This blog explores every aspect of this most postmodern of media formats, including other print-based promo tools used by the industry, its fast-changing nature, + how fans/audiences create/interact. Posts are primarily written with Media students/educators in mind. Please acknowledge the blog author if using any resources from this blog - Mr Dave Burrowes
- 1-shot vids
- Analysing videos
- BBFC age rating vids
- Blog setup
- Conventions: DB playlists, posts etc
- Coursework overview
- DB doc
- Depeche Mode case study
- Digipak vids
- Elberse: Blockbusters book
- Eval overview
- Eval Q1a CONVENTIONS
- Eval Q1b REPRESENTATIONS
- Eval Q2 BRANDING
- Eval Q3a AUDIENCE ENGAGEMENT
- Eval Q3b DISTRIBUTION
- Eval Q4 TECHNOLOGIES
- Female acts
- Final Cut Pro X
- INDUSTRY summary
- Interactive vids
- Mag ad
- Mag ad audiences
- Pixies case study
- Planning docs
- Shoots tips
- Simulacra: Weezer, Weird Al
- Student vids/blogs by year
- TechTips blog
- Twitter feed on blog
- Vodcast playlist (DB)
- WEBSITE in steps
- Websites I've analysed
IN THIS POST: A breakdown of how to research websites, what to look for, and an example of an overall 16-step process, plus a list of some...
Monday, 16 October 2017
Thursday, 12 October 2017
This might turn out to be a highly irritating Grauniad exercise in uber-hipsterdom, proudly proclaiming awful bedroom acts adored by some London clique as artistic giants ... but it could also be an invaluable discourse on the still evolving disruptive force of new technology and how it impacts music marketing and artists' relationship with audiences and industry alike....
In the coming weeks, we’re going to run a series of articles examining what, if anything, it means to be an underground artist in 2017. We’ll be exploring whether it’s possible to find a meaningful audience for your music while avoiding the glare of publicity, the complex relationship between art and commerce, how technology assists and impedes artists who want to find new routes of promoting and disseminating their music, what the value of remaining underground is, and whether Britain is host to any thrilling and vibrant music scenes that exist entirely off-grid.
Where is the musical underground in 2017? https://www.theguardian.com/music/ng-interactive/2017/oct/09/where-is-the-musical-underground-in-2017?CMP=Share_AndroidApp_Blogger
Tuesday, 10 October 2017
BBC3 and BBC4 (often replaying BBC2 content) are worth keeping an eye on through iPlayer as they often feature some great music docs. This is a good example, a thorough grounding in the evolution of the Indie genre - a genre which has both some easily identified stereotypes and such a wide range of music that it becomes a very, very loose concept. Further complicated by the Americanism of alt-pop or alternative rock, which is essentially the same. In both cases, there are acts seen as Indie who are signed to major record labels, while many on independent labels are having their work distributed by majors so even the original linkage is debatable.
Thanks to Richard for the link - I'd mentioned this specific doc series many times and he spotted it on YT.
You need to approach this simple detail of your work with caution - and thoroughly back up your decision with multiple examples.
Here's a simple (its far from precise on CD length, quite inaccurate on that!) pointer from Dave Taylor - as the saying goes, if Dave says its true, it probably is...
Atomic Kitten example) have even gone the extra mile and created their own lyrics for these new tracks to include in a digipak lyrics booklet!
- Websites are routinely updated to centre on the latest album release
- Bjork, The Pixies and many more are trailblazing a growing trend of creating videos for ALL album songs, not just the singles, recognising this boosts revenue-gaining YouTube hits ... but the importance of additional videos (unwrapping, lyric, live, UGC etc) is growing faster still, and Suede's "album sampler" is a good example. It would have Vernallis jumping up and down screaming I TOLD YOU SO given its narrative-free (is that possible?!) nature
- Its another reminder of the convergence between film and music video - bear in mind that the 1964 Beatles movie A Hard Day's Night [Wiki] is widely considered as having created the music video template (archetype) with its video-like scenes ... and MJ's Thriller! While you will generally be creating youth-targeting productions with bands' existing (older) audience now the secondary target for you, Suede are possibly reinforcing their mature adult appeal with an entire feature-length arthouse movie released with their album. Its nature might also suggest an oddly upmarket (ABC1) audience for an Indie band. Read more here.
