Advertising and Marketing

Subterms

    More stories

    • 125 Shares109 Views

      in Television

      Bill Saluga, a Memorable Comedic Wiseguy, Is Dead at 85

      by

      He played many characters in his career, but he was best known by far for the one who said, “You doesn’t have to call me Johnson.”Raymond J. Johnson Jr. was a wiseguy, dressed in a zoot suit and a wide-brimmed fedora and waving a cigar in his right hand.When someone mentioned his name, the shtick took off.“Ohhhh, you doesn’t have to call me Johnson,” he would say. “My name is Raymond J. Johnson Jr. Now, you can call me Ray, or you can call me Jay, or you can call me Johnny, or you can call me Sonny, or you can call me Junie, or you can call me Ray Jay, or you can call me R.J. Or you can call me R.J.J. Or you can call me R.J.J. Jr.“But you doesn’t have to call me Johnson.”And you can call his creator Bill Saluga, a diminutive comedian with a thick mustache who came up with Johnson while a member of the Ace Trucking Company, an improvisational sketch troupe whose most famous alumnus is Fred Willard. Mr. Saluga also played Johnson on various television series; on a disco record (“Dancin’ Johnson”); and, most memorably, in commercials for Anheuser-Busch’s Natural Light beer.In 1979, at the peak of Mr. Saluga’s fame as a comedic one-hit wonder, Tom Shales of The Washington Post wrote that “now everybody and his brother are doing Saluga impressions throughout this very impressionable land of ours. He’s right up there with Steve Martin’s wild and crazy guy and Robin Williams’s madcap Mork.”Bob Dylan played off Mr. Saluga’s Johnsonian wordplay, and his own name change, in his 1979 song “Gotta Serve Somebody.” He sang, in part:You may call me Terry, you may call me TimmyYou may call me Bobby, you may call me ZimmyYou may call me R.J., you may call me RayYou may call me anything but no matter what you sayYou’re gonna have to serve somebodyMr. Saluga died of cardiopulmonary arrest on March 28 in a hospice in Los Angeles, his nephew, Scott Saluga, said. He was 85 and had been living in Burbank.The Tribune Chronicle, a newspaper in Warren, Ohio, near Youngstown, where Mr. Saluga was born, first reported his death on April 8. But it did not become widely known until Hollywood trade publications published obituaries this month.William Saluga was born on Sept. 16, 1937. When Billy, as his friends called him, was 10, his father, Joseph, was killed in an accident while working at the Republic Steel mill, and his mother, Helen (Yavorsky) Saluga, started working as a bookkeeper.Billy was a class clown and a cheerleader in high school. After two years in the Navy, he became a performer. In the early and mid-1960s he was seen on a local TV station, with a sketch comedy group called the Thimble Theater and at the Youngstown Playhouse, where, for seven years, he played roles in numerous productions, including “Inherit the Wind” and “Guys and Dolls.”In 1968, he became the talent coordinator for the comedian Steve Allen’s interview and entertainment show. “If you have a special or unusual talent,” a newspaper ad for the show read, “television needs you. Call Bill Saluga. 469-9011.”In 1969, after replacing a member of the Ace Trucking Company, he created the Johnson character during a man-on-the-street sketch with Mr. Willard at the Bitter End in Greenwich Village, It became part of the troupe’s repertoire until he left in 1976. By then, the group had made numerous appearances on “The Tonight Show Starring Johnny Carson.”Mr. Saluga appeared from 1976 to 1977 on the comedian Redd Foxx’s variety show and a comedy and variety series hosted by the comedian David Steinberg, on both of which he played Raymond J. Johnson. For the Steinberg show, he also portrayed a New York street guy named Vinnie de Milo.“Billy was always doing Ray J.,” Mr. Steinberg, said by email. “He was relentless with it. I would say, ‘Mr. Johnson,’ and Billy would be off.” He added: “He did it everywhere. At parties. His timing and delivery were so funny every time.”The character, with a delivery based in part on the con man Kingfish from the sitcom “Amos ‘n Andy,” appealed to Anheuser-Busch, which hoped to use him to distinguish Natural Light from a rival beer, Miller Lite. In 1978, the company teamed Mr. Saluga with Norm Crosby, the malaprop comedian, for a commercial set in a bar.When a customer asks for an Anheuser-Busch Natural Light, Mr. Crosby counsels him to say, “Just say ‘Natural,’” which propels Mr. Saluga to say: “See, you doesn’t have to call it Anheuser-Busch Natural Light. And you doesn’t have to call it Anheuser Natural. And you doesn’t have to call it Busch Natural. Just say ‘Natural.’” And when Mr. Crosby says, “Johnson’s right,” Mr. Saluga says, “Ohhhh, you can call me Ray or you can call me Jay. … ”The pair would go on to do a second spot. Eric Brenner, a friend of Mr. Saluga’s, said in a phone interview that Mr. Saluga had earned significant money in residuals from the two commercials, probably the most he made in his career.For the next 40 years, he took regular acting jobs — including a hostile ticket taker at an opera house in a 1992 episode of “Seinfeld” and Louis Lewis, the comedian Richard Lewis’s fictional cousin, in three episodes of “Curb Your Enthusiasm” in 2005 — as well as reprising Raymond J. Johnson on the animated TV series “The Simpsons” (2002) and “King of the Hill” (2010). “He played outrageous characters onstage, but offstage he was very reserved,” said Bill Minkin, a friend and fellow comedian. “It was that Midwest down-home thing.”No immediate family members survive.Mr. Saluga did not mind being known primarily as Raymond J. Johnson. In fact, he said, it gave him an agreeable anonymity when he stepped out of character.“I would sit in restaurants and hear the people behind me in the booth talking about me, and I was right there,” he said on “Gilbert Gottfried’s Amazing Colossal Podcast” in 2017. “They didn’t know who I was, which was great.” More

