Stew Redwine: 0:00

This is Ad Infinitum. Ad Infinitum is the award-winning podcast solely focused on audio ads, the creatives who make them and or the latest thinking that informs them how the space is evolving. And, my favorite part, a roundup of recent audio ads with analysis by yours truly, Stew Redwine, and each episode's guest. Hello, it's Stew Redwine and you're listening to Ad Infinitum. Today we're handing the mic to the team at 20,000 Hertz to feature one of their episodes that I love Industrial Musicals. It's a sonic deep dive into a weird and wonderful world where companies like Xerox, ford and American Standard once commissioned full-blown Broadway-style productions, not for the public but for their own employees. And if you're thinking that sounds bonkers, you're right. But also maybe brilliant Music sticks, it moves us, it makes things memorable, it makes us feel.

Singer 1: 1:08

I feel all teeming inside.

Stew Redwine: 1:10

As Wayne Brady put it on a recent episode of Ad Infinitum, music is the best conveyor of message and comedy. When it works, it's catchy, and that's what you want as an ad. You want it to be catchy At Oxford Road. We've seen this firsthand.

Steve Young: 1:30

We once built a full-on miniature musical for a client I can't name, but I can play you just a sample.

Stew Redwine: 1:34

We also created a spot for Tommy John last year called Sending you a Message. Here's a little bit of that.

Steve Young: 1:43

Is it just me, or does it sound like the universe is sending a message?

Stew Redwine: 1:50

We're excited that that spot was accepted as a Mercury Award finalist for 2025. And we'll let you know if we ended up being a winner. The point is, you know, we're not afraid to take a swing when music can say it better. So, with that spirit, enjoy this episode of 20,000 Hertz. It's a celebration of music as a tool not just for expression but persuasion.

Dallas Taylor: 2:17

You're listening to 20,000 Hertz. I'm Dallas Taylor.

Amelia Tait: 2:22

Are we ready to go?

Dallas Taylor: 2:24

I'm ready and you have the big red light going.

Amelia Tait: 2:27

Yeah, it's going yeah.

Dallas Taylor: 2:28

Excellent. Recently I sat down with producer Amelia Tate. Okay so we're here to talk about industrial musicals today Dallas.

Amelia Tait: 2:41

Okay, Interesting. In fact, before I even explain what an industrial musical really is, I'd like to set a scene, if you wouldn't mind. I'd love for you to imagine that you're a salesman and it's 1972 and you work for Lipton Tees.

Dallas Taylor: 2:54

Okay.

Amelia Tait: 2:59

Are you in the mindset?

Dallas Taylor: 3:01

72, big hair. The color of the world is a little bit more just like brown, and I am selling tea.

Amelia Tait: 3:09

And it's not going that well. You know it's a hard gig. Your competitors are muscling in on your territory, so you go to the company's annual sales show and then you hear this but it's the lived and live, and I love it, I love it and live it every day.

Singer 1: 3:33

I love the lived and live and I'm glad of it. Sing it, fellas. I wouldn't have it any other way.

Amelia Tait: 3:46

I mean you're motivated, right.

Dallas Taylor: 3:48

I'm motivated, yeah.

Amelia Tait: 3:49

Yeah, you want to sell tea. I mean it's a hard job selling Lipton tea. So, in a nutshell, an industrial musical is a performance put on by a corporation for a purely private audience of employees. We are talking full-on musical theatre, with sets and costumes and singing and dancing and, most importantly, original lyrics about the company, its products and its workers. Here's a song called Making Profits by York Air Conditioners.

Singer 1: 4:22

Liability, working capital, profit, gross and net Making profits. With good finance you bet.

Amelia Tait: 4:34

These glitzy productions started in the 1950s.

Singer 1: 4:38

With the new Ford tractors, the future's looking fine. Now's the time to roll your sleeves up.

Amelia Tait: 4:44

Because if you rise and shine and they continued to be popular through the mid-80s Back to the future.

Singer 1: 4:52

A great petite future that starts right now.

Amelia Tait: 4:58

And it was designed essentially to kind of motivate people and move them and sometimes teach you a few selling tricks as well.

Dallas Taylor: 5:05

This is a wild, wild world.

