Project Managers: Katie Woodland, Ozgen Ibrahim, Christina Petrou
Dept: Artist Publisher
Album Title/Artists: Shani: Hold Me
Release Date: 14th January 2011
PRODUCT OVERVIEW
WHERE ARE WE NOW?
Market climate, history, heritage, significant trends influencing this release;
We are a new company called OCK Records that are finding unsigned artists with star potential through youtube, myspace, etc. and trying to fit them into the latest music charts, e.g. Hit 40 UK. We have recently signed a few artists of which include ‘AJ’ and ‘Shani’ who both record their songs in a home studio. Both artists write their own music and also do cover songs. Our aim is to have them well known by the public in the download charts by summer 2011.
THE ADVERT CONCEPT
What is it?
Shani is a brand new reggae/RnB artist with currently only one CD featuring 10 songs, some her own, some cover versions, and two bonus tracks. She has already collaborated with the likes of Gyptian, Drake, Sean Kingston and Rhianna. As she becomes bigger, we hope that she will collaborate with more top of the charts artist and become herself part of the ‘A list’, this will be done by the use of advertisements promoting the artist to all types of consumers.
Why are we doing it?
At OCK Records, we believe it is important for artists with talent and star potential to be noticed in the album, single and download charts and make it in the musical industry. Although currently the UK and the US have talent searching shows such as XFactor, we feel that we can find more than one artist at a time that will ‘make it big’ and become successful in the charts and music industry.
Comparable Products
Hold Yuh-Gyptian
Released: 19th July 2010
First Week Sales: 260,000
Sales to Date: 7 Million (approx.)
Who is our CONSUMER?
Primary (60%)
Males 16-25 C2DE
Secondary (40)%
Females 16-25 C2DE
What is the CONSUMER REACTION we want?
What do we want the consumer to think and feel once they have seen the communication.
Excited, happy, bubbly, fun. We want them to feel that Shani is a fun and bubbly new artist and believe that she has the confidence to become a successful artist and achieve her goals and aims to become an ‘A list’ artist.
HOW WILL WE KNOW IT WORKED?
Sales targets. Targets based on comparative products. Artist management/ third party endorsement
Sales target –
First Week: 250,000
KEY LAUNCH DATES
Press Campaign-
Radio Release- 20th December 2010-Choice Fm
Tv launch (MTV, KISS, etc.)-3rd January 2011
Album release- 14th January 2011
Download available- 24th January 2011
CREATIVE BRIEF-ADVERT
Description
To design a youthful, dynamic package which reflects Shani’s fun and bubbly yet loving personality and reflect the affection she has for her friends and family.
Deadlines
20th November advert deadline
Objective
To create an advert that reflects Shani’s personality as well as her style of music and her image
Proposition
Create an advert that the audience will be able to relate to.
Tone of voice/ brand image/positioning
Aimed towards the younger generation of today, party goers, clubbers, etc.
Cool inspirational package, fun and something the T.A would want to aspire to. Sexy yet sophisticated.
Restrictions/ limitations (mandatories)
No nudity
OCK Records Logo
Realistic settings, locations of images
Production
Specs
Single page advert. The design must be fun and exciting; eye catching; something different and unique that appeals to TA. Use bright and funky colours.
Creative Edge Spectrum
If very safe equals 1 and very edgy equals 10, on a spectrum of a score of 1-10, what score would you place this brief on?
There is a number of different ways that an audience can consume music videos. It depends on what attracts a specific market segment into watching a music video by an artist in a specific genre. This means that consumers can either relate to music videos by the narrative storyline that may interest them. On the other hand consumers may also find it easier to consume music videos by just listening to the lyrics in the song which then becomes concept based as it is giving out the audience a message. Lastly, people can then consume music videos by the way an artist performs. A performance based video tends to be seen in relation to a specific artist that a fan may follow and enjoy listening to. As well as this people also consume music videos by the use of editing styles and camera shots. An example of a music video that attracts the narrative market segment is a video by Jason Derulo, ‘What If’.
This music video tells the audience a story based on the title of the song, it is also a frequently used question that everyday individuals use as well as being a rhetorical question. This then is identifying the concept of ‘what if?’ Throughout this music video a lot of camera shots and editing techniques are used to capture the audience and make them want to follow the narration of the music video. This again then makes the video performance based as the artist takes part in the production of the video. In conclusion to this different elements that are brought together capture what consumers expect to see in music videos.