    • 100 Shares149 Views

      in Music

      Two Creative Directors on Sports, Hip-Hop and Faith

      by

      For the Taking the Lead series, we asked leaders in various fields to share insights on what they’ve learned and what lies ahead.The birth of the partnership between the creative directors Free Richardson and Phil Cho hinged on, of all things, their shared faith. In 2018, Mr. Cho, the founder of NoLedge Productions, pitched a collaboration between his company and Mr. Richardson’s creative agency the Compound.“I go to slide two, and he goes, ‘Yo. Turn that off,’” Mr. Cho recently recalled. “He’s like, ‘Do you love God?’ I was like, ‘Yeah. I’m a believer,’ and he goes, ‘All right. We’re good.’”Of course, it wasn’t just spirituality that brought them together. Mr. Richardson also was impressed with the effort Mr. Cho showed when documenting an event through photos and videos at the Compound’s art gallery. “Phil has something special about him,” Mr. Richardson said recently. “You can just feel a good presence of energy.”The two companies are now a major force in the world of marketing, particularly around the intersection of sports and hip-hop. Together, they have curated an impressive portfolio of campaigns for brands including the shoe company Clarks, ESPN, the software company Niantic and DraftKings. Last year, the duo won three Cannes Lions advertising awards and five Muse Creative Awards, given for inspirational marketing campaigns. Last month, they won 12 Clio Awards, given for creativity in advertising.Mr. Richardson, 50, also known as Set Free, is African American and was born in the Bronx. He grew up in Queens and Philadelphia and was deeply involved in the hip-hop community and the world of street basketball culture. In 1998, he created the AND1 Mixtape Tour, a traveling basketball competition, and in 2007, he founded the Compound.Mr. Richardson’s story has helped shape and inspire many, including Mr. Cho.Born and raised in Edison, N.J., Mr. Cho, 33, is Korean American and grew up with a passion for both basketball and hip-hop music. He was a middle school student when the AND1 Mixtape Tour debuted. (“Some moms in Korea probably know about AND1,” Mr. Cho said about the tour’s reach.) Since starting NoLedge at the age of 26, he has collaborated with a variety of brands including Toyota, the record label 300 Entertainment and musicians like Akon and Year of the Ox.Today, Mr. Richardson and Mr. Cho are innovators in the crowded landscape of creative marketing, and consider themselves family as they “navigate the invisible handcuffs of corporate rule,” as Mr. Richardson put it.“Authenticity is a word that gets thrown around a lot in our industry,” Ari Weiss, chief creative officer at the advertising agency DDB Worldwide, wrote in an email. But “you’re either authentic or you’re not. Mr. Free Richardson and Mr. Phil Cho are pure authenticity.”The two spoke at the Compound’s headquarters in Brooklyn to discuss remaining authentic to their craft, being relevant and their shared faith. The conversation has been edited and condensed.Adriana BelletHow do you stay current?FREE RICHARDSON I think it always goes back to staying authentic and storytelling. Everybody has a story, and you can tell it through A.I., pictures, music, all the creative elements. Look at the NFT [nonfungible token] world. It came, and though it’s not gone, the whole time, I was like, I’m still going to go with touchable, feel-able art. Authenticity within. Look at a tree. The leaves will die before the root of the tree dies. A lot of things are happening through technology, and a lot of things are going to happen, but I don’t know anything that is bigger than the Mona Lisa. No matter what happens in technology, the root of creativity will always be around.PHIL CHO The root of what we are is: It’s always been about relationships. When I walk into the Compound, and I see all this artwork, like Jonni Cheatwood, and you see how long it took for them to come up with these ideas and wasn’t A.I.-generated, I feel like that’s what drives more value.RICHARDSON Yeah, I think it’s a lot of relationships. That’s with everything. The two things in life are communication and relationships. If we don’t communicate, you can’t make the relationship. Creativity is a revolving door. I still work with people that I worked with 20 years ago. It’s the reason we still hear Fleetwood Mac and Marvin Gaye songs in the same rotation that you hear Drake. And so when things are authentic and true, the creativity never goes away.How are you navigating challenges and opportunities facing the advertising industry?RICHARDSON I think the ratio of African Americans and Asians is very small. I don’t blame everything on race, but I think it’s a tougher role for me and Phil being a minority, because there’s not a lot of dominance of minorities in the advertising agency world, especially with Fortune 500 companies, C-suite level and businesses, especially small ones. [According to a 2022 U.S. Bureau of Labor Statistics survey, of workers in “advertising, public relations, and related services,” 7.8 percent were African American and 6.6 percent were Asian American.] We’re kind of small, SWAT-style — boutique-small. That’s what I consider Compound and NoLedge. It’s a strategic partnership that executes some of the same things that big advertising agencies execute, without the red tape.CHO Before doing Compound, there weren’t people telling me how to facilitate production, and I felt like I had to just learn from trial and error. And a lot of the people that I would meet, they did happen to be white. So again, I’m not trying to make it a race thing either, but I just felt like there’s not a lot of people with my skin tone that are doing this and can help me out. So I think even merging with the Compound, it was a whole new world for me of just trying to be confident in what I’m doing and understanding that. What’s a lesson that you learned from your staff, team or peers?RICHARDSON At the end of the day, everybody makes mistakes. And myself, just looking people in the eye and just being like, “All of us are the same.” I think learning and working with NoLedge, it takes time. Everybody needs time — to execute a task, to learn, to communicate, to talk. To respect time and respect people and giving them time. Not to where you just want to get them to or the client, but just everybody needs time.CHO With the guys that are in NoLedge, for me, it’s patience. I’ll say this, but it’s harder to practice it. You might be able to do X, Y and Z, and you want the same from your guys, but you got to understand that they also need to learn X, Y and Z first. So you can’t expect people to move how you move. Adriana BelletHow do you keep campaigns authentic and meaningful?RICHARDSON I try to give everybody their own white box. When you go look at an apartment, you’d rather see the apartment empty so you can dream of how you’re going to decorate and design it. But if you go into a home that’s already furnished, it already blocks you in. You can’t really put your ideas on it. And so walking into brands and working with companies, I try to give them the white box and tell them, “How do you want to design this?”And then my job after that is just to put a magnifying glass on your ideas. You’re there to help the brand, not really to put your ideas on their brands. And doing it that way, it always helps expand what the goal is. The goal is not for my ideas to be presented. The goal is for my ideas to latch onto your ideas and make them bigger.CHO I really do feel like Free kind of sets his own trend. And I think that’s what a real creative is, right? To me, the better creative director you are, the more you don’t care about what other people think about you, and I think that’s given me confidence, too. It’s just what comes out of when we facilitate a project — just do what we feel would be dope. Just be comfortable with it.What are the challenges of a partnership?RICHARDSON Time. We can’t do everything we want to do. I mean, you have to understand what you’re going into with partnerships. It’s like a marriage. Phil, I love him. He’s my brother, my little cousin and a son. Then there’s times that he’s my uncle. I got to look up to him in certain areas. CHO It’s always about communicating. People have different work flows. It’s not like mine is exactly the same as Free’s. But I think the reason this works is so many young guys want to run the ship, right? So even while doing production, there’s certain things that I would do differently if I was shooting. But at the same time, a good leader is a good follower. I feel like these years right now, I’m soaking up the game. The same way Free was talking about clients and how you got to support their vision. I’m kind of doing a similar thing with Free. I’m supporting his vision. How do you stay inspired?RICHARDSON God. I want the world to understand that. He’s just the creator of all. If you can’t be inspired by thinking of that, I don’t know what else you’re going to be inspired by. God is my source of creativity.CHO I agree. All the stories in this world from different people and backgrounds — he’s the biggest artist. More

    • 150 Shares169 Views

      in Music

      A Drone Opera, Brought to You by General Dynamics? A Company Clarifies.

