From Entertainment Weekly, a fine magazine. I must say, the music I hear on The O.C. is amazing. Lots of stuff I own, which is awfully unusual. - bags
Where to hear cool new bands?
Try TV, not radio. Indie bands are finally getting some play -- on series like ''The O.C.'' and ''Gilmore Girls''
by Brian Hiatt
Like most fledgling rockers, Rooney are not in the habit of arriving at their seedy club gigs in gleaming, black stretch limos. But on this brisk winter evening in Orange County, the quintet emerges from just such a vehicle, strutting single file through a shadowy nightclub parking lot. As the musicians head backstage, one wide-eyed fan -- a jockish blond kid named Luke -- voices an urgent, if clueless, query: ''Which one's Rooney?''
At that moment, millions of television viewers are probably asking the same question. Rooney, you see, are working it ''O.C.''-style -- as in Fox's teen-soap smash; the band canceled a real-life tour date to peddle their power pop on the Jan. 7 episode. ''I can't say it was the most important gig of our lives,'' says frontman Robert Carmine. ''But it was a good thing for the band.'' The next week, sales of Rooney's self-titled debut CD tripled, moving it onto the Billboard album chart.
And the relatively unknown group's ready-for-prime-time moment is no the-Flaming-Lips-play-the-Peach-Pit anomaly: From car ads to, of all places, JAG, in 2004 you're far more likely to encounter cool new music on network television than on mainstream radio. Says ''O.C.'' creator Josh Schwartz, who's also showcased such indie acts as Death Cab for Cutie and Bright Eyes (and is planning a series of ''O.C.'' soundtrack albums): ''The traditional avenues for hearing about new music -- radio and MTV -- have gotten less open. So record companies are recognizing that [mainstream TV] is a great opportunity for getting it out there.''
Plus, unlike radio programmers, TV creators and ad agencies specifically want songs completely unfamiliar to most listeners. Not only is obscure music vastly cheaper than, say, Bob Seger & the Silver Bullet Band's ''Like a Rock'' but ''you get to attach a piece of music to your brand that has no baggage,'' says Kathy Delaney, managing partner for Deutsch, the ad agency behind the music-centric Mitsubishi ads that currently have a suburban dad boogying to Brooklyn post-punkers Radio 4's ''Dance to the Underground.'' Adds Beth Urdang, founder of music-supervision firm Agoraphone, ''We get calls all the time [from agencies] saying 'Find us a new cool song.'''
Show creators have similar appetites. The producers of HBO's ''Six Feet Under'' -- who've used songs from the Soundtrack of Our Lives, the Electric Soft Parade, and Boards of Canada -- actively pursue below-the-radar music. ''They feel a song that people know will take you out of the scene,'' says one of the show's music supervisors, Gary Calamar. ''[If you're watching a scene and] all of a sudden a well-known song comes on, you think, 'That's Pat Benatar.'''
Remarkably, your more conservative network execs (many of whom probably still blast ''Love Is a Battlefield'' in their SUVs) are open to the quirky musical tastes of their shows' creators. Apparently impressed by the success of TV ads boasting left-of-center tunes -- a trend that likely began with the late-'90s Volkswagen ads soundtracked by Nick Drake and the Orb -- many nets are allowing their show runners to make equally exotic choices. ''Nobody lets you do this out of the goodness of their heart,'' says ''Gilmore Girls'' creator Amy Sherman-Palladino. Like ''The O.C.'''s Schwartz, she enjoys musical autonomy, showcasing personal faves from the Shins (who may make a Rooney-style appearance on an upcoming episode), Pernice Brothers, and Ash. She adds, ''The feeling [among execs] must be that this music reaches the broader audience that buys the tampons.''
Bands, meanwhile, are less afraid to sell tampons -- or anything else -- as the sellout stigma once attached to licensing songs fades away. ''It's become more socially acceptable in this world,'' says Ben Gibbard, singer for ''O.C.'' favorite Death Cab for Cutie. In fact, such indie standard-bearers as Modest Mouse and the Walkmen have recently sold songs to ads, while onetime holdouts like Yo La Tengo and They Might Be Giants (the duo behind ''Malcolm in the Middle'''s theme) license tracks to TV shows. ''It's stopped being an element of indie cool to be poor,'' notes TMBG manager Jamie Kitman.
''Licensing,'' says James Mercer, the helium-voiced leader of the Shins, ''is one of the major ways that a small band can survive.'' Or thrive. Though commercial radio won't touch their delicate, meandering guitar pop, the Shins' songs (mostly the upbeat ''Know Your Onion!'' and the ballad ''New Slang'') have graced not only ''Gilmore Girls'' but ''Scrubs,'' ''The Sopranos,'' and a McDonald's ad -- which paid for Mercer's Portland house and home studio.
After the ad (which used 30 seconds of the ''New Slang'' intro), the Shins did receive some rude e-mails, along with shouted requests for ''the french fry song.'' But righteous anger evaporated in the face of the band's casual candor about their motives. ''I don't want to be associated with McDonald's,'' Mercer explains. ''I just want their money. You're being exploited, but you're exploiting them as well. That's what capitalism is, really -- that's why you both say thank you when you leave the counter.''
Even the squarest of television shows have begun spotlighting new music. The emo-ish piano-rock group Something Corporate will see their single and video promoted on an upcoming episode of what is perhaps the least rockin' show on television: CBS' military-law drama ''JAG.'' ''My mom was all excited,'' says singer Andrew McMahon. ''I've never seen the show.... There's a whole lot of bands, and not a lot of places to get played.''
As for the die-hard fans who would rather keep their favorite bands to themselves, there may be only one solution. Says the Shins' Mercer: ''If people have a problem with licensing, they need to start buying records again.''
(Posted:02/04/04)
