Collateral Damage Part Four: Britta Phillips.

It's funny to think that around the same time the iPod was introduced, forever changing music as we know it, advertising had what was arguably its greatest moment in pairing music to spot. Namely, VW's Cabrio spot, which launched a long dormant (and long buried) singer named Nick Drake into the spotlight once again.

"The Mole Man," and tied the whole thing together in a bouncy bow.

Our ongoing series on how music piracy effects the ad industry has interviewed
journalists , the owners of production houses , and an icon of college rock, turned music rights activist. Each has their own take on the state of the music nation.

- Beach House is sadly not the only band to have had their music "copied" by production houses in recent years. In light of this, are you becoming more reluctant to talk to an ad agency when they come knocking?
Britta Phillips - No, we are happy to license our music. And I think a production house is usually less likely to copy a band after they talk to them since it is quite incriminating.
Kidsleepy -When "California (All the way)" was licensed by Calvin Klein people were still thinking in terms of 'selling out.' Do you see a sea change in that prevailing thought, as we continue to access music differently?

Britta Phillips -

There’s no easy way to sum it all up.

src="adland.tv/ollateral-damage-part-three-rob-levine"> journalists , the owners of production houses , and an icon of college rock, turned music rights activist. Each has their own take on the state of the music nation.

Kidsleepy - Beach House is sadly not the only band to have had their music "copied" by production houses in recent years. In light of this, are you becoming more reluctant to talk to an ad agency when they come knocking?
Britta Phillips - No, we are happy to license our music. And I think a production house is usually less likely to copy a band after they talk to them since it is quite incriminating.
Kidsleepy -When "California (All the way)" was licensed by Calvin Klein people were still thinking in terms of 'selling out.' Do you see a sea change in that prevailing thought, as we continue to access music differently?

-

There you have it. In the four opinions we’ve had on the subject it seems safe to say that piracy has caused a war that takes a toll on musicians, ad agencies and production houses alike. Some see no light at the end of the tunnel. Others wish to engage in constructive dialogue to create a new system of checks and balances— a Geneva Convention for the online world. While still others like Britta Phillips have learned to navigate the minefield. Refusing to compromise their vision, yet still demanding rightly that they be compensated for their works of art.
There’s no easy way to sum it all up.

src="adland.tv/w-volkswagen-cabrio-pink-moon-2001-060-usa"> Cabrio spot, which launched a long dormant (and long buried) singer named Nick Drake into the spotlight once again.

"The Mole Man," and tied the whole thing together in a bouncy bow.

Our ongoing series on how music piracy effects the ad industry has interviewed
journalists , the owners of production houses , and an icon of college rock, turned music rights activist. Each has their own take on the state of the music nation.

- Beach House is sadly not the only band to have had their music "copied" by production houses in recent years. In light of this, are you becoming more reluctant to talk to an ad agency when they come knocking?
Britta Phillips - No, we are happy to license our music. And I think a production house is usually less likely to copy a band after they talk to them since it is quite incriminating.
Kidsleepy -When "California (All the way)" was licensed by Calvin Klein people were still thinking in terms of 'selling out.' Do you see a sea change in that prevailing thought, as we continue to access music differently?

Britta Phillips -

There’s no easy way to sum it all up.

src="adland.tv/ollateral-damage-part-three-rob-levine"> journalists , the owners of production houses , and an icon of college rock, turned music rights activist. Each has their own take on the state of the music nation.

Kidsleepy - Beach House is sadly not the only band to have had their music "copied" by production houses in recent years. In light of this, are you becoming more reluctant to talk to an ad agency when they come knocking?
Britta Phillips - No, we are happy to license our music. And I think a production house is usually less likely to copy a band after they talk to them since it is quite incriminating.
Kidsleepy -When "California (All the way)" was licensed by Calvin Klein people were still thinking in terms of 'selling out.' Do you see a sea change in that prevailing thought, as we continue to access music differently?

-

There you have it. In the four opinions we’ve had on the subject it seems safe to say that piracy has caused a war that takes a toll on musicians, ad agencies and production houses alike. Some see no light at the end of the tunnel. Others wish to engage in constructive dialogue to create a new system of checks and balances— a Geneva Convention for the online world. While still others like Britta Phillips have learned to navigate the minefield. Refusing to compromise their vision, yet still demanding rightly that they be compensated for their works of art.
There’s no easy way to sum it all up.