Amelia Tait: 5:07

Yeah, I mean it goes so deep. So yes, I've got another little motivational ditty in the queue here for you, which is the 1963 song Xerox, the Name by Xerox, the Copying Company.

Dallas Taylor: 5:20

Are we back at a convention center, I guess?

Amelia Tait: 5:22

We're still in the convention center. Yeah, there's women kicking their legs high with red lipstick. Wow, motivating you, although I think this one sounds a little bit more like birds should be singing it in a Disney movie. Like it's a little bit more sweet.

Singer 1: 5:36

We're getting dizzy, dizzy, dizzy, being busy, busy, busy at the Xerox company. There's a crisis here a minute, but we're happy to be in it at the Xerox company.

Dallas Taylor: 5:52

I feel like it would be more shocking than anything. You know the hard life of a tea salesman and you're just like whoa. It'd be awesome if you give me like a three cent raise, but it's cool that you put on this very expensive production Right.

Amelia Tait: 6:04

I mean, that is the thing about these and why they're such a fascinating bit of history is that a lot of them were really big budget, bigger budget than actual Broadway musicals.

Dallas Taylor: 6:12

Wow, and it's just like for one performance.

Amelia Tait: 6:16

One performance yes.

Dallas Taylor: 6:17

You come home and you're gonna be like they put on a full on Broadway musical at the company meeting and everyone being like no, they didn't, you're exaggerating. No, they did and they like have to take that to their grave.

Amelia Tait: 6:32

But while some employees might have faced skepticism from their friends and family, others went home with Proof, a souvenir record with all the songs they'd heard that night. These albums were never intended to be sold to the public, but over the decades they found their way into garage sales and second-hand stores, and eventually people started to find them, or at least one person did.

Steve Young: 6:57

I have a very strange record collection which consists of records I was never supposed to own or listen to.

Amelia Tait: 7:04

That's Steve Young, a comedy writer and collector.

Steve Young: 7:07

There are musicals about selling and servicing diesel engines, the triumphs and tragedies of being a Coca-Cola bottler, the exciting year ahead for the marketing department at a sunscreen company, or kids' sneakers.

Amelia Tait: 7:23

Steve has been collecting these records for over 25 years, and today he's pretty much the leading expert on the genre.

Steve Young: 7:33

The full-fledged industrial musical seems to have come up in post-war America by the early 50s. You had Broadway musicals like South Pacific and Oklahoma that were enormous, popular, mainstream, middle-class entertainments.

Singer 1: 7:54

Oklahoma, where the wind comes sweeping down the plain.

Steve Young: 7:58

And gradually some people in the big corporations realized, you know, we could just borrow this entire form for our own purposes. This is going to be a great motivational, educational entertainment element for our conventions and our folks are going to be blown away by getting into the convention hall and seeing a musical about their lives and their work and they're going to be so fired up to go out and sell, sell, sell.

Singer 1: 8:36

Who else but Whirlpool could ever be First of all?

David Letterman: 8:38

in the industry. First with the products that serve so well, first with the features that sell, sell, sell.

Amelia Tait: 8:43

I think what I'm struggling to get my head around is what the plots were.

Steve Young: 8:47

Some industrial shows were reviews and you had just strings of songs and stagecraft to highlight different points.

Amelia Tait: 8:56

For instance, a refrigerator company might make a song to help their salesman remember the most important selling points.

Singer 1: 9:04

They've got features. To talk about Features, you should all remember Magnetic doors, revolving shelves, convenient things that sell themselves.

Steve Young: 9:18

But the most ambitious of these did go down the road of let's make a full book musical with a character and a plot, and oftentimes it was something about a McDonald's manager or an American Motors dealer who had kind of fallen into a slump and was gloomy.

Singer 1: 9:37

I manage a Kenny's shoe store. I do it every day.

Steve Young: 9:44

I do it every day and then something would happen, whether it was a sort of Dickensian ghosts of the past, present and future, to show how great the coming products were going to be in the marketing or some other jumpstart to make the main character and, by extension, everyone in the audience feel wow, I think I've got my mojo back. Pull yourself together. A Kenny manager's life is one of action.

Singer 1: 10:04

The audience feel wow, I think I've got my mojo back. We're so together. A kinny manager's life is one of action and with each sale there comes a satisfaction. So, despite the madness we must face each day being right on target is the only way Right on target is the only way, so it might be hard to pick no-transcript.