As music videos have developed it has had an impact on the way people consume music videos from technical elements and the way artists are shown to the public. Through the development of music videos and the technology used within the music videos it has become clear that different elements attract different markets. As a result of this consumers may not like the way technology has developed as they may feel it ruins an artist’s music by a video over shadowing an artist. On the other hand consumers may feel the views of producers and music artists are met with the technology that is available to them now to produce a realistic video. An example of a video that has used a vast amount of technical elements is by N.E.R.D, ‘She Wants to Move’.
This music video shows many elements of technical abilities that some consumers may find distracting from the song, having said that it could have the opposite effect on an audience due to their attention being kept at all times. In conclusion to this depending on what type of genre the music is in will determine what kind of market segment will be attracted to watching a specific type of music video.
Music video's have come a long way from how they started off. Every major record company expects their artists to be promoted through music videos and is a big aspect of symbolising success. Different organisations are known for starting the popularity of music videos and only in the 1940's it was recognised that every artist is to release at least one hit music video in order to gain credibility. From organisations such as Top of The Pops and MTV was it an important factor for artists to take part and produce a music video.
A music video is a short film or video that accompanies a complete piece of music, most commonly a song. Modern music videos were primarily made and used as a marketing device intended to promote the sale of music recordings.
Source: Wikipedia
An Early example of a music video- St Louis Blue’s – Bessie Smith 1929 Blues singer Bessie Smith appeared in a two-reel short film called Saint Louis Blues ( 1929 ) featuring a dramatized performance of the hit song. It was shown in theatres until 1932.
Music videos are often called promotion videos or simply promos, due to the fact that they are usually promotional devices. Sometimes, music videos are termed short-form music videos to distinguish them from full length movies pertaining to music.
In 1940 , Walt Disney released Fantasia , an animated film based around famous pieces of classical music .
The earliest music videos or music promos were filmed in the mid 1950’s, however before then as early as the 1920’s, films by animators such as Oskar Fischinger were accompanied by musical scores labeled ‘visual music’.
The early animated efforts of Walt Disney , his Silly Symphonies , were built around music. The Warner Brothers cartoons, even today billed as Looney Tunes and Merrie Melodies , were initially fashioned around specific songs from upcoming Warner Brothers musical films . Live action musical shorts, featuring such popular performers as Cab Calloway , were also distributed to theatres.
The Panoram jukebox with eight three-minute Soundies were popular in taverns and night spots, but the fad faded during World War II .
Source: Wikipedia
1950’s and 60’s developments
In 1956 Tony Bennett was filmed walking along The Serpentine in Hyde Park, London as his recording of Stranger in Paradise & played this film was distributed to and played by UK and US television stations, leading Bennett to later claim he made the first music video.
According to the Internet Accuracy Project, disk jockey -singer J.P. The Big Bopper; Richardson (d. 1959) was the first to coin the phrase rock video.
Around 1960 the Scopitone, a visual jukebox was invented in France and short films were produced by many French artists, such as Serge Gainsbourg , Françoise Hardy and Jacques Dutronc to accompany their songs. Its use spread to other countries and similar machines such as the Cinebox in Italy and Color-Sonic in the USA were patented.
1950’s and 60’s
The defining work in the development of the modern music video was The Beatles ' first major motion picture, A Hard Day's Night in 1964 , directed by Richard Lester . The musical segments in this film arguably set out the basic visual vocabulary of today's music videos, influencing a vast number of contemporary musicians, and countless subsequent pop and rock group music videos.
Although unashamedly based on A Hard Day's Night , the hugely popular American TV series The Monkees was another important influence on the development of the music video genre, with each episode including a number of specially-made film segments that were created to accompany the various Monkees songs used in the series. The series ran from 1966 to 1968.
The Beatles took the genre to new heights with their groundbreaking films for Strawberry Fields Forever, Penny Lane, made in early 1967, which used techniques borrowed from underground and avant garde film, such as reversed film effects, dramatic lighting, unusual camera angles and rhythmic editing. Created at the height of the psychedelic music period, these two landmark films are among the very first purpose-made concept videos that attempt to the song in an artful manner, rather than just creating a film of an idealized performance.
In 1966 the clip of Bob Dylan performing " Subterranean Homesick Blues filmed by D A Pennebaker was much used. The clip's ironic portrayal of a performance and the seemingly random inclusion of a celebrity (Allen Ginsberg) in a non-performing role also became mainstays of the form. The clip has been much imitated.