Saturday, 7 October 2017
Tuesday, 3 October 2017
Friday, 29 September 2017
Thursday, 28 September 2017
Monday, 14 August 2017
Short and snappy overview here from Wired of how 'social first', trying to seed interest and stimulate sharing and UGC before paid-for campaigns kick in, has become the industry norm.
Some contrasting examples of 'organic' underground successes and notable failures by the likes of Katy Bloody Perry - hit or flip the common key is some degree of replicability, whether dance or ... spraying water on your face (KBP).
Wednesday, 9 August 2017
LAMAR + NIK is a joint name you may have seen from your research into video examples, and nofilmschool here compare them to Michel Gondry, high praise indeed.
The specific stop-motion technique they use here isn't necessarily what you might take away as an inspiration - look at the seemingly mundane mise-en-scene they add these stickers (you should be thinking greenscreen to achieve a comparable effect) to: stacks of coins, 'checkers' chips, cheese slices, all quirky and interesting when shot in tight close-ups.
No need for a narrative in a video as entertaining and visually busy as this, though the likes of Sledgehammer manage to incorporate this.
Tuesday, 8 August 2017
The conglomerate giant doing fine, artists less so...
Ed Sheeran’s Divide puts Warner Music’s streaming income on track to cross £1bn https://www.theguardian.com/business/2017/aug/08/ed-sheerans-divide-lifts-warner-musics-streaming-income-to-1bn?CMP=Share_AndroidApp_Blogger
Sunday, 6 August 2017
Saturday, 5 August 2017
This would be a good idea for an additional video alongside your main effort (live, lyric, unwrapping vids are also useful additions).
The infamous Wayne's World Bohemian Rhapsody inspired James Corden's Carpool Karaoke which in turn has inspired this couple of performers (he's a comedian, she appeared on America's Got Talent) to create a series of car-set lip sync vids.
With 120m views already, they're making money from that, but they are also add for their services as hireable entertainers.
Saturday, 29 July 2017
(Theory link: Simon Reynolds' Retromania)
'The Beatles or Radiohead can forever flog key works to consumers prepared to pay £100 for unheard sessions on picture-disc vinyl. Icons like Morrissey can keep on reissuing even the unlamented likes of Maladjusted as part of their bigger story, safe in the knowledge fans want to buy into that idea too. But digital closes the door on nostalgia as much as it mucks with the album as a format. Will the 2026 reissue of Solange’s A Seat at the Table meet with the same ripe whiff of remembrance from a generation who recall where they were the first time they opened Spotify and it was algorithmically recommended to them? If not, Our Love to Admire may be one of the last albums in history to make it to its 45th anniversary super-deluxe box set.'
The reissue racket: how many more ‘classic’ albums will be repackaged? https://www.theguardian.com/music/2017/jul/28/reissue-racket-how-many-classic-albums-repackaged?CMP=Share_AndroidApp_Blogger
Friday, 21 July 2017
A good look here at how patronising patriarchy, an assumption that women are more pliable and will do as instructed, remains ingrained in the music biz, and an interesting side note on how being 'woke' (Katy bloody Perry's farcical attempt to show her socially conscious side leading to that garbling of language) is seen as important for branding and the opportunity to land marketing deals with brands.
A perhaps too uncritical, but useful, highlighting of Instagram especially as social media being the only space where female artists are permitted to freely express themselves - ignoring the product placement rife in these platforms and other forms of artifice.
Pop’s glass ceiling: why new female stars can’t break through https://www.theguardian.com/music/2017/jul/21/pops-glass-ceiling-why-new-female-stars-cant-break-through?CMP=Share_AndroidApp_Blogger
Thursday, 29 June 2017
Saturday, 24 June 2017
An example I've used before, a useful one to highlight the need to take care in defining genre. Each of these 40 (and there are still others - no grunge here for example) have some distinctive features that a videomaker should be aware of.