Steve Young: 10:32

Oh boy, yeah, that's hard Like oh, which of your children do you love the most? Well, anything from Diesel Dazzle is pretty great.

Singer 1: 10:39

Detroit. Diesel is dazzling. Diesel is dazzling. Diesel is dazzling now. Dazzling sales, dazzling growth.

Steve Young: 10:48

The other one that you always have to mention is the crown jewel. Just in terms of conceptual craziness as well as quality. Just in terms of conceptual craziness as well as quality. American Standard, the plumbing fixture company, put out a musical in 1969 to get the plumbing fixture distributors fired up about bathroom remodeling, and it's called the Bathrooms Are Coming, and the song that I call the gateway drug of this whole genre is called my Bathroom.

Amelia Tait: 11:18

Oh yeah, so here we go. This is my bathroom from 1969's. The bathrooms are coming.

Dallas Taylor: 11:23

My bathroom, my bathroom, oh god this is this is amazing is a private kind of place.

David Letterman: 11:31

Sure is very special kind of place.

Dallas Taylor: 11:35

Sure is.

David Letterman: 11:36

Very special kind of place.

Steve Young: 11:44

It's a woman just singing this confessional song about how the bathroom is where she can be herself and feels free and feels at peace in a troubled world.

Singer 1: 12:02

Now at last I can you tell me a little bit when?

Dallas Taylor: 12:15

I wash and where I cream.

Amelia Tait: 12:20

So can you tell me a little bit about how you did first hear these and how you first got into collecting industrial musicals?

Steve Young: 12:26

I was a writer for Late Night and then Late Show with David Letterman.

Singer 1: 12:31

From New York, the greatest city in the world. It's the Late Show with David Letterman.

Steve Young: 12:39

And one of the bits on the show was called Dave's Record Collection, in which Dave Letterman would hold up real, unintentionally funny record albums and we'd hear a sample. He'd have a snarky remark.

David Letterman: 12:51

Ronald McDonald visits America. Let's listen to a little bit of this. Hi there, I'm Ronald McDonald, and you and I are about to discover America. Together, we'll visit all the states and travel thousands of miles, and then we'll find out what a clown smells like after six days in a van.

Amelia Tait: 13:11

At the time, part of Steve's job involved going to record stores and thrift shops to look for more weird records to play on the show, and digging through those dusty record bins, he came across something strange.

Steve Young: 13:25

I began coming back from my hunting expeditions with these mysterious corporate souvenir records and I just thought this is comedy gold before we've even heard one second of the audio.

Amelia Tait: 13:38

But once he did start listening, it felt like he had discovered a secret portal to another dimension. It was this quirky chapter of American history that no one seemed to know about or remember. On top of that, the songs were often surprisingly good.

Steve Young: 13:54

You would think they would just be sad and ridiculous and some of them were not so great, but a few of them really got my attention because of the production value and the talent and just the catchiness of the songs.

Singer 1: 14:06

My insurance man.

David Letterman: 14:08

Is that what they call you?

Singer 1: 14:10

My insurance man. Is that what they say? Are you sure that you're recognized as the man who's organized To make the most of every?

Amelia Tait: 14:19

single day. Soon enough. Steve was hunting down these records everywhere he could.

Steve Young: 14:26

I started going to record shows, networking with other record collectors and dealers. It was very, very slow because almost no one knew that these records existed.

Amelia Tait: 14:36

But that scarcity just made these albums even more enticing. So Steve kept tracking them down. Today he has over 200 of them. This is my absolute favorite one, the one I want to play you next. I asked Steve what he thought was the weirdest one, and he told me about BF Goodrich, the tire dealerships 1979 industrial musical which was called the Great Life. I'm just going to say it because it's so amazingly dumb. A tire dealer makes a deal with the devil.

Dallas Taylor: 15:07

Oh.

Amelia Tait: 15:07

And he's going to lose his soul and his tire dealership if he doesn't sell enough tires in a month.

Dallas Taylor: 15:14

That is dark.

Amelia Tait: 15:15

It's dark right.

Dallas Taylor: 15:19

Oh, time's running out to sell tires. He's got tires to sell, oh gosh, he's got tires to sell.

