Name: Jeremy Peters
Title: Director of Creative and Business Affairs, Ghostly Songs
Panel: Sept. 15, 1:30 p.m. panel: Help Me Master: Legal Eagles Talk About Master Recordings and Publishing
What’s the last album you bought?
I actually just went record shopping here in Ann Arbor with one of Ghostly’s designers, and an amazing artist in his own right, Michael Cina. After culling thru the Jazz section at Encore Recordings, I picked up Charles Mingus’ “Tijuana Moods,” among other things. As for recently released stuff, I buy singles a good deal, but the last full length I bought was Matryoshka’s album “Zatracenie.”
Do you Twitter? If so, how often? What’s your Twitter name? And if not, why not?
I do. I probably update at least one of the many accounts I manage or tweet for at least once every 2 hours. I forewarn people that my personal account tends to be pretty political, since I try to stay involved in politics here in Michigan. My own account is @jeremypeters, but I tweet on behalf of @ghostly, @ghostlysongs, @quisci, and others too.
What’s the best use of music in advertising that you’ve recently seen?
It isn’t recent, but I always go back to the Sony Bravia spot that Fallon did with Jose Gonzales’s cover of the Knife’s “Heartbeats.” Such a beautiful marriage of music and imagery. Some might say it was overplayed, but I remember seeing that for the first time and actually forwarding it along to a bunch of my friends. I hadn’t been working in the music industry very long at that point but was blown away by how perfect the music supported the imagery. The product only makes an appearance at the very end, and only for a couple of seconds. I think it might be because I come from the label and publisher’s side of things, but I’m a sucker for when the visuals in a usage marry so well with the music that it is impossible not to like the spot (or usage in general). Usages where the music fits in organically and meshes well immediately make me sit up and pay attention.
At this moment in time, what most worries and encourages you about the music business?
I think that the same things that worry me are the same things, actually, that encourage me. The advent of digital music and the increasing spread of Internet access has made it possible for people in countries we’ll never market in to find out about our artists. Conversely, it makes it easier for people to not pay artists for their creative work. That point has been debated to death. What I think is that it has forced labels to innovate and cultivate, to provide services to fans. Without tooting our own horn too much, I think we’ve done pretty well at looking at new opportunities to provide fans with interesting and engaging ways to get music by selling art print albums, objects, limited editions, and creating ways for people to discover our catalog. I think it’d be good if more labels did the same thing across the board.
What is the most significant moment in the history of music and advertising?
I’m pretty sure that everyone may say this, but I think it has to be the Coca-Cola commercial from the 70’s that featured “I’d Like to Teach the World to Sing”. I wasn’t born until 1980 but I can still remember that ad, though I don’t know where in the heck I saw it.
Beatles or Stones?
Beatles, by far. I’ll probably lose friends (and hopefully not clients) for this, but I cannot stand the Stones. I’ve always seen them as a johnny-come-lately who played off of and calculated their moves based off of what the Beatles done (and I’ll admit, they did it well.) I studied music history at the University of Michigan, and am about 100% that I wrote a paper on this for my History of Rock and Roll class.