ompanies are lining up around the block this year to take part in the coolest trend to hit corporate America since "creative accounting": competing to see who can co-opt the most inappropriate pop anthem for their advertising campaign.

Hip companies everywhere stood up and took notice in 2004, when Carnival Cruise Lines kicked off this latest run on large-scale irony by snatching up Iggy Pop's heroin anthem "Lust for Life" for use in ads for their overweight middle-aged vacation cruises. While Carnival claims not to discriminate against guests based on whether or not they can make it through a buffet dinner without a fix of smack, most physicians recommend against combining heroin and shuffleboard.

"Disregard for artists is back," explained corporate trend-watcher Trevor Hamilton. "In fact, it's red hot."

Hamilton followed his comment with an embarrassing "-pssssss- ow!" burnt-finger gesture that we only mention because we don't like him.

Cadillac scored a major coup when they landed the Led Zeppelin classic "Rock 'n Roll" to advertise their old fogey cars. Industry observers consider this to be an especially cool victory for GM, since aside from the disorienting clash of associating rock music with land yachts, the song's lyrics are also quite clearly about sex, something most Cadillac drivers have foregone for years in favor of golf.

Others point to the brilliance of the Gap landing AC/DC's classic "Back in Black" for their ads, a song by a metal band with incredibly awful fashion sense, even for Australians.

However, few can top the catastrophically cool usage of Bob Dylan's seminal "The Times They Are A Changin'" by the Bank of Montreal in 1996, recasting a song about the dissolution of old power into an anthem for money management.

"A bank? A freaking bank?" gushed Hamilton, wetly. "That's just brilliant! That's like getting a Rage Against the Machine song to advertise duck pate."

Particularly popular this year is the use of sexually inappropriate tunes for advertising products aimed at small children. Advertising executives express their admiration for a recent spot using Salt N Pepa's raunchy sex come-on "Push It" to sell orange creamsicle push-pops, and another that featured Power Station's stiff-dick anthem "Some Like it Hot" in an effort to sell Hot Pockets.

Other upcoming salvos in the war for the most jarringly inappropriate corporate anthem include the Clash's "Lost in the Supermarket" to be used in an upcoming ad for Albertsons, a soon-to-be-released recruiting ad for the U.S. Army featuring Bruce Springsteen's "Born in the U.S.A.", The Police's "Every Breath You Take" being used to hock the Apple iCam webcam, and Disney's continued misuse of the Guns n' Roses drug and prostitution saga "Welcome to the Jungle" for the DVD re-releases of Bambi, the Lion King, The Jungle Book and Tarzan.

As of press time, definitive word could not be reached as to whether or not President Bush plans to jump on the bandwagon, switching his presidential theme song from R.E.M.'s "World Leader Pretend," to something more inappropriate, like Bill Withers' 1972 hit, "Lean on Me."

Several Newscasters Fired for Reporting Death of Don Ho

5 Million White House E-Mails Missing, All About Low-Cost Cialis

Sanjaya Unites Indian Fans, People Who Hate American Idol

IRS: Excessively Needy Girlfriends Can’t Be Declared “Dependents”

While your average American gives no thought to the complicated world of politics, concerned more with trivialities such as "Will my job survive the year?" and "How can I afford to keep my family medically insured?" the think-tankers in the upper echelons of the U.S. government are asking only one question: "Is Saddam Hussein alive, and if so, where is he?" Yes, if you check, that's technically only one question, hence the single question mark.

The short answer is: No. But wait! Before you think I've become boring in my old age, I haven't cracked your brain with the baseball bat of conspiracy yet, and I assure you there is more to the Saddam Hussein story than you've considered before. And always more than they're telling you.

The reason Saddam Hussein is no longer alive is that he was never alive. Saddam Hussein, was, is, and always has been nothing more than a computer program. Surprised? Good, I say. You don't think I hold off on telling you all this shit simply because it slipped my mind, do you? I get my jollies watching your jaw drop, friend.

Has anyone ever seen the movie Virtuosity? Of course not. Some would chalk this up to the film being predictable and fairly empty of any real enjoyment, but I say this underestimates the part played by the American government to make the movie go unseen. The film is a roundabout way to propose that many of our society's villains are nothing more than distracting computer creations, and it took a lot of government operatives countless hours to make the film so utterly forgettable as to slip through the box office cracks unnoticed. But there was good reason for all the time spent doing so.

If we open ourselves up to the possibility that one villain is really just a souped-up Atari made to look like Russell Crowe doing a decent American accent, where do we stop questioning everything? Consider this: Have you ever been in a room with Saddam Hussein, the actual man? I didn't think so. That should make it abundantly doubtful a real Saddam Hussein even exists.

Everyone knows Iraq was only targeted by the military for one reason, and that's oil; this is only up for debate by people who enjoy deceiving themselves about everything, such as the government has only altruistic motives, or J.A.G. is a really good show. In fact, whenever you hear a government official say they want to bring democracy to another country, it should automatically translate as they have natural resources vital to our economy and are holding out. Hence we decided to bring democracy to Iraq, in exchange for barrel upon barrel of yummy oil.

Of course, Iraq was a foreign culture and has virtually no strategic value, following that we have no enemy after the Soviet Union dismantled and had no strategy against no enemy. The original leaders of Iraq, looking pretty dopey and smiling all the time like they just squeezed out a silent fart, weren't much motivation for the American people to go to war. So the U.S. war machine created the Saddam Hussein computer program, based an old Abbot & Costello routine beloved by Sec. Jim Bakker. "Who's in charge of Egypt?" "Hussein." "I'm sayin', I want to know." Love that one.