Source: Wikipedia
Modern Era
The key innovation in the development of the modern music video was, of course, video recording and editing processes, along with the development of a number of related effects such as chroma-key. The advent of high-quality colour videotape recorders and portable video cameras coincided with the DIY ethos of the New Wave era and this enabled many pop acts to produce promotional videos quickly and cheaply, in comparison to the relatively high costs of using film. However, as the genre developed music video directors increasingly turned to 35mm film as the preferred medium, while others mixed film and video. By the mid-1980s releasing a music video to accompany a new single had become standard, and acts like The Jackson's sought to gain a commercial edge by creating lavish music videos with million dollar budgets; most notable with the video for ‘Can You Feel It’.
Source: Wikipedia
Modern Era of Music Video’s 1970’s.
In the UK the importance of Top of the Pops to promote a single created an environment of innovation and competition amongst bands and record labels as the show's producers placed strict limits on the number of videos it would use - therefore a good video would increase a song's sales as viewers hoped to see the video again the following week.
Queen 's, Bohemian Rhapsody also started a whole new era for using music videos as promos. American band Devo were one of the first to create the early self-produced music videos by Devo, including the pioneering compilation The Truth About Devolution directed by Chuck Statler, were also important developments in the evolution of the genre and these Devo video cassette releases were arguably among the first true long-form video productions.
Source: Wikipedia
1980’s
1981- MTV is launched, The first video to be aired is Buggles ‘Video killed the Radio Star’
David Bowie scored his first UK number one in nearly a decade thanks to director David Mallets' eye catching promo for Ashes to Ashes. In the early to mid 1980s , artists started to use more sophisticated effects in their videos, and added a storyline or plot to the music video. Michael Jackson was the first artist to create the concept of the short film. A short film is a music video that has a beginning, middle and end. He did this in a small way with Billie Jean, directed by Steve Barron , then in a West Side Story way with director Bob Giraldi's Beat It , but it wasn't until the 1984 release of the Thriller short film that he took the music video format to another level. Top of the Pops was censorious in its approach to video content, so another approach was for an act to produce a promo that would be banned or edited and so use the resulting controversy and publicity to promote the release. Early examples of this tactic were Duran Duran's Girls on and Frankie Goes to Hollywood with directed by Bernard Rose & White lines by Grandmaster Flash
A non-representational music video is one in which the musical artist is hardly shown. Because music videos are mainly intended to promote the artist, such videos are rare; an early 1980s example of this is Herbie Hancock’s Rock it!
Source: Wikipedia
MTV
Music video would, by the mid-1980s, grow to play a central role in popular music marketing.
Madonna, owed a great deal of her success to the skillful construction and seductive appeal of her videos. Some academics have compared music video to silent film, and it is suggested that stars like Madonna have (often quite deliberately) constructed an image that in many ways echoes the image of the great stars of the silent era such as Greta Garbo. Although many see MTV as the start of a golden of music videos and the unparalleled success of a new art form in popular culture, others see it as hastening the death of the true musical artist, because physical appeal is now critical to popularity to an unprecedented degree.
Source: Wikipedia
Music Video’s today
In the information technology era, music videos now approach the popularity of the songs themselves, being sold in collections on video tape and DVD. Enthusiasts of music videos sometimes watch them muted purely for their aesthetic value. Instead of watching the video for the music, (the basis for the artform) the videos are appreciated for their visual qualities, while viewers remain uninterested in the audio portion of the performance. This is a normal sociological reaction, some say, to the increasing trend in the music business to focus on visual appeal of artists, rather than the quality of the music. Critics say that the corporate music managers, over the course of logical and calculated business decisions, have sought to capitalize on the sex appeal of females in music videos rather than in choosing less profitable musicianship-based music.
Source: Wikipedia
Music video history- timeline
1941: A new invention hits clubs and bars in the USA: The Panoram Soundie is a jukebox that plays short video clips along with the music.
1956: Hollywood discovers the genre of music-centered films. A wave of rock'n'roll films begins ( Rock Around the Clock , Don't Knock the Rock , Shake, Rattle and Rock , Rock Pretty Baby , The Girl Can't Help It , and the famous Elvis Presley movies). Some of these films integrated musical performances into a story, others were simply revues.
1960: In France a re-invention of the Soundie, the Scopitone , gains limited success.
