The relationship between popular music and consumer brands has never been so cosy. Product placement abounds in music videos, popular music provides the soundtrack to countless commercials, social media platforms offer musicians tools for perpetual promotion, and corporate-sponsored competitions lure aspiring musicians to vie for exposure. Activities that once attracted charges of 'selling out' are now considered savvy, or even ordinary, strategies for artists to be heard and make a living. What forces have encouraged musicians to become willing partners of consumer brands? At what cost? And how do changes in popular music culture reflect broader trends of commercialization? Selling Out traces the evolution of 'selling out' debates in popular music culture and considers what might be lost when the boundary between culture and commerce is dismissed as a relic.

The use of popular music in advertising represents one of the most pervasive mergers of cultural and commercial objectives in the modern age. Steady public response to popular music in television commercials, ranging from the celebratory to the outraged, highlights both unresolved tensions around such partnerships and the need to unpack the complex issues behind everyday media practice. Through an analysis of press coverage and interviews with musicians, music supervisors, advertising creatives, and licensing managers, As Heard on TV considers the industrial changes that have provided a foundation for the increased use of popular music in advertising, and explores the critical issues and debates surrounding media alliances that blur cultural ambitions with commercial goals. The practice of licensing popular music for advertising revisits and continues a number of themes in cultural and media studies, among them the connection between authorship and ownership in popular music, the legitimization of advertising as art, industrial transformations in radio and music, the role of music in branding, and the restructuring of meaning that results from commercial exploitation of popular music. As Heard on TV addresses these topics by exploring cases involving artists from the Beatles to the Shins and various dominant corporations of the last half-century. As one example within a wider debate about the role of commerce in the production of culture, the use of popular music in advertising provides an entry point through which a range of practices can be understood and interrogated. This book attends to the relationship between popular culture and corporate power in its complicated variation: at times mutually beneficial and playfully suspicious of constructed boundaries, and at others conceived in strain and symbolic of the triumph of hypercommercialism.

The use of popular music in advertising represents one of the most pervasive mergers of cultural and commercial objectives in the modern age. Steady public response to popular music in television commercials, ranging from the celebratory to the outraged, highlights both unresolved tensions around such partnerships and the need to unpack the complex issues behind everyday media practice. Through an analysis of press coverage and interviews with musicians, music supervisors, advertising creatives, and licensing managers, As Heard on TV considers the industrial changes that have provided a foundation for the increased use of popular music in advertising, and explores the critical issues and debates surrounding media alliances that blur cultural ambitions with commercial goals. The practice of licensing popular music for advertising revisits and continues a number of themes in cultural and media studies, among them the connection between authorship and ownership in popular music, the legitimization of advertising as art, industrial transformations in radio and music, the role of music in branding, and the restructuring of meaning that results from commercial exploitation of popular music. As Heard on TV addresses these topics by exploring cases involving artists from the Beatles to the Shins and various dominant corporations of the last half-century. As one example within a wider debate about the role of commerce in the production of culture, the use of popular music in advertising provides an entry point through which a range of practices can be understood and interrogated. This book attends to the relationship between popular culture and corporate power in its complicated variation: at times mutually beneficial and playfully suspicious of constructed boundaries, and at others conceived in strain and symbolic of the triumph of hypercommercialism.

Digital technology has forever changed the way media is created, accessed, shared and regulated, raising serious questions about copyright for artists and fans, media companies and internet intermediaries, activists and governments. Taking a rounded view of the debates that have emerged over copyright in the digital age, this book: Looks across a broad range of industries including music, television and film to consider issues of media power and policy. Features engaging examples that have taken centre stage in the copyright debate, including high profile legal cases against Napster and The Pirate Bay, anti-piracy campaigns, the Creative Commons movement, and public protests against the expansion of copyright enforcement. Considers both the dominant voices, such as industry associations, and those who struggle to be heard, including ordinary media users, drawing on important studies into copyright from around the world. Offering media students and scholars a comprehensive overview of the contemporary issues surrounding intellectual property through the struggle over copyright, Understanding Copyright explores why disagreement is rife and how the policymaking process might accommodate a wider range of views.

The relationship between popular music and consumer brands has never been so cosy. Product placement abounds in music videos, popular music provides the soundtrack to countless commercials, social media platforms offer musicians tools for perpetual promotion, and corporate-sponsored competitions lure aspiring musicians to vie for exposure. Activities that once attracted charges of 'selling out' are now considered savvy, or even ordinary, strategies for artists to be heard and make a living. What forces have encouraged musicians to become willing partners of consumer brands? At what cost? And how do changes in popular music culture reflect broader trends of commercialization? Selling Out traces the evolution of 'selling out' debates in popular music culture and considers what might be lost when the boundary between culture and commerce is dismissed as a relic.