SOCIAL MEDIA WEB 2.0 Slipknot Guns mask Facebook filters

https://www.metalsucks.net/2019/07/31/breaking-facebook-introduces-slipknot-guns-n-roses-filters/

FACEBOOK INSTAGRAM music and lip sync features

Convergence continues...

With Facebook recently tieing up rights deals with multiple labels their subsidiary Instagram has announced an add music option for their Daily Story feature ... and a Lip Sync Live feature is rumoured for a Facebook launch soon

https://techcrunch.com/2018/06/28/instagram-stories-music/

MUSIC INDUSTRY 2018 some pointers

This is a quick post inspired by encountering the site musicbusinessworldwide.com

UPDATE: Useful review of music video trends in 2918, including the return of mega-budgets for a handful of elite artists:

Drake’s mates and Taylor Swift’s cosplay: exploring the 2018 music video

https://www.theguardian.com/music/2018/may/19/drakes-mates-and-taylor-swifts-cosplay-exploring-the-2018-music-video?CMP=Share_AndroidApp_Copy_to_clipboard

I was looking for some info on the 1D GCSE exam case study but spotted a number of great articles on here. So here's a few pointers based on the site.

You can find a bullet list I previously did summing up some key music industry points (with many links to posts) here.

AS CDS DISAPPEAR TOURS ARE JUST THE TICKET: 1D EXAMPLE
A point I make many, many times: the traditional music industry model has been through disruption from digitisation (though it hasn't rebalanced the competition in favour of Indies; see Anita Elberse's fascinating analysis of how big 3 acts utterly dominate Amazon sales, making the 'long tail theory' seem absurd), so labels are looking for new revenue sources. Merchandise is a key factor - when I went to see The Wedding Present (UK Indie band) in Luxembourg last year, I got to chat to the singer after the gig, who was at the merch stall signing his own comic book range alongside the usual tee-shirts etc.

The likes of 1D aren't going to do that. They did sell VIP packages for gigs - something else I saw at a Depeche Mode gig, with multiple tiers including a basic that simply allowed you into the venue earlier to hear the soundcheck. I've blogged on Taylor Swift and Katy b Perry doing this, with fans paying a lot for a selfie opportunity. [meet-and-greets post]

The basic breakdown is clear though - most major artists (Indies too) will gain more from tours than album sales. Even combined with streaming (which is now bigger than physical sales and download sales combined) that remains the case. Getting onto TV ads, film/game OSTs are also potentially lucrative.

UGC Depeche Mode fan takeover Facebook for a year

Another new twist in the web 2.0/UGC/convergence mode, this one reflecting the pattern that's seen lyric videos go from fan-made to official releases. The "former audience" indeed!

Headline story on Pitchfork - many more sites/e-zines followed suit

Depeche Mode, a huge selling act that comes high up concert revenue charts when they tour, have announced that fans can apply to be one of 365 who get to control their Facebook page for a day - a page with 7m followers.

This announcement has helped gain a lot of free, high-profile publicity.

VIRAL the sick slickness of me-too memes

The idea of a “viral hit” long ago stopped being something that just happened to a song and became, through contrivance and orchestration, a core part of the marketing plot. We can see this today, the air thick with the tang of desperation, as tracks are propelled by endless Musical.ly videos and vloggers shamelessly bankrolling themselves with “promoted content”. Songs are announced as viral hits on launch, semantically bulldozing through what “viral” actually means. (Mannequin challenge, Rae Sremmurd and the meme-powered viral hit)

The quote comes from a good overview, and critique, of the viral video concept by Eamonn Forde:

MONETISING, PROMO CAMPAIGNS, BRANDING The Pixies

a branded campaign

As good an example as any, they're highly active across multiple platforms, and even managed to persuade me to lash out on a vinyl copy of their comeback single Bagboy and EP after spotting a promo tweet. Like many who ordered this I don't currently have a record player - the package also came with download codes for high bitrate (quality) MP3s.