      by

      “Grounded,” a new work about the psychological toll of drone warfare, drew scrutiny after its presenter, Washington National Opera, advertised the support of a major military contractor.When the Washington National Opera announced that it would open its coming season with the premiere of “Grounded,” a new opera exploring the psychological toll of drone warfare, its star composer, Jeanine Tesori, got less attention than its listed sponsor: General Dynamics, the military contractor.Anger erupted online, with critics accusing Washington National Opera of serving as a mouthpiece for the defense industry. A think tank that advocates military restraint labeled it a “killer drone opera.” New York magazine gave the opera a “despicable” rating on its Approval Matrix, describing it as “the drone-bombing opera ‘Grounded,’ sponsored by General Dynamics.” RT, a state-owned Russian news outlet, said the work showed the strength of the American military-industrial complex.The creative team behind “Grounded,” an adaptation of an acclaimed Off Broadway play, and the Metropolitan Opera in New York, which commissioned the opera, grew disturbed by how the new opera was being portrayed. They worked behind the scenes to push the Washington National Opera to make it clear that General Dynamics, which has been a major sponsor of the opera company since 1997, had nothing to do with the creation of the opera.“I felt action was needed to guarantee that the audience would see ‘Grounded’ knowing that it is solely the work of its creators,” Tesori, a major Broadway composer who has expanded into opera, said in a statement to The New York Times. She added that she had only recently become aware of the philanthropic support of General Dynamics.The composer Jeanine Tesori said that “action was needed to guarantee that the audience would see ‘Grounded’ knowing that it is solely the work of its creators.”An Rong Xu for The New York TimesOn Tuesday, after days of negotiations, Washington National Opera posted a statement seeking some distance from its benefactor.“For the sake of clarity,” the statement said, “no sponsor or supporter of W.N.O. had any involvement in the creation of ‘Grounded’ or in the contents of its libretto.”The company changed its website, whose “Grounded” page had described General Dynamics as its “presenting sponsor,” to clarify that the company is a “W.N.O. season sponsor.” It also rewrote its promotional text for the opera, removing some militaristic language, including a line that had described its protagonist as a “hot shot F-16 fighter pilot, an elite warrior trained for the sky” and a line noting that “war ‘with all the benefits of home’ isn’t clear-cut.” The new description cut a reference to the “horror of war.”An early rendering of the set of the opera “Grounded.”Design and rendering by Mimi LienThe episode highlights the difficulties that cultural institutions sometimes face in protecting the integrity of their art while cultivating rich donors. The Kennedy Center, the parent organization of Washington National Opera, has in recent years faced pressure to cut ties with some benefactors, including tobacco companies.General Dynamics has long been a sponsor of Washington National Opera, providing more than $500,000 to the company each year in recent years. Gregory S. Gallopoulos, a senior vice president at General Dynamics, is a member of the opera company’s board.Timothy O’Leary, the general director of Washington National Opera, said in an interview that General Dynamics had no input on “Grounded,” or any other works.“No sponsor has any say in our artistic decisions, or ever could,” he said. “Any sponsor who tried to interfere in that way is not a sponsor from whom we would accept support.”The “Grounded” opera, adapted from a play by George Brant, was announced by the Met in 2017, part of an effort by the company to promote contemporary opera. The Met agreed to co-produce the opera with Washington National Opera ahead of its planned Met premiere in 2025.The New York Times described the play it is based on as a “haunting portrait of a woman serving in the United States Armed Forces coming under pressure as the human cost of war, for combatants as well as civilians, slowly eats away at her well-armored psyche.”Peter Gelb, the Met’s general manager, described the work as an “antiwar opera” and said that it provided a nuanced portrayal of the costs of war. He said he had advised his counterparts in Washington to take swift action once concerns started spreading on social media about the opera’s support from General Dynamics.“If this misperception was not corrected, it would be very bad for the work,” he said in an interview. “The work would be somehow tainted before anybody ever got a chance to see it.”General Dynamics on Tuesday declined to comment on the controversy, but said in a statement, “We are proud to support the arts.”Phebe N. Novakovic, the chairman and chief executive of General Dynamics since 2013, is an opera buff who grew up listening to recordings on a Victrola record player with her Serbian grandmother. Shortly after she rose to the top of the company, General Dynamics became a full-season sponsor of Washington National Opera.When asked in a 2016 interview why the company was such a big supporter of the opera, Novakovic cited her grandmother’s influence.“I have honored both her memory and my love of that form of human expression through supporting the opera,” she said at the Economic Club of Washington. “We get folks from all over our company coming to the opera.” More

    • 100 Shares199 Views

      in Movies

      Netflix’s Approach Shifts, Pushing Content That Can ‘Pop’