David Letterman: 15:30

If he doesn't sell them, the tires will sell.

Dallas Taylor: 15:33

That's terrifying If he doesn't sell them the tires will sell 5, 10, 15 in these people to sell tires.

Amelia Tait: 15:47

I mean it's interesting because this is 1979. So maybe you know we've had about 20 years of industrial musicals by this point. Maybe they're like the happy clappy stuff didn't work, let's go straight for the threats of hell. They're like look we need to sell tires.

Dallas Taylor: 16:00

What do we do?

Amelia Tait: 16:01

Yeah.

Dallas Taylor: 16:02

Oh yeah, threaten their eternal damnation. Note the BF Goodrich company has never explicitly threatened employees with eternal damnation for not selling enough tires.

David Letterman: 16:09

There's a job I've gotta do if I'm gonna hold my own. Gotta sell a load of tires. Gotta hit the road for home. I've made a crazy deal and it's really been a thrill, but the piper will be paid and it's not your average bill.

Amelia Tait: 16:25

Sometimes the salesman's wives were also invited into the audience, which did mean that some of the songs were actually kind of geared towards them.

Dallas Taylor: 16:32

I bet this is going to be culturally dated.

Amelia Tait: 16:35

Yeah, yeah, it's a little, so here is An Ex-On-Dealer's Wife from 1979.

Dallas Taylor: 16:43

Oh.

Singer 1: 16:43

Yeah.

Dallas Taylor: 16:48

Yeah, she is.

David Letterman: 16:58

It's true.

Amelia Tait: 17:02

Steve started his record collection because he found songs like this hilarious. But as he delved deeper and deeper into this world, he realised that there was a lot more to it than he expected. First, steve co-wrote a book about industrial musicals. Then filmmaker Dava Wisenant made a documentary about them, with Steve as the main subject. These projects brought Steve into contact with the people behind this music and hearing their stories changed everything.

Steve Young: 17:34

What started as just a snarky can you believe this is for real morphed over time. I started tracking down writers and performers who'd done these shows and I learned about their lives.

Amelia Tait: 17:48

For more than 25 years, Steve Young has been hunting down recordings of industrial musicals, and as his collection grew, he decided he wanted to share it with the world. So in 2013, Steve co-wrote a book called Everything's Coming Up Profits the Golden Age of Industrial Musicals. Along with the book, he compiled three collections of these songs and put them online. A few years later, filmmaker Dava Wisenant made a documentary called Bathtubs Over Broadway about Steve's journey with this music. The film even features original industrial musical-esque song and dance numbers.

Singer 1: 18:28

CEOs, profits and sales with top hats and tails. Corporate music, corporate musical show.

Amelia Tait: 18:43

Through the documentary, steve finally got to meet the people who made the music that he'd been listening to for decades. For instance, he met composers like Hank Beebe and Sid Siegel, who worked on a bunch of these shows. Sid wrote the industrial musical gateway drug my Bathroom. And here's a song that Hank wrote for a General Electric production called Gotta Investigate Silicones.

Singer 1: 19:07

I heard them say that silicones provide protection from the heat and, in practically the same breath, from the heat and in practically the same breath. I heard them say that silicones provide protection from the cold.

Amelia Tait: 19:28

For Steve, meeting the guy who wrote the silicone song was like meeting a rock star.

Steve Young: 19:35

I worked at the Letterman Show for 25 years and there were famous people coming on the show every day. I generally didn't go out of my way to try to meet them, even though I might have liked their work. But boy was I excited when I finally got to meet Sid Siegel or Hank Beebe, People who I felt were maybe not well known in the world or not known at all, but I knew their work and I wanted to hear more about their stories.

Amelia Tait: 20:00

But for these artists, Steve's enthusiasm came as a bit of a surprise.

Steve Young: 20:06

When I would track someone down, there was confusion. How can you possibly know about the diesel engine show or the standard oil show or whatever? Simply know about the diesel engine show or the standard oil show or whatever. They were so sure that no one in the outside world would ever hear about this or talk about it.

Amelia Tait: 20:22

Here's composer Hank Beebe in the documentary.

Stew Redwine: 20:26

They were never publicized, there was no advertising, there were no tickets sold or anything like that.