Sunday, 18 June 2017
A quick note on the Torres video: mostly very dull, but 2 elements that might inspire some useful ideas
the David Lynch-like unsettling intermittent red lighting, and playing with darkness (possible Twin Peaks influence there)
the stoney-faced singer continuing to lipsynch with shower water flowing over her (wind effects have been used in other vids, anything like this adds visual interest and impact to a key convention, arguably bringing a postmodern deconstructionist approach in revealing, and revelling in, the absurdity of lipsynching). In practical terms it would be better to try and rig a shower head to a hose - or even point it out of a bathroom window if the external wall framing works (as bathroom framing would be very limited)
This is desire: Torres, Marika Hackman and the artists redefining the female gaze https://www.theguardian.com/music/2017/jun/16/torres-women-pleasure-fleabag-female-gaze-videos?CMP=Share_AndroidApp_Blogger
Saturday, 10 June 2017
Some strong language in this article, but coming in the week when Taylor Swift announced an end to her 3 year boycott of Spotify (to 'celebrate 10m album sales' for her latest...and undermine Katy Perry's album release), here's a great quote summing up digital disruption:
Run-DMC have about 2 million monthly listeners on Spotify, that’s not bad is it? (1)
That’s not bad – that’s really good! We still get our royalty. You do a deal now, the labels get ownership of this and that – but these days you don’t need a record company, you don’t need a lawyer, you don’t even need a studio. You can do it all in your f***ing bedroom.
Run-DMC's Darryl McDaniels: 'We lived sex, drugs and rock‘n‘roll – but never put it in our music' https://www.theguardian.com/music/2017/jun/09/run-dmc-darryl-mcdaniels-we-lived-sex-drugs-and-rocknroll-but-not-in-our-music?CMP=Share_AndroidApp_Blogger
Like to make music? Turn your tunes into an income stream
Thursday, 1 June 2017
Thursday, 18 May 2017
Tuesday, 9 May 2017
Saturday, 6 May 2017
Update: Katy b Perry went a manicured step further, livestreaming her fakery for 72 hours to promote her latest audio torture device (album): A weekend with Katy Perry's live stream: meditation, James Corden and a dog called Nugget
Saturday, 15 April 2017
This article focuses on legal cases, citing a number of musicologists as well as songwriters
Has pop finally run out of tunes? https://www.theguardian.com/music/2017/apr/13/has-pop-finally-run-out-of-tunes-ed-sheeran-plagiarism?CMP=Share_AndroidApp_Blogger
Friday, 31 March 2017
Razor sharp example of cutting to the audio (Uptown Funk vid), and exemplar of the continuing insight of the Uses and Gratifications theory
Kidz Bop: 'It's not for everybody' https://www.theguardian.com/music/2017/mar/31/kidz-bop-american-preteen-pop-phenomenon?CMP=Share_AndroidApp_Blogger
Thursday, 16 March 2017
Tuesday, 14 March 2017
Disappointing not to see Carcass on there, but my vote goes to Nocturnus' trailblazer The Key...
The latest twist in the analogue comeback, extreme metal label Earache are running a list of back catalogue albums - any that hit 500 pre-orders will be commissioned, burned and posted.
The audience as commissioner, the former audience...
Sunday, 12 March 2017
A novel idea, the band book...
Thrash legends Testament (Burnt Offerings, Over the Wall, Souls of Black and many other classics that'll add a sonic boom to any day) are producing a band history which can only be ordered through their website, and comes with a personalised inscription.
Of course, there's a video from the lead singer, the venom vocalled Chuck Billy, to announce/flog the tome...
Thursday, 9 March 2017
Fan club and VIP ticket packages for the upcoming tour will go on sale beginning March 7 at 10:00 a.m. local time at Korn.com; Citi cardmembers presale begins that same day at noon local time. For complete Citi pre-sale details visit: www.citiprivatepass.com. Live Nation presale starts on March 8 at 10:00 a.m. local, followed by a Spotify presale beginning March 9 at 10:00 a.m. local and a BLABBERMOUTH.NET presale starting March 9 at 10:00 a.m. local. All presales end March 9 at 10:00 p.m. local timing. Remaining tickets for all dates will go on sale to the general public on March 10 at 10:00 a.m. local time at LiveNation.com.
Read more at http://www.blabbermouth.net/news/korn-announces-the-serenity-of-summer-tour-with-stone-sour/#xbPFxReL5b723QpP.99
Sunday, 5 March 2017
A useful reminder of the versatility of the music video format:
Death metal godfathers Obituary won a synergistic cross-promotion through Guitar World magazine (also a website of course), creating a split-screen video to enable fans to play along with the guitar on their new release.
