Here’s what passes for—what? credibility, authenticity, talent, ability—nowadays, it seems. Here’s what we’ve come to as regards musicians that we are supposed to add to our list of those who deserve our time and attention—to say nothing of our cash. It comes from a press release for Salme Dahlstrom, who, I must confess, I lack familiarity with, and, having watched/listened to her “Superstar Car Crash,” I can confidently say I will continue to lack deliberate familiarity with because, well, here’s the piece from the press release:
“Like Moby did with his hugely popular album Play, Dahlstrom has managed to license every track from The Acid Cowgirl Audio Trade including syncs with companies such as Suave, Vodafone, Nike, MTV, Chips Ahoy, Miller Lite, Subaru, Quiznos, Ford Models, Bank of America and television programs and films such as One Tree Hill, Veronica Mars, Laguna Beach, The Real Orange County, The Hills, and Ice Age 3.”
Swell, huh? She’s managed to sell the whole damn thing. On her homepage she points out that “C’mon Y’All” “is in the new Suave commercial” and, not incidentally, encourages us to buy it from iTunes.
How does one selling an album to commercial interests make it a more viable choice for the rest of us? Are we to assume that “They” know better than we do and so their vetting does it for us?
I suppose the simple answer is that it is all just “show biz,” with the emphasis on the latter term, not the former.