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Selling “David Bowie”

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Abstract In his 1987 “Creation” advertisement for Pepsi, David Bowie alters the lyrics to the hit “Modern Love,” inserting “Now I know the choice is mine” into the chorus. Though the change echoes Pepsi’s own “Choice of a Generation” tagline, it also illustrates the oddity of Bowie’s choice to move into commercials. At this point, Bowie was a wildly popular and financially successful musician, on the heels of hits Let’s Dance and Tonight: This move to ads was a strategic choice rather than a necessity. Beyond monetary considerations, why bother to embrace high-profile advertising now? This chapter argues that commercials, like music videos, costumes, and interviews, served Bowie as a vehicle for reinforcing his star image on a very public stage. In ads from 1968 to 2013, Bowie embodied his current persona, entering people’s homes through their television as well as their radios. This chapter will analyze his 1987 Pepsi spot (“Modern Love”), 2011 Vittel ad (“Never Get Old”), and 2013 Louis Vuitton short (“I’d Rather Be High”) to illustrate the consistent shaping of public image Bowie executed through advertising.
Title: Selling “David Bowie”
Description:
Abstract In his 1987 “Creation” advertisement for Pepsi, David Bowie alters the lyrics to the hit “Modern Love,” inserting “Now I know the choice is mine” into the chorus.
Though the change echoes Pepsi’s own “Choice of a Generation” tagline, it also illustrates the oddity of Bowie’s choice to move into commercials.
At this point, Bowie was a wildly popular and financially successful musician, on the heels of hits Let’s Dance and Tonight: This move to ads was a strategic choice rather than a necessity.
Beyond monetary considerations, why bother to embrace high-profile advertising now? This chapter argues that commercials, like music videos, costumes, and interviews, served Bowie as a vehicle for reinforcing his star image on a very public stage.
In ads from 1968 to 2013, Bowie embodied his current persona, entering people’s homes through their television as well as their radios.
This chapter will analyze his 1987 Pepsi spot (“Modern Love”), 2011 Vittel ad (“Never Get Old”), and 2013 Louis Vuitton short (“I’d Rather Be High”) to illustrate the consistent shaping of public image Bowie executed through advertising.

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