They are also booked on a branded tour which will benefit from a major push through the magazine, and offer the chance to attract new fans as the publication has a multi-genre readership. Moreover, it's a neat way for a 1980s band to attract younger fans, kids and teens starting out on developing guitar skills.
So, add this to the lyric video, unwrapping video, album preview/promo video, tour announcement or localised tour shout out, single shot, live performance, fan footage, interactive, 3D, virtual reality (VR), teaser, tie-ins with console games like Guitar Hero ...
It also gets Obituary further publicity through stories on popular e-zines such as MetalSucks.
Good tune to boot, even if not up to the standard of their early classics, Slowly We Rot and Cause of Death!
Another example of the infinite possibilities that exist for merchandising, and a novel way of making the audience feel a connection to the artist
Wednesday, 1 March 2017
SBTV is a useful example of how new digital platforms are disrupting the established business practices of media industries:
When it came to underground artists, SBTV could play a crucial part in an artist’s trajectory. Instead of waiting to get signed by a label or for radio to create the hype, artists could put their freestyle on SBTV, get a manager and a million views on YouTube, then leverage that to get a record deal. In 2017 – with cases such as Stormzy or Boy Better Know – major label backing is no longer essential.
So, at first it gave a platform to underground artists who got zero airplay on mainstream radio, without which it has long been the case that commercial success is difficult to achieve.
Now, however, the revenue from YouTube views exceeds the likely income from record sales for such Indie artists as those featured on SBTV.
The channel itself, now with over 10,000 uploads (just take a moment to think about that - imagine doing 10,000 videos, vodcasts!!!), was also a pioneer of appointment viewing, a spin on linear TV's scheduling. Each week at 5pm subscribers would know a new episode in a series would be uploaded (regular podcasting applies the same strategy...).
10 years of SBTV: the YouTube channel that undercut the music industry https://www.theguardian.com/music/2017/feb/28/grime-10-years-sbtv-youtube-channel-music-industry?CMP=Share_AndroidApp_Blogger
Thursday, 16 February 2017
Please take heed of the warning below - this post is about videos/music subjected to censorship, so view/read with caution and not with younger children in sight of your screen.As I recently returned to this topic, I've added a few more examples below, and I'll develop this further when time permits, perhaps into an exam case study on the mediareg blog (where there are further resources on this). Use the censorship tag to find more on this blog.
Here's a fairly recent example that I've blogged on in detail over on the mediareg blog.
AmazonUK). I'll be reading Southall's book shortly - available on Kindle Unlimited if you're a subscriber.
Brian Southall’s history of the songs, performers, record covers BANNED by ‘the authorities’ includes the incredible facts behind stories such as…
Roger Daltrey trying to perfect Sonny Boy Williamson’s stuttering, Cliff Richard banning himself, the airbrushing out of Alice Cooper’s ‘penis’ on a record cover, and attempts by USA citizens to get Justin Bieber deported to his native Canada.
Did you know that Serge Gainsbourg’s ‘Je T’Aime Moi Non Plus’ was the first single banned from UK’s Top of the Pops and that before that No.1 hit with Jane Birkin he’d completed an earlier version with Brigitte Bardot?
What was the real reason the Sex Pistols were prevented from topping the singles chart with ‘God Save The Queen’ in Silver Jubilee week 1977?
Why did a falling out between Terence Stamp and The Smiths create a collectors’ item in 1984?
Boycotted, banned and the subject of death threats – what exactly was The Dixie Chicks’ crime in 2003?
NB: we also discussed the economic context of the music industry: the concentration of ownership (one of Chomsky's five filters in his propaganda model; filters remove radical counter-hegemonic content before it can shape public discourse or opinion), or consolidation as free market apologists would prefer.
With such scale, the pressure from threats of boycott, often exerted through campaigners targeting advertisers who put ads on some other wing of a conglomerate, can be immense - advertiser power being another of Chomsky (and Herrmann's) propaganda model. Madonna lost a multi-million Pepsi sponsorship when she dared to depict a black Jesus in her Like a Prayer; Time-Warner famously pulled Ice-T's Cop Killer after facing high level political and police pressure, and threats from shareholders. Ice-T now claims the decision was his; he left the record label after the row over this - the Wiki is a short, informative read, but you can find further accounts easily.