      by

      The streaming service long thought spending on ads didn’t result in more viewers. That has subtly changed under the marketing chief Marian Lee.Netflix made sure viewers had ample opportunity to hear about “Wednesday,” its macabre hit starring Jenna Ortega.They could come across it in an airport security line when plopping their belongings into a tray that asked “What would Wednesday do?” Or see the title character in the Uber app when they ordered a ride. Or they could encounter it on TikTok, where seemingly everyone from Ukrainian soldiers to hip grannies were performing the title character’s arm-jolting, addictive dance set to the Lady Gaga song “Bloody Mary.”Either way, the marketing resources Netflix dedicated to the show helped to make it a global sensation. The push included Netflix shifting its social media resources from sites like Twitter and Instagram to TikTok after the amateur dance videos went viral. There was also a campaign in which local markets around the world adapted the slogan “What would Wednesday do?” to their country’s taste and culture. (Billboards in Los Angeles cheekily stated: “I read your screenplay. It’s time to rethink your writing career.”)The streaming service said the show’s eight episodes were viewed 1.24 billion hours in the first 28 days they were available, making it the second most-watched English-language series on the service, just behind the fourth season of “Stranger Things.”For the movie “Glass Onion: A Knives Out Mystery,” there was a widely publicized (including TV commercials) one-week theatrical release on Thanksgiving that generated a reported $15 million in ticket sales. After that, a Los Angeles-based escape room and a handful of murder mystery dinners across the country — and more commercials — helped to keep the word of mouth alive until the expensive star-studded sequel debuted on the service at Christmas time. It racked up 279.7 million hours watched in the first 28 days, which Netflix said made it the fourth most-watched English-language film on the service.“Glass Onion: A Knives Out Mystery” received a one-week theatrical release at Thanksgiving and became available on Netflix at Christmas time.John Wilson/NetflixNetflix’s marketing tactics are indicative of an evolving strategy for a company that is facing a much more competitive streaming marketplace — and trying to serve an increasingly fickle audience. The new tactics also come as Netflix has introduced an advertising tier and is cracking down on password sharing as it contends with a maturing U.S. market. It has also essentially replaced its original creative team, opting for executives with broader tastes to serve a global marketplace. To sell this evolution of the world’s largest streaming service, the company is relying on Marian Lee, its third chief marketing officer in three years.“I’m trying to enable creativity, because I want to bring all of this content to more people around the world,” Ms. Lee said in an interview at Netflix’s headquarters in Los Angeles. “I also want the rest of Netflix to understand what the marketing strategy is: We support the content organization.”She spent the previous night staying up late to finish the reality show “Full Swing,” saying she cried in her bathroom when it was over.“I’m watching everything, and I’m going to tell you where I think this is really going to pop,” she said.For all of Netflix’s success over the years, the company has never quite found its footing in marketing. That is primarily because of the company’s core tenet is that the streaming service itself is its greatest marketer, and spending on expensive commercials or advertisements does not always improve viewer engagement. In 2019, the marketing operation moved under Ted Sarandos, who was then the head of content and is now the company’s co-chief executive. He hired Jackie Lee-Joe from BBC Studios to be chief marketing officer. She departed after just 10 months, when Mr. Sarandos surprised many inside Netflix by appointing Bozoma Saint John as the new C.M.O. Ms. Saint John used her formidable social media presence — she has 424,000 followers on Instagram — to host her own lifestyle events under the moniker @badassboz while running the Netflix marketing team, but her impact on Netflix’s shows and movies proved less fruitful.Ms. Lee was the global co-head of music at Spotify when she was hired by Ms. Saint John in July 2021. She was promoted to chief marketing officer in March 2022 after Ms. Saint John left. In contrast with her predecessor, Ms. Lee’s Instagram account is private, and when she was offered Ms. Saint John’s office, she declined, opting to remain in the one she occupied that was closer to her staff.“Wednesday,” starring Jenna Ortega, was marketed heavily through TikTok.Vlad Cioplea/NetflixNetflix’s marketing budget has remained fairly consistent, increasing to $2.5 billion in 2022 from $2.2 billion in 2020. But Ms. Lee’s 400-plus global team has enacted a subtle change in strategy, in which many of those dollars have been shifted to focus on individual titles as opposed to the branding of the streaming service itself.Still, the amount of money set aside for marketing remains relatively small, considering Netflix spends $17 billion a year on its programming. And when filmmakers and showrunners grouse about working with Netflix, the complaints are often aimed at the marketing department, which they feel can be limited by its budget. It is an issue traditional studios have tried to capitalize on, arguing that they may pay less upfront for a project but that they will spend more in marketing to let people know when it’s coming out.“The legacy studios spend more on marketing,” said Tripp Vinson, a producer of the Netflix “Murder Mystery” films starring Adam Sandler and Jennifer Aniston. The first movie came out in 2019 and the second became available to Netflix subscribers on Friday. “But as a producer, what do I care about? You’re implying that the more you spend, the greater chance you have of getting your audience in that legacy, traditional marketing way. Well, I know from ‘Murder Mystery’ 1, whatever Netflix did to market this movie, the amount of viewers that I got, that’s what I care about. And they were astounding numbers.”For “Murder Mystery 2,” the streaming service added a second premiere at the Eiffel Tower in Paris, international billboards and commercials during the National Football League’s divisional playoffs. It also partnered with the social media star Mr. Beast to offer an unwitting couple a surprise trip to the Paris premiere. The first movie landed back on Netflix’s Top 10 list a week ahead of the release, and expectations inside the company for the sequel are high.Netflix’s chief content officer, Bela Bajaria, pushes against the notion that the company had not aggressively marketed specific shows and movies in the past.“I think the tension may be with people feeling like there is only the traditional way to do it, and they don’t realize we market in so many different ways,” she said, noting the service’s social media channels reach 800 million people globally.Netflix held a premiere event for “Murder Mystery 2” at the Eiffel Tower in Paris.Scott Yamano/NetflixFilmmakers, though, have noticed a difference with Ms. Lee.“Right when she arrived, she came down to see what we were doing and visited the set often,” said Debbie Snyder, a producer of the $80 million sci-fi spectacle “Rebel Moon,” which is directed by her husband, Zack Snyder.The plan is for the film, scheduled to debut on Dec. 22, to be the first in a trilogy.Did Ms. Snyder receive the same personalized attention when the film “Army of the Dead” debuted in 2021? “No,” she said. “Not really at all.”Netflix’s film chairman, Scott Stuber, said the marketing department under Ms. Lee was more in tune with the content side of the company. He noted that he was particularly impressed by her nimble approach, like her ability to maintain buzz for “Glass Onion” after its theatrical release.“I like someone who actually knows the old playbook, but also is very interested in how to rewrite the rules for the new playbook,” he said.“I’m trying to enable creativity, because I want to bring all of this content to more people around the world,” Ms. Lee said.Philip Cheung for The New York TimesIn February, members of Ms. Lee’s brand marketing team crammed themselves into a conference room to discuss, among other topics, “The Marquee,” a handful of high-tech billboards with pithy messages that rotate weekly and appear in strategic locations around the world like Sunset Boulevard in Los Angeles, Times Square in New York and Les Halles in Paris. She listened intently to the presentation: The board at the Trevi Fountain will be moved to a different location in Rome, one that is less of a tourist spot and more of a place where local Netflix subscribers could connect with it; Times Square is going to get an innovative new billboard that is easier to program yet looks like the physical one on Sunset Boulevard. A marquee is coming soon to Warsaw.“The point of the board is to have fun, be edgy and push all the way to the edge,” she said.“I know it’s a lot of pressure because they have to come up with a new message every week,” she added, “but if they’re just using it for something lame, I’d rather not do it.” More