Old-school email is a tool they use very effectively - always integrating their other platforms when doing so. These screenshots largely speak for themselves:

• using staggered video releases to push new releases and tours alike
• they've recorded videos for every album (2) and EP track since re-forming, a growing trend (not least as YouTube plays themselves generate revenue)
• the range of videos work to both please their existing, ageing fanbase (the band date back to the late 80s and were a key influence on Nirvana) and to target a new, younger audience too (for sheer inspiration, I highly recommend viewing a batch of these and/or Depeche Mode videos)
• they offer exclusives to various online ezines; an advantage of multiple videos is that they can offer this to a variety of sites over time
• they highlight Twitter, Facebook and Instagram (plus their website), currently the big 3 of social media (surely users will tire of Twitter eventually?!)
• look carefully at the followers/likes numbers, and you'll get a good example of which platforms are most/least significant for a primarily mature adult fanbase
• the emails are not excessive, but often enough to keep prompting fans into potential purchase of recordings, merchandise or tickets, or at worst to view their video/s or visit their online platforms
• the branding is clear: the P in a circle at the bottom of the email; the banner/masthead across their online platforms pushing the latest album, and a consistent image for their user icons
• recordings are offered in multiple formats, including vinyl and boxsets
• there is also a link for streaming
• this is tied into multiple streaming platforms

Skip to 1:43 for 2nd question in this interview in which they discuss social media...(part of my extensive Pixies playlist)

a few of the emails The Pixies (... the marketing agency they've hired!) have sent me.

Details of the latest, plus screenshots from their platforms, are below the read more line

Teaser video, VR, crowdfunding, fan engagement - Megadeth are exemplary

social media can be enigmatic...

IN THIS POST:  a quick look at some examples of how Megadeth, a band whose debut album was in 1985, use multiple platforms to engage with existing fans and seek new ones, generating media coverage along the way. Any music video producer can learn from their strategic approach. As I can't access FB + other sites while writing this, I've used limited examples, but you can always look further yourselves.

If you're producing a music video you really should seek to engage with an audience long before you've got to the final cut stage.

Blogging does that to some extent, but being active on social media (Instagram, Twitter, FB...), posting snippets and updates of what you've been doing, should be part of that mix, generating content for a website in turn.

Just as film has the trailer, so many artists are now creating their own (often put out on record company YouTube channels) trailers (see Slayer example on this blog) and even teasers, as with this example from Megadeth (featured in a popular e-zine; marketing involves a mix of social media and publications/channels - such content will typically generate lots of articles in magazines, e-zines, radio...):

Bing (yuck) results galore, showing the success of the strategy to generate attention

Megadeth are an act skilled in keeping a buzz going, over 30 years since their debut album - they're engaging with VR (and note the serializing of the feature too, drip-feeding segments):

Official Megadeth YT channel.

FINANCING Carcass crowdfund album cover with ebook offer

Grindcore/death metallers legends Carcass (a vegetarian band who have developed considerable notoriety for their album art) have launched a modest crowdfunding appeal to cover the cost of a new sleeve design - yet another great example of the web 2.0 "former audience" and that rapid blurring of audience/producer, as well as an example of how the economics and financing of the industry are being transformed by disruptive digital platforms such as this.

Note that they're offering exclusive ebooks as part of this - another means by which artists can monetise their work is tabulating their track arrangements for fans to learn and play; ebooks don't pose the challenges of high production and distribution costs, and publishing does not require a book deal - it can be added to platforms like Kindle and then offered through the likes of Amazon, as well as directly through artist websites (self-publish, self-distribute).

Exclusives are managed in many ways: limited edition digipaks or vinyl with remixes, demos, live recordings, bonus DVD etc or even collectible cover, and book/lets are fairly common too; new album only with a concert ticket (Prince, RIP, did this), music and extras exclusive to website subscribers (Metallica a great example) ...

It also demonstrates convergence - I came across a plug for this on a Facebook group via my phone; good viral marketing.

BRANDING DIGIPAK Anthrax album trailer, vinyl, digipak

BRANDING + MARKETING ACROSS MULTIPLE PLATFORMS

What you can learn from this example

- you should have a clear, consistent brand image and concept to promote
- that consistency would extend across multiple platforms and even merchandise
- most artists will change website banners, YouTube icon/banner (etc) to highlight their latest release or tour
- artists increasingly create video content that can be shared (ideally go viral) ... even short promo clips for an album with self-filmed interview-style footage
- artists also increasingly embrace and create content that was seen as typical of UGC/fan-made videos, notably the lyric video
- you can present research into any coursework topic by creating content that takes on a recognised media format: magazine feature, radio or TV interview/chat show appearance, e-zine interview (more informal, including setting), podcast ...
- the Anthrax Twitter's most recent update was on Record Store Day - formats like these are ideal to convey your grasp of industry topics like the role of vinyl; the issues around streaming and revenues; influences ... even technology ...
- ... it could the album producer, songwriter, video director, video editor or cinematographer (especially to discuss technology used: hardware or software) sleeve art designer, record label executive, band management, fans, ... there are many options. Great website content, research evidence, Evaluation content...