David Letterman: 20:31

It was like we were CIA agents.

Steve Young: 20:33

There was also worry because I was the comedy writer from the late night TV show. Oh no, are we about to be made fun of? Are we being set up somehow to be mocked?

Amelia Tait: 20:45

But Steve didn't want to mock these artists. He wanted to celebrate their work and learn what inspired them to do it. Here's a clip from the film of actress Pat Stanton-Giornola, the singer of my Bathroom along with co-star Sandy Freeman, I think we knew that we weren't going to become stars doing this, you know but, it was just a wonderful way to pay the rent and to continue doing what we love.

Steve Young: 21:11

There's so many that said we only had one setting use all our talent and make it as great as it can be, even if it's a lawnmower show that's going to be heard once at 8am in a hotel ballroom, because that's just the reason they got into this world of work was because they enjoyed making things great.

Amelia Tait: 22:12

Some industrial musical composers actually went on to become quite famous. Sheldon Harnick and Jerry Bock wrote Ford's 1959 musical Fordify your Future.

David Letterman: 22:22

Go fast, go slow you'll be shifting on the go. Here is any speed for any need. Here is any speed for any need.

Amelia Tait: 22:36

A few years later, these same composers went on to write songs for Fiddler on the Roof, Matchmaker, matchmaker make me a match, find me a fine, catch me a catch. But most of these composers never found mainstream success or appreciation.

Steve Young: 22:59

When the documentary came out, hank Beebe said when I used to do industrial shows in New York I was called the king of the industrial shows and it was meant as an insult because it was seen as not legitimate work and certainly not worthy of the respect of the Broadway world.

Amelia Tait: 23:17

These artists might have been ignored or even mocked by their mainstream peers, but when their work was heard by the right people, it could really move them.

Steve Young: 23:26

I've heard stories from veterans from this field saying they would be in the wings watching the audience and seeing tears streaming down the faces of salesmen and managers. Just the feeling that somebody gets it. Somebody knows what we're up against out there in the field.

Amelia Tait: 23:47

These songs were made for a very particular time and place, but some of them can still resonate today.

Steve Young: 23:54

There's one from the Detroit Diesel Engine Show called One man Operation, sung by a woman who is recounting how her husband was the sole proprietor of this diesel engine business and he was running himself ragged Work days holidays.

Singer 1: 24:12

They all became the same 18 hours every 24.

Steve Young: 24:21

15 hours every 24. 50 years later, people who have no connection with this world of what the company was doing still can feel that human drama coming out of these songs when they're done right there for the longest, while I never saw him smile.

Singer 1: 24:40

Now his smile is what he's famous for.

Dallas Taylor: 24:46

The thing that is the most surprising is just how objectively incredible some of this musicianship is. I mean even the one that's real creepy about sell, sell, sell, or you know.

Amelia Tait: 24:57

Or you'll go to hell.

Dallas Taylor: 24:58

Yeah, even that one is. It reminds me of just an incredible, you know Broadway musical.

Amelia Tait: 25:03

Yeah, I mean. It's interesting though, because I had that discussion with Steve, which is can corporate art be art?

Steve Young: 25:11

I think we're at the point in history where we don't automatically disqualify something from respect just because of its commercial origins. I tell people, for example, that Michelangelo did not paint the Sistine Chapel ceiling because it was a hobby or a passion project. Although he may have been passionate about it, he was doing a corporate messaging gig for the most powerful corporation in the world.

Amelia Tait: 25:42

Sadly, Sid Siegel passed away in 2015 and Hank Beebe died in 2023. But Steve is grateful that he got to know them and that he could bring some attention to their work while they were still alive.

Steve Young: 25:57

These people became my friends and mentors and in some cases even collaborators. They got to look back from a different perspective on their own careers and it was a great vindication for them. Sometimes someone like Hank or Sid would say you know, until you came around I hadn't listened to that Ford truck show or whatever, in 40 years, and I pulled it out last night. It was very good, wasn't it? And now people who weren't born when any of that happened are listening to the General Electric silicones songs or the diesel engine songs and thinking this is crazy, but it's also really very good. And he just never thought that there would be any respect and it felt great to see that respect coming in for these folks.

Amelia Tait: 26:53

So what happened to the industrial musical? Why isn't your company commissioning one for your next sales meeting?

