U. S. Radio (Jan-Dec 1960)

Commercials do the most effective job. This, however, does not mean that the commercials must be static. Many of the most successful jingle campaigns today use one basic theme with a number of variations that help provide changes in mood and emphasis." Although each product presents individual problems, the Sande & Greene organization has developed certain basic approaches to the preparation of musical jingles. "Naturally," Mr. Greene said, "the sound is extremely important, and it should be in keeping with the character of the product. For example, a bank or cosmetic firm ordinarily would not want to use rock and roll lo help project its public image. Original Music "We also believe that it is much better to use original music and production techniques than music in the public domain, or adaptations of popular song hits. Since many people listen to radio while they are driving, doing household chores and other activities," Mr. Greene continued, "their attention is often divided. If the commercial sounds too much like a piece of entertainment, it is possible that the impact of the message might be seriously diluted. This can also apply to using a popular artist. A completely original approach can usually do a more effective job of establishing product identification." Turning to what should be expected of a musical jingle, Mr. Greene stated that any one jingle should be limited to delivering only one sales point. He believed that since these spots are usually limited to a maximum length of 60 seconds, it would be unwise to try to cram loo much into them. Today's integrated musical jingles can be used by the advertiser both on and off the air. Mr. Greene stated that a number of clients use the jingles at sales conventions and similar gatherings to help set the mood. He also mentioned that an auto manufacturer supplied copies of musical spots to dealers who played them over the p. a. systems in their showrooms. Offering his firm's views on music and its role in radio conunercials, Herman Edel, cxeciuive vice president of Music Makers Inc., New York, said that any successful spot must have two elements. "The idea is the first element," he said. "And it is our feeling liiat this should come from the agenc y. We base this on the fact that the agency knows the product involved and the marketing objectives of the advertiser far more completely than we as an outside organization. "The second element, of course, is the music," he continued. "If properly used, music will enhance a good idea. It can never, however, repair or substitute for any basic faults or flaws in that idea." Mitch Leigh, the young president of Music Makers, and the man directly involved in creating and/or directing the music, pointed out that the musical idiom used in a radio commercial must be honest and ac Comment's on Commercials • "A piece of (commercial) music must have a point of view. And all the simplicity in the world won't help it — if it's dull." BBDO • "Often, when a sponsor gets tired of the campaign it is just starting to do the most effective job." Sande & Greene • "Music will enhance a good idea. It can never repair or substitute for any basic flaws in that idea." Music Makers • "It is never enough to merely catch the ear of the listener; you've got to hang onto it or the whole point of the commercial — selling the product — is lost." Guild, Bascom & Bonfigli curate. "Today, you can't get by with music that either looks up to or down on the listener. .\s an example, if the jingle is being aimed at youngsters and rock and roll is being employed, it nuisi Ije genuine and up-to-daie. "The rock and roll Ijcing heard now is different than it was two or three years ago," Mr. Leigh said. "And if your jingle doesn't reflect the change, the youngsters spot it immediately. When this happens not only does the music do nothing to help sell the product, it might even create a negative effect that coidd be detrimental." In the 20 to 60 seconds in which a spot announcement has to get across its message, Mr. Leigh pointed out, there is usually only enough lime to create an emotional image of the product. If the nuisic is performing its proper function, il will be able lo help produce a favorable climate of emotional involvement with the listener. Jazz idiom Another lacet of the role of nuisic ill commercials was touched upon by Alexander "Sascha" Rurland, president of C/Hear Services Inc., New York. "One way lo get the audience lo wake up and listen," Mr. Burland noleci, "is lo use jazz as the musical background. Jazz has a beat and emotional quality that gets under liie skin of people. And after all, that's what the advertiser wants to do in his connncrcial — get under the skin of people. "Jazz," .Mr. Hurland continued, "is the only music that is truly American in character. It is our own form, not borrowed from that of another culture. For this reason, it elicits an emotional icsponse from people that no other type of music can simulate on such a broad scale. Jazz has a mass appeal as well as a class appeal. When identified with a product in a commercial, it stands out against other commercials as well as most jiopular records. "The music of the regular program fare is written, produced and performed by the top artists in show business. And the only way to hold the listener's attention over long 108 U. S. RADIO AIRFAX 19f)l