The self-produced Anthrax new album promo is like an interview or TV feature

Pics to be added - a bang up to date example of the multi-formatting that forms part of the marketing for many album releases now.

Unlike many other examples, this isn't a reissue - indeed, the thrash godfathers have put up a video of interviews to trail the album release, with the YouTube description featuring US and UK links for different formats.

Look out for magazine ads for this - drop me a link if you see one.

As usual, convergence is evident here: someone posted a link in a FB group pointing to a metal news site that had their own video which in turn linked to the band/record label's trail video...all accessed, viewed, clicked, read and blogged on through my phone - albeit pictures, saved from phone, formatting and tagging will have to wait til I'm sat at a PC/Macbook!

THE ANTHRAX ALBUM PROMO

ANTHRAX DRUMMER INTERVIEWED FOR AN E-ZINE'S PODCAST SERIES, AND E-ZINE ARTICLE ON THIS!

WEB 2.0 audience FB remains dominant

There is a widespread perception that as parents and grandparents have increasingly signed up to FB so the young have abandoned it in favour of social media not frequented by adults.

This is simply untrue.

As this article makes clear, FB remains the dominant social media for the young, an important consideration for film distributors and music industry publicists alike!

UGC viral fan-made photos making minions

Just as with film, the notion that a producer churns out a text that is then passively consumed by an audience is clearly no longer the case in the music industry either. Artists feel great pressure to be heavily involved in some variety of social media to sustain interest (though there's certainly an argument that this eventually undermines interest as mystique wanes).

You will most likely have seen your own variations of the following - paste in links as comments and I'll add them...



See below for images

VINYL the Cream rises, new Pixies'n'mix

Why do I keep posting on vinyl's resurrection? Several reasons:

1. You need to be aware of music industry developments
2. These should inform your marketing materials, and the formats you list (ie, not just digipak, but a 3-part list with download)
3. Digipaks are intended to mimic vinyl and so share some of their collectable, specialappeal (compared to standard jewel case releases)

I'll add images and links once sat at a computer, but this expensive boxset popped up on my FB whilst an even more expensive Pixies boxset was pushed in an email I'd signed up to when buying their comeback EP on vinyl (with multiple download options too).

IN THIS POST: Pics/links on Cream vinyl boxset; Pixies vinyl boxset; Tesco launching vinyl sales.

WEBSITE Sly Antics Leeds, UK Indie band

IN THIS POST: Analysis of an obscure UK Indie band's website (for comparison with the major acts The Doors and Lady Gaga already blogged on), discussion of how relevant or not band websites are given the role of social media today, and points on why you might want to go for a local/student band rather than international stars... I also reviewed their debut video, making this more of a look at an all-round promo package. The band have tweeted me since I did this post; you can check out Sly Antics' updated website here!

WHY PICK A SMALL-TIME LOCAL (or even student) ACT?
You might be tempted to produce a promo package for a (currently!) small-time, local act rather than for a major existing/heritage artist. The closest I've seen to this thus far has been a group who entered the recording studio with their own metalcore band, Sunburnt in December, to produce the broadcast-quality audio required. Two of the group were Media students. This meant they had their cast sorted and a keen, engaged cast at that! They had to be ... they set up for performance footage in a snow-covered Yorkshire moors setting in what remains one of my favourite students videos (even if there were opportunities to improve it...). This video also came to mind given the main website image Sly Antics use (they also use it for other social media logos)

NB: the video contains FLASHING LIGHTS and scenes of horror

The advantages of local or student bands are evident:

WEBSITE Doors bundle t-shirts and vinyl with Light My Fire re-release

IN THIS POST: Discussion of a heritage (60s/70s) band's use of merchandise and social media; analysis of their website including detailed denotation of the features, with screenshots, and a look at their social media integration and audience interaction (or lack of...).

This isn't The Doors' main website (though that is linked, and everything here IS featured and sold through their website too), but an online retailer that sells their merchandise, and markets this (I came across this via a Facebook update of the official Doors page, screenshot below the line). 

This is a further sign or evidence of the re-emergence of vinyl, plus the centrality of merchandise (especially when touring isn't an option) to monetise music.

below - analysis on assessing target audience (core/primary and secondary) + more images + detailed analysis of their website...

UGC CONVERGENCE Ezine's fake 8bit metal game trailer

To the eyes of someone who fondly recalls all the acts featured, and the (now!) primitive video game style pastiched, this is a thing of marvel - a trailer for a notional 'Monsters of Rock' game, with legendary bands, music videos and singles all rendered in this retro style.