1962: British Television invents a new form of music television. Shows like Top Of The Pops , Ready! Steady! Go! and Oh, Boy started as band vehicles and became huge hits.
1964: The US-Television market adapts the format. Hullabaloo is one of the first US shows of this kind, followed by Shindig! (NBC) and American Bandstand ; The Beatles star in A Hard Day's Night
1966: The first conceptual promos are aired, for the Beatles' Paperback Writer and Rain. Early in 1967, even more ambitious videos are released for Penny Lane and Strawberry Fields Forever.
1968: The Rolling Stones collaborate with Jean-Luc Goddard on Sympathy for the Devil
1970: The record industry discovers these TV-Shows as a great opportunity to promote their artists. They focus on producing short Promos. Early music videos which started to replace the live performance of the artist on the TV-stage.
1975: Bohemian Rhapsody a groundbreaking video released by Queen marked the beginning of the video era and set the language for the modern music video.
1979: Devo releases The Day My Baby Gave Me a Suprise, which is the first music video to include computer animation as well as the first to include traditional animation.
1980: Ashes to Ashes which is considered as a groundbreaking video is released by David Bowie.
1981: MTV, the first 24-hour satellite music channel, launches. Initially few cable TV operators carried it, but it rapidly became a major hit and cultural icon.
1981: Michael Nesmith wins the first ever music video Grammy with Elephant Parts.
1983: Night Tracks debuted on Superstation WTBS (later known as TBS) with up to 14 hours of music videos each weekend by 1985. This allowed nearly all U.S. households with Cable TV to view music videos regularly as MTV still wasn't as widely available at this point in time compared to WTBS.
1983: Friday Night Videos debuted on the NBC television network, allowing nearly all U.S. households to view music videos regularly.
1984: Michael Jackson 's short film Thriller is released, changing the concept of music videos forever. The Making of Thriller home video was also released in 1984. It was the first ever video about the making of a music video.
1986: Sledgehammer, the groundbreaking video from Peter Gabriel, is first shown.
1989: MTV renames its Video Vanguard Award to the Michael Jackson Vanguard Awarding honor of Michael Jackson for his contributions to the art of music video.
1989: Madonna 's controversial video for Like a Prayer is released.
1991: Nirvana release the Smells Like Teen Spirit video changing the MTV platform from glam rock to alternative rock, and catapulting grunge and Kurt Cobain into the American and Worldwide mainstream.
1992: MTV begins to credit music video directors.
1992: Guns N' Roses 's groundbreaking video for November Rain is released and remains as one of the costliest ever produced.
1996: Pop-up Video is first aired on VH1.
1996: M2 is launched as a 24-hour music video channel, as MTV has largely replaced videos with other content.
1999: M2 is renamed to MTV2 .
2002: MTV Hits is launched as MTV2 is gradually showing fewer music videos.
2005: Saw the launch of the website YouTube, which made the viewing of online video faster and easier; MySpace's video functionality, which uses similar technology, launched in 2007
2006: The Norwegian unsigned band Rektor makes the world’s first playable videogame music video game . http:// www.rektor.no
Source: Wikipedia
This information was taken from http://www.slideshare.net/crosswaysfederation/music-video-a-brief-history
Music Video Styles:MusicVideo Production 2004
Camerawork
As with any moving image text, how the camera is used and how images are sequenced will have a significant impact upon meaning. Camera movement, angle and shot distance all need to be analysed. Camera movement may accompany movement of performers (walking, dancing, etc) but it may also be used to create a more dynamic feel to stage performance, by for instance constantly circling the band as they perform on stage.
The close up does predominate, as in most TV, partly because of the size of the screen and partly because of the desire to create a sense of intimacy for the viewer. It also emphasises half of the commodity on sale (not just the song, but the artist, and particularly the voice). John Stewart of Oil Factory told me that he sees the music video as essentially having the aesthetics of the TV commercial, with lots of close ups and lighting being used most prominently for the star’s face.
Editing
Though the most common form of editing associated with the music promo is fast cut montage, rendering many of the images impossible to grasp on first viewing thus ensuring multiple viewing, there are videos which use slow pace and gentler transitions to establish mood. This is particularly apparent for the work of many female solo artists with a broad audience appeal, such as Dido.
Often enhancing the editing are digital effects which play with the original images to offer different kinds of pleasure for the audience. This might take the form of split screens, colourisation and of course blockbuster film style CGI.
