{"id":792495,"date":"2019-01-29T10:54:20","date_gmt":"2019-01-29T17:54:20","guid":{"rendered":"https:\/\/www.rollingstone.com\/?p=785729"},"modified":"2019-01-29T10:54:20","modified_gmt":"2019-01-29T17:54:20","slug":"cosmo-sheldrakes-come-along-proves-apple-commercials-are-still-minting-hits-after-all-this-time","status":"publish","type":"post","link":"https:\/\/alwaysmountaintime.com\/ksmt\/music-news\/cosmo-sheldrakes-come-along-proves-apple-commercials-are-still-minting-hits-after-all-this-time\/","title":{"rendered":"Cosmo Sheldrake\u2019s \u2018Come Along\u2019 Proves Apple Commercials Are Still Minting Hits After All This Time"},"content":{"rendered":"
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One, two, three, four, tell me that you love me more<\/em>
\u2014 Feist, 2007<\/p>\n

Since the debut of the iPod in the early 2000s, Apple<\/a> has been a singular driving force in the music industry. Most of that power stemmed from Steve Jobs\u2019 pocket-sized music player and its attendant iTunes Store, a two-handed\u00a0assault on The Way We Buy Music that made things more convenient, but significantly lowered the margins on The Way We Make Money On Music.<\/p>\n

A much more modest way that Apple has changed the music industry is in\u00a0its role as a surprisingly consistent tastemaker. Since the launch of the iPod there have been iPod commercials, and those commercials needed jaunty soundtracks which Apple \u2014 a company that famously produces most of its marketing materials in-house \u2014 seems downright thrilled to find, license, and make overwhelmingly popular through the sheer muscle of their ad buys. Feist, Yael Naim and U2 all benefited from key placement in Apple commercials (the latter, famously, also got a surprise album release on every new iPhone in 2014 \u2014 a generous act that made sure millions could hear the best album of that year<\/a>).<\/p>\n