Bands like Chipmunk have of course made tech-retro part of youth/popular culture, fetishising 80s synths and recording technology.

This is a great example of convergence - an e-zine (there is no print edition, and Facebook, where I most often find its articles, seems to be, in effect, its key 'distributor') commissioned a fake retro video game trailer, 'published' on YouTube, featuring lo-fi music renderings that recall the early mobile phone ringtones.

[below the line: a second example, some important terminology, and points on 2005's Crazy Frog...]

2Pac Loser Radiohead mashup

I'm not going to say anything about this, bar - I defy you not to be gripped by the (essentially) lo-fi FX, framing being the key as much as CGI in this mash-up of Beck and 2Pac...

I came across this via a FB'd link from videostatic.com; the link features further contextual info..

Social Media + Fans: Doors FB e.g.

If digitisation has produced convergence (the blurring of the lines between once distinct forms of media), it has also blurred the line between audience and producer; even fairly new terms such as use-generated content (UGC) and fan-made videos don't quite capture the extent of this. Yes, fans are producing their own mash-ups, re-edits etc for film, TV and music, but what we're also seeing is the official social media presence of many bands, large and small, using fan-published YouTube uploads to encourage interaction with the act/site/page.

Most of you will have 'liked' various bands on Facebook, and presumably observed how this works. If you think about your company blogs - and perhaps, if you've set one up (its still not too late!), your Facebook page - a key traffic-driver; aspect which might encourage people to return, is video content. Here's an example from The Doors and their Facebook updates:

This video wasn't uploaded by the band officially, but is used by the official Facebook page to generate and sustain interest in the band (whose singer died in 1971), an interesting illustration in itself of how the music industry's line on copyright is flexible when it suits them.
The point here is: what have you done to reflect this important contemporary aspect of how acts and record labels reach out to a fan base, including long-defunct acts? Have you used this stratagem to encourage visitors to your blog/site/page - and thus enhanced your prospects of gaining audience feedback? 194 comments for the e.g. above just 12 hours after posting. I've blogged on a similar theme many times - see links for Q4, and recent posts such as that on the Onslaught travel blog.

DIGITISATION 'The Face Book'

Great video here (tho' maybe thats my Retromania talking?!)- not sure if you'll follow the full preferred reading as the technology it mimics goes back as far as 1996, but the basis of the satire is clear enough
Raises some nice points about the limits to/dangers of digitisation and new media (and, indirectly, about the speedy obsolescence that befalls many once giant new media/technology names):

Facebook, MySpace, YouTube - role of new media CONTAINS A LINKS LIST

I'll gather some previous posts on this topic into a links list when I've time, and add more new material over time. If you look at your Eval Qs, and the R+P marking criteria (and consider as well the role of audience feedback in both Eval/R+P) you'll soon appreciate just how pivotal it is that you evidence research into and knowledge of new media's place within the music biz, but also utilise it to generate + present R+P as well as aud feedback.

So, keep an eye out for stories about viral vids, bedroom artists whose YouTube upload or Facebook profile has circumvented the record industry and seen them breakthrough by directly linking to fans. There are a lot of stories about the terminal decline of CDs, which still dominate record companies revenues but over time are losing out to downloads. Apple's latest Macbook doesn't have a CD/DVD player as they're confident that most of us are switching to non-physical media.

You'll notice I didn't mention MySpace there - just 2-3 years ago this was seen as the most important social media tool for music acts, but while seemingly every ad for a tour, single or album features a Facebook link, the MySpace logo is increasingly rare. New media is a fast-moving ruthless platform highly prone to changes in fashion.

We should also be sceptical about some of the claims made about viral success stories - was Lily Allen's breakthrough via her MySpace efforts really free from corporate effort and finance?
Personalise your blogging, reflect on your own consumption and that of your friends: do you still buy CDs? When was the last time you bought one? How do you access music: iTunes, BitTorrent/illegal downloads, Spotify and other streaming sites, a phone-based subscription, radio ... or even CDs?!

EXAM + COURSEWORK LINKS TO 'NEW MEDIA'

From the R+P marking criteria: "There is an excellent level of care in the presentation of the research and planning.
There is excellent skill in the use of digital technology or ICT in the presentation."

The 4th Eval Q: "How did you use new media technologies in the construction and research, planning and evaluation stages?"

