SXSWorld
Issue link: https://sxsw.uberflip.com/i/654465
4 6 S X S W o r l d | F I L M / I A M A R C H 2 0 1 6 | S X S W. C O M Selling out" was once a concept that many musicians both- ered with. Back in the '90s, when artists influenced by punk rock sensibilities could top charts and shape culture, the idea that a young band would license its music for com- mercials, accept corporate sponsorship or partner with brands was extremely uncool. That it was also a time when records sold signifi- cantly more copies than they do now also meant that artists didn't need to be on the constant lookout for additional revenue streams. These days, of course, any sort of stigma around the idea of being a sellout for working with a brand is long gone. If you can get paid and introduce your music to new listeners by licensing it to an ad, nobody is going to question your integrity. The old idea that accepting money from corporations that released CDs or played music videos was acceptable, while taking money from corporations selling clothes or snacks or cars was an artistic viola- tion, was a luxury of a time when debates about authenticity could have arbitrary rules. But this doesn't mean that authenticity itself is a dead concept. "Our 'Live In Levis' campaign is really kind of centered around the idea of living your life, and being who you are—of authentic self- expression," Chris Jackman, VP of Levi's Global Brand Marketing, explains. "Authenticity and originality are major pillars of what we do, so we see musicians as living embodiments of this concept." Levis works with a number of musicians and artists, and cites "authenticity" as the chief factor in determining which to choose as partners. "A partnership works best when both sides want to engage together, so we look for artists who are already looking for the same sort of partnerships that we are—we prioritize artists who are already fans of Levis, for example," Jackman says. "We want artists who have personal style, are freethinking and iconic, who pave their own way musically." The idea that freethinking, iconic artists who pave their own way would be looking for Levis or Vans as a partner might rub some old punks the wrong way. But then again, Iggy Pop, one of the most iconic, freethinking artists in rock and roll history, is comfortable with the idea of brand partnerships, if it's authentic to what he's doing. Brooke Burt, Vans' Programming Manager for the House of Vans, says that her favorite moment working with musicians involved Iggy's SXSW moment in 2013, when the punk rock icon and one-time Stooges frontman played the House of Vans event. "When Iggy Pop performed at Mohawk, that was a huge moment," Burt says. "Iggy wears Vans, he's always been a strong informal ambassador of Vans, and we've always had a relationship with him. Those special moments where fans can see artists who are a part of our brand's fabric in a smaller, intimate space, and showcase those relationships, those are huge." Like Levis, Burt says that Vans seeks the musicians it partners with organically. "Since Vans began, we've made the shoes for surfers and skaters, and just by nature, a lot of these people are musicians. It's not even a brand strategy—it's more part of our DNA," she says of working with artists. "We pick who we like and who we want to sup- port—the whole Vans identity and punk rock really came together naturally, because the kids who were going to punk shows or in punk bands were also skateboarders." One of the most famous brand/musician partnerships similarly came about organically. Run-DMC cut "My Adidas" in 1986, an ode to the shoes they wore and what they meant to the rappers. Within a year, Run-DMC were the first rappers to sign a multi-million dollar endorsement deal, and Adidas began a relationship—and a his- tory of partnering with rappers on limited-edition sneakers—that continues. "Our partnership with Run-DMC is very active to this day," Adidas Creative Director Paul Gaudio says. "It ushered in a new era of brand partnerships that wasn't dependent on sports culture, and it pio- neered a change in the way brands and consumers interact with one another." These days, Adidas boasts the Yeezy line from Kanye West, a col- laboration with Pharrell Williams and maintains an ongoing project to keep adding to their roster. "We're a brand that allows creators to create, and we wholeheartedly believe that creativity comes from col- laboration," Gaudio says. "So we're constantly partnering with both high-profile artists and yet-to-be-known dreamers." That all matters, as the future Kanyes, Run-DMCs, and Pharrells— or Iggy Pops, for that matter—are looking for new systems through which to reach their audiences. Two or three decades ago, the idea that those systems might have involved selling people shoes or clothing might have given some artists fits. At this point, though, it's just a creative business decision. T SXstyle programming continues through 7pm today (Sunday, March 13) at the Westin Hotel, 3rd Floor (310 E 5th St). House of Vans returns to the Mohawk (912 Red River), starting on Tuesday. See schedule.sxsw.com for more details. Lifestyle Brands on Leveraging Bands and Fans by Dan SoloMon " R YA N K O B A N E To ry La n ez s h owca s i n g a t SX S W 20 1 5 H ou s e of Va n s