Star Image
Richard Dyer has noted:
“a star is an image constructed from a range of materials” (Richard Dyer 1979).
For pop music these materials include the songs (their lyrical themes and musical structures/genres), the record covers (singles and albums and the image of the star they present), media coverage (from interviews about career and private life through to tabloid gossip), live performance (the image through the stage show) and arguably most significantly the music videos, which may draw upon the image presented in each of the other aspects.
Each video may also draw upon its predecessor both in reinforcing the star’s existing image and in taking the image on further, perhaps in new directions. Thus even more than Hollywood films may be seen as vehicles for their stars, music videos will act as a showcase for their talents and a significant part in the construction and maintenance of their image.
Voyeurism
This idea comes from Freud, and has been much used in Media Studies, particularly in explaining the gendered pleasures of cinema. Broadly it refers to the idea of looking in order to gain sexual pleasure. It has been argued that the male viewer’s gaze at the screen is geared to notions of voyeurism in that it is a powerful controlling gaze at the objectified female on display. In music promos, as we have seen, the female on display has been a staple element through the Scopitones to Duran Duran and beyond. Goodwin argues that the female performer will frequently be objected in this fashion, often through a combination of camerawork and editing with fragmented body shots emphasising a sexualised treatment of the star. In male performance videos to the idea of voyeuristic treatment of the female body is often apparent with the use of dancers as adornments flattering the male star ego.
The idea becomes more complex when we see the male body on display and we might raise questions about how the female viewer is invited to respond. Equally, the apparently more powerful independent female artists of recent years, from Madonna onwards, have added to the complexity of the gaze by being at once sexually provocative and apparently in control. This offers interesting questions for discussion of the range of audience experiences of music video and the contradictory meanings they may evoke.
The idea of voyeurism is also frequently evident in music video through a system of screens within screens- characters shown watching performers or others on television, via webcams, as images on a video camera screen or CCTV within the world of the narrative. Indeed the proliferation of such motifs has reached a point where it has become almost an obsession in music promos.
Intertextuality
The music video is often described as ‘postmodern’, a slippery term which is sometimes used as a substitute for intertextuality. Broadly, if we see music promos as frequently drawing upon existing texts in order to spark recognition in the audience, we have a working definition of ‘intertextuality’. Not all audiences will necessarily spot the reference and this need not massively detract from their pleasure in the text itself, but it is often argued that greater pleasure will be derived by those who know the reference and are somehow flattered by this.
It is perhaps not surprising that so many music videos draw upon cinema as a starting point, since their directors are often film school graduates looking to move on eventually to the film industry itself. From Madonna’s ‘Material Girl’ (Mary Lambert 1985, drawing on ‘Diamonds are a Girl’s Best Friend’) to 2Pac and Dr Dre’s ‘California Love’ (Hype Williams 1996, drawing on ‘Mad Max’) there are many examples of cinematic references which dominate music video. Television is often a point of reference too, as in The Beastie Boys’ spoof cop show titles sequence for Sabotage (Spike Jonze 1994) or REMs recent news show parody ‘Bad Day’ (Tim Hope 2003).
John Stewart sees visual reference in music video coming from a range of sources, though the three most frequent are perhaps cinema, fashion and art photography. Fashion sometimes takes the form of specific catwalk references and sometimes even the use of supermodels, as by George Michael in both ‘Father Figure’(Morahan/Michael 1988) and ‘Freedom’ (Fincher 1990). Probably the most memorable example of reference to fashion photography is Robert Palmer’s ‘Addicted to Love’ (Donovan 1986), parodied many times for its use of mannequin style females in the band fronted by a besuited Palmer. Shania Twain copied it for her ‘Man I feel like a woman’ (Paul Boyd 1999) and Tamra Davis directed a $350 parody of it for Tone Loc’s ‘Wild Thing’ (1988).
For the near future, John Stewart suspects that the influence of video games will predominate for the younger audience with the more plasticised look of characters emerging (as seen for example in Robbie Williams’ ‘Let Love be your Energy’ dir. Olly Reed 2001 and The Red Hot Chilli Peppers ‘Californication’ dir.Jonathan Dayton and Valerie Faris 2000)
His description of the music video “incorporating, raiding and reconstructing” is essentially the essence of intertextuality, using something with which the audience may be familiar to generate both potentially nostalgic associations and new meanings. It is perhaps more explicitly evident in the music video than in any other media form, with the possible exception of advertising.