Q1a of your exam has digital technology as one of the 5 concepts you may be asked to explore within a comparison of your AS and A2 work; you have to show how you advanced with your A2 work.

Some reading for you

To aid your learning on this here's just a few useful articles:
What impact is piracy having on the music industry, and are downloads replacing money lost to CD sales? Here's an excellent Aug 2011 Guardian analysis.
Just as good, and arguably your best starting point for an overview of the major issues and debates around new media's impact on the music industry, is this comprehensive overview from Jan 2011 on how the biz has struggled to adapt.
2007 Guardian article on Radiohead releasing their album In Rainbows via web-only at first, and asking for buyers to pay what they think its worth; also cites the Arctic Monkeys/Lily Allen and MySpace breakthroughs
Lady Gaga's manager: 'If it was up to me, I'd give away the next album...' - it seems ever more clear that the social aspect of music is seen as key to the future; Gaga's manager here joins Spotify and Clear Channel execs at the annual Facebook conference [see also the reproduced article after this list] in arguing that future revenues depend on enabling conversations to happen around music listening.

Facebook to transform into an entertainment hub - Facebook CEO Mark Zuckerberg announces Spotify and Netflix tie-ins, as competition from Twitter and Google prompt move

Kate Nash - another MySpace breakthrough. (also: wiki)
MySpace wiki 
Lily Allen + her MySpace breakthrough 
Arctic Monkeys + their MySpace breakthrough - a fan posted their demos on MySpace - the group were not web-savvy themselves

Guardian Downloads microsite: weekly articles about music online, fantastic resource
2006: early analysis from Guardian on MySpace after Arctic Monkeys' breakthrough
Sky takes on iTunes with downloads service (2009) - the competition for iTunes will continue to grow, but in 2011 they still maintain a near-monopoly
iTunes wiki - worth reading
The alternatives to iTunes (Gdn art, 2010)
Google set to launch an iTunes rival?
Beyond Oblivion, part-owned by News Corp, set to challenge iTunes (Aug 2011) - smartphone streaming service
iTunes + control freakery? Many in the industry hate iTunes, specifically because Apple set prices and take so much of the revenue from every track sold. Here's an article about the FT side-stepping iTunes. We will see increasing focus on just how fair/legal Apple's astonishing grip over the music industry is over the coming year.
Still...getting people to pay for music was a near-miracle, this 2011 art argues.
Newspapers find Apple just as bad when it comes to their fees for iPad apps.
Glee downloads dominated iTunes charts in 2009
Viral video chart (weekly Gdn blog), with music/music vids often to the fore
Vevo Revolutionary - I've blogged on this: Vevo is the link-up of 3 of the world's biggest record co's, and its vision is based on a future of ad-funded music streaming. This is the sort of thing you absolutely must show awareness of!!!
The film industry faces similar issues, with revenues from downloaded film not matching that of the DVD sales this replaces
'We crave a popstar who is authentic, who thrives because of their talent, not PR. So when you stumble across someone like Lana Del Rey – her popularity apparently born online and growing per YouTube click – it's hard not to be sceptical as to whether she's actually too good to be true. Surely it can't be that after posting just one song online, this brand new artist sold out a London gig in half an hour?' - excerpt from article on Lana del Ray, YouTube sensation. Here's a lighter look at del Ray's vids
Did you know that Justin Bieber holds the record for most-viewed vid on YouTube, with 500m hits ... or that he surpassed Lady Gaga's Bad Romance to claim this crown? Read more at http://en.wikipedia.org/wiki/Social_impact_of_YouTube


The following is bang up to date, and should get you thinking about how you're going to get aud feedback, but also, later, on some of the features to include in your ancillary texts. (You could, as a group, set up a joint Fb account specifically for your vid)

Article link: Ben Perreau, 23.9.11 at http://www.guardian.co.uk/music/musicblog/2011/sep/23/facebook-changes-music-fans

What do Facebook changes mean for music fans?

Facebook's new announcements have the potential to revolutionise music listening – although it could spell bad news for iTunes

The world will Listen … Facebook founder and CEO Mark Zuckerberg

At Facebook's annual geek-con, F8, the internet giant announced some its most significant changes yet. Now intent on becoming a platform for your whole lifestyle, Facebook will try to turn the web on its head and rewire it from "Search" to "Social". But what will this mean for music?

It's more than just "Like", now it's all about "Listen".