When I started out, [Warner] never censored us. Everything we did, we had full control over. But what happened was when the cops moved on Body Count they issued pressure on the corporate division of Warner Bros., and that made the music division, they couldn't out-fight 'em in the battle, so even when you're in a business with somebody who might not wanna censor you, economically people can put restraints on 'em and cause 'em to be afraid. I learned that lesson in there, that you're never really safe as long as you're connected to any big corporation's money. [Wiki]
Tuesday, 14 February 2017
See: https://www.thebalance.com/big-three-record-labels-2460743; http://www.musicbusinessworldwide.com/independent-label-us-market-share-trounces-universal-sony-warner/ (the spin on this one is a bit odd - that the ENTIRE Indie industry beats any one of the big three individually); http://www.digitalmusicnews.com/2016/08/03/two-thirds-music-sales-come-three-major-labels/; this pdf.
Saturday, 11 February 2017
|Headline story on Pitchfork - many more sites/e-zines followed suit|
This announcement has helped gain a lot of free, high-profile publicity.
Friday, 10 February 2017
Thursday, 19 January 2017
Wednesday, 11 January 2017
Are Coldplay and Justin Bieber's fan-made music videos just cheap marketing ploys?https://www.theguardian.com/music/2017/jan/13/coldplay-justin-bieber-fan-made-music-videos-cheap-marketing-ploys?CMP=Share_AndroidApp_Copy_to_clipboardThe idea long predates the digital age: (I see 351studio, a specialist producer of lyric videos, also cite this!)
This is a topic I've blogged on previously, looking at Anthrax and Jane's Addiction examples. I quite likely haven't tagged additional posts that reference this phenomenon.
When creating your own simulacra of existing artists (typically but not always the case - Sunburnt in December being a fine example of a student group that professionally recorded their own band) you need to be closely examining how they, and the industry more generally, seeks to engage with audiences.
The lyric video is one such means. This emerged as and remains a popular form of UGC or fan-made video, but more recently many artists (or their record labels!) have been adding and heavily promoting their own lyric videos. The attraction is obvious - production costs are minimal; providing the lyrics can boost concert atmosphere; the official lyric video can help spark further UGC efforts, whilst pushing traffic to the official YT channel.
Here's a BMTH example, reflecting 1 of 2 common approaches: white text on a black background, though they have both animated the text (something you can do in FCPX using keyframing and/or Motion) and the band's logo (using 1 ore more still images as a backdrop - often the album cover - is the other common approach).
This simple video has been a useful revenue driver for the act/their label, with approaching 32m views as of Jan 2017:
the actual main promo vid!
The Wiki on the term focuses on music videos which put the lyrics on screen, a different concept to the overlaying of typed lyrics on (usually) still images, but notes that the lyric video often precedes the release of the main promo vid:
A lyric video is one in which the words to the song are the main element of the video. The music video for R.E.M.'s "Fall On Me" interspersed the song's lyrics with abstract film footage. In 1987, Prince released a video for his song "Sign o' the Times". The video featured the song's words pulsing to the music presented along with abstract geometric shapes; an effect created by Bill Konersman.There are even companies who specialise in producing lyric videos, such as 351 Studios:
In 1990 George Michael released "Praying For Time" as a lyric video. He had refused to make a traditional music video, so his label released a simple clip that displayed the song's lyrics on a black screen.
A lyric video may be released separately by a music label prior to the more usual video featuring the artist. Cee Lo Green, Lady Gaga, Katy Perry, Muse, Blur, Ellie Goulding and Avenged Sevenfold among many others, have released lyric videos.
Today’s digital age changes the way we promote new releases. These days, Lyric Video Production is part of the standard package when artists and labels release a new song. Each day we can see hundreds of new lyric videos on YouTube and other streaming services. There is big competition out there! Lyric Video Production actually dates back to 1965, in Bob Dylan’s release “Subterranean Homesick Blues” as an official music video. But now it’s a different story. It’s a new industry standard. There are also categories for best Lyric Videos in awards by multiple music networks.
Are you looking for a lyric video maker? 351 Studio is the best, most professional lyric video company. We are behind many major and independent artists and labels. With the best creative minds in the team, we can offer you unique, trendy, professional and industry-standard lyric videos for your songs, incorporating your style as an artist, your vibe, any graphics you may have, some video footage, and all animated with perfect dynamics to your song.