But if you build a computer program too good, as any hack movie producer knows, it can develop its own intelligence and decide to take things over. Which is exactly what happened when we installed the Saddam Hussein program on Iraqi Amigas. Pretty soon we did have a Saddam Hussein threat to overthrow—our own. He even generated independently more pictures of George Bush's Uncle Herb in full Iraqi military guard and had him doing ridiculous Herb-like things, such as waving a shotgun around or reading threatening messages to the U.S. government in great big glasses from his underground bunker.

Keep in mind, I still think the Saddam Hussein program is a threat, and if one mainframe carrying the program survived the Baghdad bombing, the danger remains. But all of this could have been dealt with much quicker and efficiently by planting a virus in the Iraqi intranet, or installing Windows 2000 on one of the network computers.

º Last Column: Roll On, Columbia
º more columns

It's a question that I get asked on a nearly daily basis, and understandably: just what in the hell was wrong with American music in the 1950's? History has it that the 1960's were the decade of recreational and experimental drug use, citing such examples of delusionary flakery as Jefferson Airplane's White Rabbit, The Beatles' I Am the Walrus and Gregg Allman's hair. And while I wouldn't argue against these as prime examples of pharmaceutical excess, they pale mightily in comparison to the near-psychotic mutant trend of late-50's doo-wop music. John Lennon may have envisioned Mean Mr. Mustard dripping from a dead dog's eye, but even this game of Clue gone horribly wrong looks downright pedestrian next to a jabbering psychopath questioning who exactly put the ram in the rama-lama-ding-dong.

Like a drugged-up visitor from deep space, doo-wop appeared seemingly out of nowhere, holing up in the chests of America's great pop stars in the late 50's and early 60's. From this parasitic enclave it communicated with the world through a bewitching combination of di-dits, bompa-bomps, ding-dangs, shooby-doos and doh-dohs. Why did it come, and what was it hoping to communicate to us? Nobody knows, though our best guess is that it had to do with seeking therapy for a stuttering problem.

The earliest known recording of the mutant doo-wop style was the Orioles' 1948 tune It's Too Soon To Know. During the recording of what was, by all reports, a fairly normal song, lead singer Sonny Til suffered the massive variety of nervous breakdown and began singing rhyming gibberish vaguely related to his ex-wife winning custody of their home and the recent transmission failure of his Oldsmobile. Fearing for their own lives, the band continued to play and discovered to their dismay that when they had finished the take they were at the end of their studio time. As was a common practice at the time, the record company had only secured them ten minutes of recording time to record and mix the song, and they'd had to sell bass player Johnny Reed's virginity in the process as they were obligated to pay for the studio time themselves.

Low on options and wary of bat-wielding record company thugs, the band played it cool, acting as if the recording session had gone fine. The record was released as-is by record company execs who were so outside of the loop that they once released a recorded armpit fart as a single, snookered by an engineer with a sense of humor. Back in that day all of the record companies were so desperate for a hit they would release anything, sometimes even recordings of other records held up to a microphone, as the execs in charge all listened to marching bands and had no clue what the record-buying teens of the day were into. They seldom listened to the records they put out, which led to the infamous "My Ding-a-Ling" scandal of 1972.

It's Too Soon To Know wasn't a huge hit, but it sold surprisingly well considering the totally bugshit nature of the vocals. It also proved to be heavily influential for a young aspiring songwriter named Richard Lewis, who crashed his car into a grocery store the first time he heard it on the radio. Many say Lewis never recovered psychologically from the incident, but he did go on to form The Silhouettes, and pen the 1957 mega-hit Get a Job. That song introduced the stuttering, nonsensical vocal stylings that came to be known as doo-wop to the world.

Some purists and historians have argued that Get a Job was only a hit because Lewis' uncle owned the Junior Records label and made sure the song was played on Dick Clark's American Bandstand, which guaranteed it would be a hit among the easily-led youth of the day. Others might disagree, but the success of the 1959 hit Dog Barking in the Back Alley seems to lead credence to the theory, since the rare sound-effects single likely would not have reached #1 if it had not been featured on American Bandstand earlier that year.

Whatever the reason, Get a Job was a smash single, and Americans were quick to concede that if it's what everyone else was listening to, then they were into lyrics like "Yip yip yip yip yip yip yip yip ma ma ma ma ma ma ma ma" and colossally embarrassing bass singers, too.

Other bands smelled the money train and were quick to follow, solidifying doo-wop as a legitimate musical movement and a bad name for a hair salon. Not long after, The Marcels released the doo-wop manifesto Blue Moon in 1961, daring America to make sense of their statement of purpose: "Bom bom ba-bom ba-bom ba-bom bom ba-dang a lang lang a ding a dang ding Blue Moon…"

But by late 1961 doo-wop was beginning to lose it's luster, beginning with Barry Mann's hit Who Put the Bomp?, at which point fans began to suspect that the magic was gone and that doo-wop artists were just bullshitting them now. What began as a street movement had been exploited to the limits of credibility, and all of the bomps and sha-na-na's had begun to ring hollow.

By 1964 doo-wop was a mere ghost on the American musical landscape, as record-buyers turned away from the bubblegum of their youth and embraced the British Invasion of more vital artists, replacing their embarrassing Shep and The Limelites platters with the more mature pleasures of Manfred Mann's Do Wah Diddy Diddy. The rest, as they say, is history.

º Last Column: Make Mine Nougat
º more columns