    • 113 Shares119 Views

      in Television

      Maya Rudolph’s Super Bowl Challenge: Make M&M’s Sweet Again

      by

      Unpopular companies and brands in trouble go with a strategy of hiring a likable celebrity and hoping for the best. But they might be better off with a puppy.There are 179 actresses who are better known than Maya Rudolph, including Whoopi Goldberg (third most famous), Lindsay Lohan (15th) and Gwyneth Paltrow (32nd). But Ms. Rudolph is more likable than those three and many others who are household names, according to the market research firm YouGov.So it made sense that M&M’s, the candy that has found itself in the cultural cross hairs, would enlist Ms. Rudolph as its corporate pitchwoman and make her the star of a commercial scheduled to air during Super Bowl LVII on Sunday.Nearly 75 percent of the people who have heard of Ms. Rudolph said they liked her, and her popularity was on an upswing in the fourth quarter of 2022, YouGov reported in its most recent ranking. Ms. Goldberg and Ms. Paltrow each came in around 55 percent, and Ms. Lohan at 39 percent.Ms. Rudolph, a “Saturday Night Live” cast member from 2000 to 2007, is likable enough to make the multibillionaire she plays seem down to earth on the AppleTV+ series “Loot.” She managed something similar more than a decade ago in “Bridesmaids,” winning over audiences as a bride-to-be who develops bride-zilla tendencies. Now she will attempt to do the same for a candy brand in trouble.M&M’s got some blowback from cable pundits and social media warriors after it made cosmetic changes to its long-running cartoon characters. The Fox News host Tucker Carlson and others accused the brand of “woke” advertising, arguing that the “spokescandies” had lost their sex appeal. A point of contention was that one of the cartoon candies had replaced her high-heeled go-go boots with sneakers — and at times it was hard to tell if M&M’s was trolling right-wing commentators with its promotional stunts or if it was the other way around.“M&M’s will not be satisfied until every last cartoon character is deeply unappealing and totally androgynous,” Mr. Carlson said on his show more than a year ago. He was at it again last month, saying, “The green M&M got her boots back but apparently is now a lesbian, maybe, and there is also a plus-sized obese purple M&M.”In the commercial to be shown during the second quarter of Sunday’s game, Ms. Rudolph will try to calm the brouhaha. (A spokeswoman for M&M’s “Chief of Fun” declined to comment for this article.)Marketers, especially those trying to create an appealing image for unlikable industries like pharmaceuticals and airlines, know that a bit of charm can do a lot to disarm doubters and critics. In addition to Ms. Rudolph, other “Saturday Night Live” alumni have brought some warmth to companies that could certainly use it. Amy Poehler, whose affability set the tone for the sweetly humorous sitcom “Parks and Recreation,” has taken on the challenge of making a cable, internet and phone company seem sympathetic in a series of commercials for Xfinity. Cecily Strong, who left “Saturday Night Live” in December after a 10-year run, has lent her services to Verizon.Rashida Jones, a onetime regular on “Parks and Recreation” and “The Office,” manages to make banking seem almost fun in commercials for Citi. Jennifer Coolidge, an endearingly kooky addition to the America’s Sweetheart club thanks to her performance on “The White Lotus,” was featured in two Super Bowl commercials last year: one for Uber Eats, which had faced criticism for its treatment of pandemic-shocked restaurants and gig workers, and another for FanDuel, part of a growing sports betting industry that has drawn worries about gambling addiction.Put on a happy face: Cecily Strong, Amy Poehler, Rashida Jones and Jennifer Coolidge have all appeared in commercials for brands that needed help with their public images.But companies can sometimes make a misstep in their attempts to capitalize on the amiability of certain celebrities. In 1984, Burger King introduced “Mr. Rodney,” a character based on Fred Rogers, the esteemed host of the PBS children’s show “Mr. Rogers’ Neighborhood.” Wearing a cardigan, Mr. Rodney addressed the camera in a gentle voice: “Hi, neighbors. Today’s new word is something McDonald’s does to every burger: Let’s call it ‘McFrying.’ Can you say that?”One call from the real Mr. Rogers got the commercial bounced from the airwaves. “Mr. Rogers is one guy you don’t want to mess with, as beloved as he is,” an apologetic Burger King spokesman said at the time.Beer companies may not need the assistance of likable celebrities as much as banks and phone companies, but Anheuser-Busch InBev is taking no chances on Sunday, with several Super Bowl commercials, including one starring Serena Williams.Likability “is paramount” in the choices of corporate spokespeople, said Shana Barry, the head of celebrity, entertainment and influencers at Anheuser-Busch. “You want to associate with a talent that is having a good time,” she said. “We want to make sure that you’re paying attention to the ads and that you can connect with them onscreen.”Social scientists who have delved into the mysteries of likability point to the mere exposure effect (sometimes known as the familiarity principle), which posits that people tend to like something the more they are exposed to it. They also cite emotional contagion, a phenomenon in which people often sync up with the emotional state of others in their orbit, meaning that viewers may get a lift when they see someone having a good time in a TV commercial. And a 2021 academic study found that experts who testify in civil and criminal trials have an easier time persuading jurors if they are perceived as likable.“The essential elements are true no matter who you are,” said Natalie Anne Kerr, a psychology professor at James Madison University. “Companies can manipulate the situation to promote liking and connection to their ambassadors, especially if they’re actors who can intentionally choose to play the role of a likable person.”Keanu Reeves appeared in a 2018 Super Bowl commercial for Squarespace.But being seen as trying too hard to be liked can backfire, Dr. Kerr said. Truly likable people show vulnerability (this is known as the pratfall effect) and are relatable (the similarity attraction effect). See Keanu Reeves, who appeared in a 2018 Super Bowl commercial for Squarespace, doing a motorcycle stunt while reciting the words of the 1983 cult hit “Adventures in Success” as the track played in the background. Quirkiness may also be an asset, Dr. Kerr added, noting that one of her favorite actors is Nick Offerman, who is known for playing gruff but kind loners, as well as for his good-natured appreciation of carpentry and his wife.Tone deafness can destroy likability, said Mitch Prinstein, a psychology and neuroscience professor at the University of North Carolina and the chief science officer at the American Psychological Association.“We always tell elementary school kids that they can’t walk up to a bunch of kids playing Legos and say, ‘That’s stupid; let’s play with trucks,’” said Dr. Prinstein, the author of “Popular.” “You can include your truck with the Legos, but you can’t just disregard the group norm.“The same thing applies to adults,” he continued, “whether you’re leading a boardroom or you’re a celebrity. You have to read the room.”Public figures may have a tougher time connecting with audiences when they become so famous and wealthy that they lose touch with everyday experiences, he added. An out-of-touch star is rarely likable, especially at a time when fans have grown accustomed to joining their favorite entertainers on social media as they document a date night or grocery run.Rather than relying on big stars to pitch products, some companies are tapping TikTok tastemakers and Instagram nanoinfluencers to chase niche groups. “Brands are really looking for authenticity, for somebody that can talk about the brand in a way that others might not be able to,” said Adma Ortega, who handles celebrity and influencer relations for the Wieden & Kennedy ad agency in New York. “They want to talk to a specific audience, because you can’t talk to everyone anymore.”Some companies break through the noise by ignoring likability altogether, as Samsung did in building ads around the reality TV star Christine Quinn, who once said of her role on “Selling Sunset”: “I love being the villain, and I wouldn’t have it any other way.”Deciding on a spokesperson is increasingly complicated, involving metrics like social media follower counts, audience demographics, algorithmic calculations including the Klear Score, the Aspire authenticity score and E-Score polls. After the Super Bowl, Anheuser-Busch and other companies will study rankings like Ad Meter and the Super Clios to see how viewers reacted to their commercials.Some firms still use the Q Score, a nearly 60-year-old measure of appeal that costs $1,750 per name. Clients get a detailed breakdown of sentiment among different demographics, and can also buy a full work-up of more than 1,200 personalities or a ranking of celebrities customized by their appeal to a particular audience. The score is used by ad agencies, movie studios, TV networks, lawyers and estates, said Steven Levitt, the president of the Q Scores Company.The “Q” stands for “quotient” — a reference to how the rating is calculated, by dividing the percentage of respondents who say a celebrity is one of their favorite personalities by the percentage of those who have heard of the person. Another part of the rating evaluates unpopularity. The highest score ever, a 71 in 1985, went to Bill Cosby; nowadays, celebrities rarely score above the low 40s, Mr. Levitt said. Ms. Rudolph’s score is 19, three points above the average for actresses, he said.Ad makers often ignore Q Scores in favor of gut instinct, Mr. Levitt added. “A lot of decisions are not based on data,” he said. “They’re based on creative appeal, or the strength of an executive to outshoot and overpower subordinates and say, ‘No, I think this is the way to go.’”But celebrity likability may not last. It takes only one slap at the Oscars, one rude complaint about an omelet, or one too many reports that a nice talk show host with a penchant for dancing was perhaps not so nice after all.Which may be why some of the most popular Super Bowl commercials of recent years have had no recognizable celebrities front and center, according to an analysis by the measurement firm iSpot.TV. Last year, the most likable ad featured a variety of wild animals grooving to the 1987 Salt-N-Pepa hit “Push It” after sampling some Flamin’ Hot Doritos.And the stars of the most likable spot on record, a Budweiser commercial from 2014? Clydesdale horses and a golden retriever puppy. More