Facebook is broadening its lexicon. Eighteen months ago Facebook launched the now ubiquitous "Like" button, which quickly took hold. Now, they're taking it a step further, "Listen" buttons will start to replace the familiar "Like" button where there's something to hear, along with "Watch" and "Read" (presumably that's just the start). The new buttons will work in a similar way to the old ones, but send a message out to your friends via your profile "Ben Perreau just listened to Good Vibrations", these buttons will be one of the ways of actively logging any song, artist or radio station you've been listening to and wear it on your profile like a badge of honour (until somebody cooler notices and you remove it).

It's building a music community of 800 million people.

Facebook wants you to be using Facebook all the time. One of the most exciting features is "listen with your friends". This means Facebook is inviting you to share your listening and join in with others. So if you have friends across the globe who are still lamenting the loss of REM, you can now howl uncontrollably over "Everybody' Hurts" en masse. More importantly, you'll be able to do it all in real-time, and have a discussion in the context of what you're listening to. Get ready to sound knowledgable: "I 3>'d their first album." This is a great idea for artists who want to create special events with discussions around their new music, gather feedback and, crucially, get friends to discuss the music and share it. It's also great for broadcast radio, where there's a virtual community of people listening at once. With Facebook the hits can ripple across the world as people share them with each other.

Facebook will track your listening, automatically.

Facebook is desperate to display a record of your life over time, and that includes your music habits. Unsurprisingly, they're calling this new profile a "Timeline". Facebook will publish all your listening habits to this Timeline (it's brilliant for late-night navelgazing). You'll simply have to authorise a music service once, to monitor your listening and send it all to your Timeline automatically. But watch out, if you've been listening to the same song on repeat, you'll soon get found out by your friends when they go snooping around your profile. You'll find this similar to Last.FM, which tracks your listening and presents it back to you in a visual way.

Discovering new music is going to be great fun.

If you logged into Facebook earlier this week you'll have noticed the ability to "Subscribe" to people you're interested in. So if you want to find some new music to listen to, you'll just need to know of somebody who has great taste (my profile is facebook.com/ben.perreau). You'll also find that friends who listen to similar artists are more visible to you on Facebook, thanks to their increasingly clever algorithm.

It's not good news for download stores. It's even worse for CDs.

But we knew that. Facebook's new features are going to help to establish what you "listen to" as the currency that record companies care about, not the MP3s gathering digital dust on your hard-drive.
So accessing a broad range of music that gets logged by Facebook (and seen by all your friends) is probably going to be much easier with a service such as internet radio (because it's free), than a subscription music service such as Spotify (which costs), but it's going to be really tough for old download services such as iTunes where your listening habits are isolated from the Facebook experience. This is a masterful move for Facebook, who can persuade you to hang around for longer (showing you ads while you visit), while music services such as Spotify continue to pay royalty cheques.
It looks as if Facebook is nudging deeper into our lives with every innovation. It has the potential to give internet radio listening a boost as demand will grow for free, connected listening experiences that people can discuss. Whereas Apple may be forced to make iTunes more open, possibly by introducing a scrobbler-type app that logs the music you listen to on, say, your iPod and sends this info to your Facebook page (RIP Last.FM?). Basically, you should get ready for your music tastes to be tracked and strewn across the web like a bad breakup – Facebook wants to collect a visual biography of your life, and it won't stop until it is tracking every bit.

13B Lip Sync track

We had 5 tracks pitched for filming a music vid: Katrina and the Waves' "Walking on Sunshine"; Mike Posner's "Cooler Than Me"; Duck Sauce's "Barbra Streisand"; a Paolo Nutini track; and Taylor Swift's "You Belong To Me". The "Barbra Streisand" track was setlled on, with planning now underway for the shoot. The official music video is embedded below (from muzu.tv, not YouTube, which I think you can access under student logins):

Duck Sauce - Barbra Streisand
You'll see the design of this vid could easily inspire tribute versions, an attractive idea for most acts as this acts rather nicely as a means of generating viral marketing: marketing the band do not pay for, and which does not have the appearance of an advertising campaign. The success of the Yeo Valley (milk/dairy company) rap, (one of several similar ideas: see this Ontario vid, + rather awful raps such as this), played exclusively in the X Factor ad breaks (at a campaign cost of £5m) has worked well like this - the YouTube video has been widely emailed and the company have been 'forced' by Facebook campaigns etc to release the song as an Xmas single. The "Barbra Streisand" video also features a daft dance move, another trick which can help encourage a video to be reconstructed, reflimed and posted (eg as 'responses' to YouTube uploads) online, a tactic used as far back as Adam and the Ants' "Prince Charming" video.