Sell out – a phrase that most artists equate with blacklisting from their devoted fans. In most occasions, selling out is an attempt by a performer to restart their career.
Whether they decide to dress down for the occasion (see Nelly Furtado later on) or do a collaboration with a "hip" artist that is half their age (see Madonna’s new attempt at staying hip, "Revolver" featuring Lil Wayne) – either way, it’s just bad news.
The latest edition to the ever growing list of sell-outs is a band that I am greatly devoted to – Death Cab for Cutie. With albums like Transatlanticism, and Plans, these Seattle rockers have come to be known as pioneers of their genre, comfortably straddling the line between mainstream success while still remaining genuine.
That was until lead singer Ben Gibbard and the rest of DCFC came to the conclusion that they need to stretch their horizons a little and contribute a song to cinema. Under most circumstances, I would be ecstatic, but in this case, it’s the worst possible scenario collected in two syllables – New Moon.
Contributing their aptly titled "Meet Me On the Equinox" to the film, DCFC hopes to broaden their fan base. Most often when a performer wants to sell their soul for more albums, they use the residual excuse of wanting to appeal to a new "demographic." So what’s the new demographic here, DCFC, tweens and housewives?
I know my pain will come to fruition when I see a 12-year old with a "Twilight" backpack sporting a Death Cab tee. Call me dramatic, but I’m going to turn around now so that Gibbard can remove the knife from my back.
Climbing aboard the sell-out express is Radiohead front man Thom Yorke who contributed his new single "Hearing Damage" to the film’s soundtrack as well. I ask now, why sell-out like this?
It’s not like Yorke is hard-up for fans. Radiohead’s 2007 release In Rainbows sold over 3 million copies – and please note that they were giving the album away for free on their website. This is just bad news, people, but there’s more, much more.
Hey, remember Nelly Furtado when she wasn’t gyrating in music videos next to Timbaland? I’ll give you a hint – once upon a time in the distant land of 2001, Furtado received worldwide acclaim for her infectious hit "I’m Like A Bird," garnering Grammy acclaim for the album it derived from.
Come 2006, Furtado released Loose, a compilation of sweaty club songs that make you want to take a shower after first listen. Are they catchy? Sure, but tell that to her album sales. This sans dignity compilation sold over one million less than her debut.
But not all fingers can be pointed at DCFC and Furtado. Their pathways from musician to sell out have been sculpted out by generations of musicians before her (see U2, Sheryl Crowe, the Rolling Stones and Green Day).
So, aspiring artists who plan on becoming worldwide sensations, but then have a falling out, followed by a voracious comeback—try to do so with a little dignity. Is it worth alienating your true fans when you are going to make less money?
I know time’s are hard, but come on, if Christina Aguilera can come back from "Dirrty," I think there’s hope for you all. So please, avoid tween films … or at least avoid Timbaland.