    • 125 Shares169 Views

      in Music

      Football Gave Us a Carrie Underwood-Based Solution to Existential Dread

      by

      Carrie Underwood’s musical intro to “Sunday Night Football” offers a dazzling gift — even if you’re not a fan of the game.To an astronomer, the longest night of the year occurs once in each hemisphere, as the earth makes its ponderous revolution around the sun. For regular people — people with everyday problems, who don’t live in a fancy observatory surrounded by brass astrolabes — the winter solstice is a weekly event happening every Sunday. Sunday evenings are black holes from which no hope escapes; a time of rumination on the failures of the past seven days, and pre-emptive haunting by fiascos to come. Yet the universe has been known to attenuate misery with fleeting comforts: the sensation of incredible warmth that overtakes a body dying of hypothermia, for instance. And to those souls mired in Sunday-night gloom, it offers a dazzling gift: Carrie Underwood doing the “Sunday Night Football” song on NBC.If unshackled from the bonds of terrestrial experience, what might Carrie Underwood experience?This song is not one song but many songs. Since the show’s debut in 2006, its intro has been updated every year, and, within a given season, the song mutates constantly: Each week incorporates a different rhyming line tailored to the current matchup. A schedule may announce a contest between the Colts and the Cowboys; only Carrie Underwood reveals if this promises to be a “righteous showdown” or a “nasty showdown,” or that the teams are “about to throw down” or are “breaking new ground,” and so on. According to representatives from NBC Sports, Underwood annually records 85 permutations of this line back to back in a single session.The “Sunday Night Football” song extols not the thrill of football, nor the value of sport, but the highly specific ouroboric pleasure of turning on NBC to watch “Sunday Night Football” on NBC on Sunday night. The most frequently recurring version of the song, “Waiting All Day for Sunday Night,” is set to the tune of Joan Jett’s 1988 single “I Hate Myself For Loving You.” I do not enjoy football, or any sport other than Olympic women’s gymnastics finals when the United States is in first place. My comprehension of the rules is nil and my desire to learn them would have to be represented by a negative number. Nor am I a fan — or nonfan — of Carrie Underwood. Yet, when I hear the first word of the song explode from her confident lungs — “Oh,” pronounced “Hohawhunhohhuhawnhohn” — my consciousness abruptly recedes. Mechanically, I sprint to the living room and stare, bewitched, until the segment’s conclusion.The “Sunday Night Football” music video is beautiful to behold, each incarnation a novel response to the question: If unshackled from the bonds of terrestrial physics, what might Carrie Underwood experience? Answers include: strutting in a dress of rhinestone chain mail through a liminal space filled with floating videos of football fans; calmly standing on a platform that shoots her skyward through hoops of light at a thousand miles a minute; the stage at the Resorts World Theatre in Las Vegas, the site of her residency, “Reflection: The Las Vegas Residency,” magically opening up onto a football stadium where approximately seven million fans, packed with atomic density, are losing their everloving minds to a song about “Sunday Night Football.”The “Sunday Night Football” song is most likely the theme song familiar to more Americans than any other, because more Americans watch “Sunday Night Football” than anything else on weekly television. In fact, of the 30 most-watched U.S. television broadcasts of all time, 29 are football games. There might be a need to gin up excitement for “Sunday Night Football” if, somehow, every week, “Sunday Night Football” were scheduled to air directly opposite the original 1983 broadcast of the series finale of “M*A*S*H” — the only nonfootball program to appear in the all-time Top 30 most watched. Under normal conditions, however, highlighting the fact that a football game is about to be televised for the American TV audience is an act equivalent to reciting the daily specials to a starving man.It is this unnecessity — the fact that it exists merely for its own sake — that makes the segment so moving. I don’t mean to imply that the opening sequence could compare favorably to, say, a sunset, which is likewise “beautiful” and “capable of reproducing itself in infinite variations”; I mean to say that outright. The tremble-inducing allure of the “Sunday Night Football” song surpasses nature’s awesome generative capacity. It is a spectacle that could only be conjured from a colossal amount of money.Tripp Dixon, the NBC Sports “VP of Creative” tasked with supervising this visual triumph, likens the sequence to an “airlock” designed to safely transition viewers from the grim reality of everyday existence to the high-octane fantasia of “Sunday Night Football.” In exchange for submission to the spectacular, “Sunday Night Football” promises a respite from all concerns.The sly genius of American football is that its accouterments — Super Bowl ads with feature-film budgets, stupefyingly cutting-edge bumper graphics — replicate, even or especially for those with no interest in football, the draw of football itself: a celebration of human aptitude and a diversion of attention away from anything more important. Through judicious application of Carrie Underwood and C.G.I. technology, the “Sunday Night Football” song offers a brief yet total respite from the horror of Sunday night.Caity Weaver is a staff writer for The New York Times Magazine. More