Steve Young: 27:00

It ran pretty well for several decades, I would say by the early 80s it was no longer a novelty and you had a different generation of people in the workforce who did not necessarily grow up thinking musical theatre was cool. So you had some rock and roll, industrials and disco.

Stew Redwine: 27:19

Good morning dance fans and welcome again to 79 Fever, the world's first sales meeting with a disco beat. There's not one other office furniture manufacturer that hustled through 1978 the way we did.

Steve Young: 27:35

But the wheel was turning and the golden age I call it was really done by the mid 80s.

Dallas Taylor: 27:42

I immediately think that it must be a million times easier just to bring in an established artist, instead of making a whole production from scratch.

Amelia Tait: 27:50

Right, I mean, that's probably what they do now. Right, like Beyonce will do a private corporate gig.

Dallas Taylor: 27:55

Yeah, I saw like a clip from somebody's cell phone of Kevin Hart doing something for the Walmart corporate event.

David Letterman: 28:00

Well, right now, man, I want to say good morning Walmart.

Singer 1: 28:05

Good morning, wow, wow.

Amelia Tait: 28:16

In the modern era, industrial musicals are critically endangered, but they're not totally extinct.

Steve Young: 28:23

It continued into the 21st century and has never completely gone away. I know State Farm Insurance has continued to do big musicals every couple of years.

Amelia Tait: 28:35

So Walmart did one in the early 2000s, which. I am desperate to listen to, but do not have any evidence of online, sadly.

Dallas Taylor: 28:45

See, because somebody at Walmart went, there's this thing called the internet, that's really blowing up. And maybe we just keep it right here.

Amelia Tait: 28:53

We don't record it. Yeah, after bathtubs over Broadway came out, some of these companies started reaching out to Steve.

Steve Young: 29:01

I did one not too long ago where a production company said we think we can convince this pharmaceutical company to do a musical opening number at their big sales meeting. Would you be interested in working on that? And I said you bet I would. I've been training for 25 years for it.

Amelia Tait: 29:22

Industrial musicals were almost lost forever, but Steve has now ensured that they can be discovered and enjoyed by an entirely new generation. So why has he put so much hard work into preserving this forgotten corner of pop culture?

Steve Young: 29:39

Because these shows were so ephemeral they were really meant for one specific time and place and it had such a short shelf life. Nobody thought it had any value beyond that one event, and I said I think it does have value. Maybe I'm a weirdo Well, we're quite sure I am actually but I think there's something even more beautiful about these things because they are so unselfconsciously of a moment, for a purpose, and yet are made with great craft and precision, and so I just love that they exist and that I found them and that I am still listening to them decades after they were supposed to be forgotten 20,000 Hertz is produced out of the sound design studios of DeFacto Sound.

Dallas Taylor: 30:43

Find out more at defactosoundcom.

Amelia Tait: 30:46

This episode was written and produced by Amelia Tate.

Dallas Taylor: 30:50

It was story edited by Casey Emmerling. With help from Grace East.

Singer 1: 30:54

It was sound designed and mixed by Brandon Pratt.

Dallas Taylor: 30:57

And Jesus Arteaga. Thanks to our guest, Steve Young. These days, Steve tours the country doing shows that include live music, storytelling and exclusive clips from long-lost industrial musicals. Learn more at steveyoungworldcom. In the show notes you can find links to bathtubs over Broadway, as well as three albums of these crazy songs, and if you know someone who would get a kick out of this episode, then tap that share button. I'm Dallas Taylor. Thanks for listening.

Stew Redwine: 31:29

That was 20,000 Hertz and their episode Industrial Musicals. It's easy to laugh at singing salespeople and odes to bathroom fixtures, but it's harder to dismiss how powerful these productions really were. People remembered them, they were moved and they sold more product because they were so inspired. The question for us decades later isn't why did they do that? It's why did we stop? It's time let's bring back the industrial musicals, or at least maybe bring them to some more advertisements. You see them pop up. They tend to come in waves, they come and they go like 3D in the movie theaters. So consider it. You want to write a musical for your product or service? We would love to help over here at Oxford Road. Thank you for listening. This is Ad Infinitum and remember to have fun and maybe sing a little bit when you're making the ads work.