANDA'S "IN MY CAR")
1 blur | |
n.模糊不清的事物;vt.使模糊,使看不清楚 | |
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2 advertising | |
n.广告业;广告活动 a.广告的;广告业务的 | |
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3 byline | |
n.署名;v.署名 | |
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4 influential | |
adj.有影响的,有权势的 | |
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5 plied | |
v.使用(工具)( ply的过去式和过去分词 );经常供应(食物、饮料);固定往来;经营生意 | |
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6 implicated | |
adj.密切关联的;牵涉其中的 | |
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7 inevitable | |
adj.不可避免的,必然发生的 | |
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8 recordings | |
n.记录( recording的名词复数 );录音;录像;唱片 | |
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9 Amended | |
adj. 修正的 动词amend的过去式和过去分词 | |
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10 covertly | |
adv.偷偷摸摸地 | |
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11 coalition | |
n.结合体,同盟,结合,联合 | |
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12 consolidation | |
n.合并,巩固 | |
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13 briefcase | |
n.手提箱,公事皮包 | |
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14 corporate | |
adj.共同的,全体的;公司的,企业的 | |
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15 investigations | |
(正式的)调查( investigation的名词复数 ); 侦查; 科学研究; 学术研究 | |
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16 conglomerates | |
n.(多种经营的)联合大企业( conglomerate的名词复数 );砾岩;合成物;组合物 | |
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17 supplanted | |
把…排挤掉,取代( supplant的过去式和过去分词 ) | |
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18 helping | |
n.食物的一份&adj.帮助人的,辅助的 | |
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19 partnership | |
n.合作关系,伙伴关系 | |
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20 partnerships | |
n.伙伴关系( partnership的名词复数 );合伙人身份;合作关系 | |
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21 marketing | |
n.行销,在市场的买卖,买东西 | |
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22 formerly | |
adv.从前,以前 | |
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23 obsession | |
n.困扰,无法摆脱的思想(或情感) | |
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24 spotlights | |
n.聚光灯(的光)( spotlight的名词复数 );公众注意的中心v.聚光照明( spotlight的第三人称单数 );使公众注意,使突出醒目 | |
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25 rotation | |
n.旋转;循环,轮流 | |
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26 format | |
n.设计,版式;[计算机]格式,DOS命令:格式化(磁盘),用于空盘或使用过的磁盘建立新空盘来存储数据;v.使格式化,设计,安排 | |
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27 guise | |
n.外表,伪装的姿态 | |
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28 nominations | |
n.提名,任命( nomination的名词复数 ) | |
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