    • 138 Shares119 Views

      in Music

      Ginny Redington Dawes, Composer of Memorable Ad Jingles, Dies at 77

      by

      She collaborated on the melodies for signature commercials that sang the praises of McDonald’s, Coca-Cola and other brands.Ginny Redington Dawes, a songwriter whose compositions included memorable advertising jingles like the chipper McDonald’s declaration “You, You’re the One” and Coca-Cola’s boast that “Coke Is It,” died on Dec. 31 in Manhattan. She was 77.Her companion and only immediate survivor, James McCullar, said the cause was complications of hepatic cirrhosis.Ms. Dawes never became well known herself, but she helped maintain or boost the popularity of the products she promoted. And she insinuated infectious tunes into the nation’s repertoire that Americans whistled and hummed as much as the songs played on Top 40 radio.She hooked listeners with melodically and rhythmically catchy jingles that accompanied slogans for everything from Tide detergent to Hartz’s tick and flea-fighting pet collars, Kit Kat candy bars and Johnson’s baby powder.“When I’ve got a really great lyric,” she told Charles Osgood of CBS in a 1977 television interview, “I put a very simple melody to it.”Ms. Dawes started writing the music and lyrics for commercials in 1975 after the firm of Sidney E. Woloshin — who composed the original McDonald’s “You Deserve a Break Today” jingle in 1971 — was commissioned to do one for the chain’s new “You, You’re the One” advertising campaign.Mr. Woloshin invited about 20 jingle writers to submit proposals. Ms. Dawes produced the winning tune. Adopted by the ad agency Needham, Harper & Steers, it was suddenly everywhere.In 1979, she married a jingle-writing competitor, Thomas W. Dawes, whose credits included Alka-Seltzer’s “Plop, Plop, Fizz, Fizz” and “7Up, the Uncola.”They later collaborated on the music for, among other campaigns, American Airlines’ “Something Special in the Air” and the familiar “Coke Is It.” Mr. Dawes died in 2007.The jingle that underscored Coke’s claim to be “It,” introduced in 1982, was described as a “piece of dynamite” by John F. Bergin, the worldwide director of the Coke account at the McCann-Erickson agency.While David Ogilvy, a founder of the Ogilvy & Mather agency, was credited with the credo “If you don’t have anything to say, sing it,” Mr. Bergin argued that the musical accompaniment to the Coke commercial was anything but an afterthought. If soda drinkers paused to parse the ambiguity of what “It” was, the tune was intended to define the term and embellish it.“It’s like a football fight song,” Mr. Bergin told The New York Times. “Usually you get a languid ballad. We were looking for a big, bold sound, and a big, bold statement. This isn’t an ipsy-pipsy drink, and the music says that loud and clear.”The song, composed by Ms. Dawes and arranged by her husband, was one of 18 jingles and 36 proposed slogans presented to Coca-Cola executives to succeed “Have a Coke and a Smile.”The music and copy were tested separately in consumer focus groups and individual interviews until the agency and company reached a consensus that “Coke is it” was, indeed, it.Ms. Dawes also wrote pop songs, including “Hurtin’ Song,” recorded by Eddy Arnold, and “Love Don’t Live Here Anymore” (written with Rose Marie McCoy), recorded by Sarah Vaughan.She began her musical career as a singer, to glowing reviews.When she appeared in 1975 at the Coriander, a restaurant on Manhattan’s Upper East Side, John S. Wilson of The Times called her a “startling performer” who sang “in a deep, strong, beautifully controlled voice that is filled with vivid colors, as she moves from low, sexy passages to an open, lusty shout.”Virginia Mary Redington was born on May 13, 1945, in Brooklyn and raised in the Bay Ridge section of the borough. Her father, Joseph, was a naval architect. Her mother, May (O’Brien) Redington, was a teacher.Virginia attended Fontbonne Hall Academy in Brooklyn and graduated from St. Josephs College, also in Brooklyn, with a degree in English in 1966.She and Mr. Dawes — a founder of the folk-pop group the Cyrkle, best known for its 1966 hit single “Red Rubber Ball,” written by Paul Simon and Bruce Woodley of the Seekers — married in 1979 and, merging their talents, formed TwinStar Music to produce jinglesThe couple also wrote the book, music and lyrics for “The Talk of the Town,” a show about the fabled literary round table at the Algonquin Hotel, whose members included Dorothy Parker, Robert Benchley and George S. Kaufman. First produced in 2004, it ran nearly two years at the Bank Street Theater before it moved as a cabaret show to the Algonquin Hotel’s Oak Room.Reviewing the show for Bloomberg News, John Simon wrote that its music and wit matched “the infectious energy and sophistication of the real-life luminaries it is based on.”Ms. Dawes was also a collector of antique jewelry and the author, with her husband (who took the photographs) and others, of several books on the subject, including “The Bakelite Jewelry Book” (1988), with Corinne Davidov, and “Georgian Jewellery 1714-1830” (2007), with Ms. Dawes’s fellow collector Olivia Collings. More

    • 125 Shares189 Views

      in Music

      Movie Trailers Keep Tweaking Well-Known Songs. The Tactic Is Working.

      by

      Composers are increasingly in demand for trailerization — reworking existing tracks by artists including Kate Bush, Nirvana and Kendrick Lamar to maximize their impact in film and TV previews.David James Rosen’s work has been streamed on YouTube hundreds of millions of times. He’s played a crucial role in some of pop culture’s biggest recent moments. But few people outside of the space where the entertainment and marketing industries overlap know his name.As a composer, Rosen is at the forefront of the trailerization movement: He’s in demand for his ability to rework existing songs to maximize their impact in trailers for films and TV shows.He married vocals and motifs from Kate Bush’s “Running Up That Hill” to a thunderous version of the “Stranger Things” theme in the lead-up to the second volume of the show’s fourth season. He intertwined the Nigerian singer Tems’s cover of “No Woman No Cry” with Kendrick Lamar’s “Alright” in the teaser for “Black Panther: Wakanda Forever,” symbolizing the meeting of the franchise’s future and its legacy. He put a sinister singe on Taylor Swift’s “It’s Nice to Have a Friend” for the diabolical doll thriller “M3GAN.” He added cosmic drama to Elton John’s classic rock staple “Goodbye Yellow Brick Road” for the upcoming “Ant-Man and the Wasp: Quantumania.”As potential viewers are inundated with an ever-growing number of options, studios have limited chances to build anticipation for their projects. At the same time, technological advances have made it easier than ever for products to stand out. “People want their film to have its own identity,” Rosen said in an interview at a Los Angeles coffee shop. “The genie’s out of the bottle as far as the limitless ability to customize something for your film. Clients, studios, agencies, whatever, they all know that and like to take advantage of it.”Rosen spent his 20s playing guitar in the New Jersey band the Parlor Mob. After moving to L.A. in 2014, he got a job as the in-house composer at a trailer house — the specialized production companies behind these promos. Three years later, he co-founded Totem, a music library that creates custom tracks for trailers. Much of Rosen’s output is original compositions, but the ones that get the most attention are his overhauls.“Almost never does a song just drop into a trailer and work,” he said. “Maybe it needs to feel more epic or more emotional, or maybe it needs to feel subtler with things pulled away.”“I view it as a new life for a lot of these artists’ songs,” Rosen said of his custom work for trailers.Michael Tyrone Delaney for The New York TimesTrailerization is a relatively new term and the distinctions within it are malleable. There are reimaginations, which are usually instrumental covers by composers. There are overlays, where elements are added to a song in varying degrees. Then there are remixes, where the source material is distinctly altered, often to shift the context.Some distinguish between remixes and overlays by what the composer has to play with. If there’s a full set of stems — the separated digital parts that comprise a song — it’s a remix. If stems aren’t available, it’s an overlay.Occasionally composers will be asked to create “invisible overlays,” where they make adjustments that are imperceptible to most listeners but nudge a song toward a more wide-screen sound.The trailerization process is now so common that even when a trailer uses the film’s original score, it too will be adjusted. “Trailers are a mini version of the movie,” said Cato, the one-named composer whose credits include performing a system update on Vangelis for the “Blade Runner 2049” trailer and giving Guns N’ Roses an anguished-turned-pulverizing remix for Jason Momoa’s Netflix revenge film “Sweet Girl.”“You have to suck people into the theater and tell a story in two-and-a-half minutes,” Cato added. “That is so intense and builds so quickly that most music written for the actual movie will be way too long and drawn out.”IN THE PAST, trailers often relied on the scores of previously released films, but that practice has basically become verboten. Starting in the late 1970s, the composer John Beal pioneered original scores for trailers, but that required a recording studio full of musicians, making it a costly, resource-heavy endeavor. Today, with developments in software, it’s easier than ever to simulate those sounds.“I could sit at my computer at home and you wouldn’t know that there wasn’t a 100-piece orchestra there,” Rosen said. “You couldn’t do that 10 years ago.”Many point to the trailer for “The Social Network,” from 2010 — which featured a Belgian women’s choir singing Radiohead’s “Creep” — as the origin of what became the trailerization trend. Its success incited a deluge of trailers using slow and sad covers of well-known songs, usually featuring female vocalists. Recent examples include Liza Anne’s version of “Dreams” by the Cranberries for “Aftersun” and Bellsaint’s interpretation of R.E.M.’s “Losing My Religion” for the second season of the “Chucky” TV series.Sanaz Lavaedian, the senior vice president of music for the trailer house Mocean, said that when she entered the industry in 2011, there was still a lot of resistance from artists who didn’t want their music used for commercial purposes. Covers provided a workaround. Now, as more musicians are struggling to make a living, they’re often more open to trailers not just using their music but modifying it.“There were so many bands that didn’t think licensing was cool, so they never let us do it,” Lavaedian said. “Now they’re like, ‘Oh, we’re going to make half a million dollars on this? Nevermind.’”Many high profile trailerizations are applied to songs that are decades old: Remixes and overlays allow the trailers to tap into the nostalgia evoked by the original. “If we were able to remix an Elton John song or a Beatles song, these are iconic artists,” Lavaedian said. “The second you hear their voice, you know who it is, and there’s a lot of weight in that. More weight than if it were a cover.”The composer Bryce Miller’s big breakthrough came in 2019 with the “Godzilla: King of the Monsters” trailer, which featured his custom orchestral rendition of “Somewhere Over the Rainbow” atop images of kaiju carnage. His subsequent credits include a modernization of Blondie’s “Heart of Glass” for “House of Gucci,” an orchestral blend of the Rolling Stones’ “Paint It Black” and the “Addams Family Theme” for “Wednesday” and a haunting overlay for Nirvana’s “Something in the Way” in “The Batman” trailer.“As soon as I can get rid of dated-sounding guitars and drums, I can build a more contemporary production that is pulling from more pop music sounds,” Miller said. “Older recordings sonically are a little thin and lack the heft that so many contemporary songs have.”Unique remixes began appearing in trailers going back to the mid-2010s, but it wasn’t until the one for Jordan Peele’s 2019 film “Us” that studios and audiences began to really take notice. In the fresh interpretation, with its piercing strings and moody atmospherics, a celebratory weed rap by the Oakland duo Luniz became deeply unsettling.“Every once in a while we get one of those game-changer trailers,” Lavaedian said. The “Us” trailer “is taking a song and deconstructing it down to its bones and then constructing it again to do what that film needed it to do. It was kind of groundbreaking.”MARK WOOLLEN, THE founder of the trailer house Mark Woollen & Associates, specializes in award-season films and was responsible for that transformative “Social Network” trailer. New York magazine once called him “the uncontested auteur of the trailer era.”In a phone interview, Woollen noted that in contemporary trailers, omniscient narration has largely disappeared (that means no more hackneyed “In a world …” setups) and there’s less dialogue from the film. Trailers “can be more impressionistic and elliptical in their storytelling,” he said. “It’s more about creating a feeling in a lot of the work.”As a result, the trailer’s soundtrack has become increasingly crucial. “Music is sometimes 80 to 90 percent of the process to us,” Woollen said. “It’s trying to cast that right piece of music that’s going to inspire and dictate rhythm and set tone and inform character and story, and hopefully make an impression.”For Amazon’s recent love triangle “My Policeman,” Woollen used Cat Power’s “Sea of Love,” which has become a romantic favorite among aging millennials. Though Cat Power’s original interpretation was stripped down to just the singer Chan Marshall’s voice and strums on an autoharp, Woollen had a composer overlay swelling strings as the drama became more fraught.Rosen with two of his semi-modular analog synths. “Almost never does a song just drop into a trailer and work,” he said.Michael Tyrone Delaney for The New York TimesBeyond providing the vibes, a song is often selected for a trailer because the lyrics convey the film’s narrative themes. Woollen didn’t just select “Sea of Love” because it is mysterious and seductive. He was equally guided by the refrain “I want to tell you how much I love you” and the ambiguousness of who that “you” might be.In Marvel’s “The Ant-Man and the Wasp: Quantumania” trailer, as the heroes realize the size of the predicament they’ve gotten themselves into, the sound design emphasizes Elton John singing, “I should have stayed on the farm/I should have listened to my old man.”Deciding which song a trailer uses and how it’s employed can involve studio marketing executives, the filmmakers, the team at the trailer house and the composer. A trailer’s creation can take years and is often covered by restrictive nondisclosure agreements, preventing the people behind it from discussing the details of making it, even after it has been released.Because the material is so protected, the musicians rarely see the images that will be included in the trailer. Instead they have to rely on a music supervisor or creative director at a trailer house to guide them through inception and multiple rounds of revisions. “We’re literally dealing with billions of dollars in unreleased assets,” Lavaedian said of the footage from the films. “There’s no way we can send that to a composer.”UNLESS YOU KNOW where to look on the internet, the pieces made by trailer composers are largely uncredited, and sometimes contractually so. Trailerizations are created “to live exclusively in the trailer,” Rosen said. “They serve as a piece of marketing.”But that may be changing.When the agency Trailer Park approached Miller about doing a trailerization for the first volume of the fourth season of “Stranger Things,” he was told the general plot and tone of the episodes. He’d long wanted to do something with Journey’s “Separate Ways (Worlds Apart)” and it turned out the song was on the agency’s shortlist as well.After spending months on his ominous remix, it made it to the final stages of the approval process where the original musicians had to sign off. Steve Perry, the song’s singer, loved it and came to Miller’s studio to help construct an extended remix. Then he got Netflix to release both versions on the official soundtrack, with Miller’s name attached.Miller called Perry inspiring and a joy to work with. “He’s also like a runaway train. As soon as we finished ‘Stranger Things,’ he’s like, ‘What are we doing next?’” The pair collaborated again on a trailerization of Journey’s “Any Way You Want It” for the Hulu series “Welcome to Chippendales.”Where will trailerization at large head next? Recently, there’s been an interest in 1990s alternative rock hits, with remixes of Spacehog and the Toadies appearing in trailers for “Guardian of the Galaxy Volume 3” and “The Midnight Club.” In the promo for “Babylon,” the team of composers known as Superhuman created a Jazz Age-influenced interpretation of David Bowie’s “Fame” that’s almost as nutty as the film itself.With decades of material to work with, Rosen hopes the trend continues. “There’s more opportunity for creativity from me and other people,” he said. “I view it as a new life for a lot of these artists’ songs.” More