Narrative and Performance
Narrative in songs is rarely complete, more often fragmentary, as in poetry. The same is true of music promos, which more often suggest storylines or offer complex fragments of them in non-linear order. In doing this the music video leaves the viewer with the desire to see it again if only to catch the bits missed on first viewing. As Steve Archer puts it:
“Often, music videos will cut between a narrative and a performance of the song by the band. Additionally, a carefully choreographed dance might be a part of the artist’s performance or an extra aspect of the video designed to aid visualisation and the ‘repeatability’ factor. Sometimes, the artist (especially the singer) will be a part of the story, acting as narrator and participant at the same time. But it is the lip-synch close-up and the miming of playing instruments that remains at the heart of music videos, as if to assure us that the band really can kick it.” (Steve Archer 2004)
The video allows the audience access to the performer in a much greater range of ways than a stage performance could. Eye contact and facial gestures via the close up, role playing through the narrative and mise-en-scene will present the artist in a number of ways which would not be possible in a live concert.
The mise-en-scene may be used as a guarantee of what Simon Frith terms ‘authenticity’ as in the stage performance/use of a rehearsal room by a band whose musical virtuosity is their main selling point. It can be important to a narrative-based video to establish setting and relationship to existing film or televisual genres. Equally it may be used as part of the voyeuristic context by suggesting a setting associated with sexual allure, such as a sleazy nightclub or boudoir. Or finally, as John Stewart suggests, it may be used to emphasise an aspirational lifestyle for the audience, as in the current dominance of a futuristic look with emphasis on the latest gadgetry.
Other commentators have divided music videos in terms of style, though often there will be crossover between these; apart from Performance and Narrative, it is possible to identify at least six: Gothic, Animated, Dreamscapes, Portraiture, Futuristic and Home Movie.
Music Video Production 2004 Goodwin’s music video analysis
Andrew Goodwin writing in ‘Dancing in the Distraction Factory’ (Routledge 1992)
1. Music videos demonstrate genre characteristics
(e.g. stage performance in metal video, dance routine for boy/girl band).
2. There is a relationship between lyrics and visuals
(either illustrative, amplifying, contradicting).
3. There is a relationship between music and visuals
(either illustrative, amplifying, contradicting).
4. The demands of the record label will include the need for lots of close ups of the artist and the artist may develop motifs which recur across their work (a visual style).
5. There is frequently reference to notion of looking (screens within screens, telescopes, etc) and particularly voyeuristic treatment of the female body.
6. There is often intertextual reference (to films, tv programmes, other music videos etc).
In conclusion to all of this major developments have effected the way people watch music videos from the 1940's to 2006. This is from technology that has developed over the years and generations becoming more open minded about the use of technology. For example, an older generation who were not used to seeing high technology music videos may find it weird in the amount of elements that are put together to create the final piece. As a result of this it will put them off until a new generation sees and is interested in how things change over time.
There are many different music channels that consumers prefer over others as they meet different needs, as well as this it depends on what individuals listen to and the genres in which they prefer. Below is a list of all the major music channels that are well known in today's society:
-MTV Dance
-MTV Hits -MTV One
-MTV One+1
-TMF
-MTV Base
-KISS
-Smash Hits
-VH1
-VH1 Classic
-The Box
-Viva
-4 Music
-Kerrang
-Magic
-Q
-MTV Two
-MTV Rocks
-MTV Shows
-MTV Classic
All of these music channels meet a number of different needs that consumers choose to watch because of what is aired as well as the type of genre each channel shows to the audience. MTV Dance/Hits/One/One+1/Two/VH1/Rocks/Shows/Classic are all different music channels that one organisation owns. MTV is a very well known, established organisation with 8 music channels that are catered to meet the needs of all different types of consumers. Each music channel has been specifically designed to meet the needs of a different audience and to cater for their musical likes. In conclusion to this each music channel must identify what their target audience is and what attracts them to watch a specific music channel. MTV have carried out market research to find out what the public have come to expect from such an iconic brand name, which is why they have eight music channels that can cater for what individuals want. MTV Dance's aims to target the people who like to go out clubbing and to bars as the music is high tempo and fast paced. I have taken a quote from the MTV Dance website which says, 'Classic anthems or new dance floor smashes. As long as they're big tunes, we're playing them all right now!'. This means that MTV Dance's target audience is for the age 18+ and also for the people who like to go clubbing. Some examples of artists that are usually played on MTV Dance are artists such as; Inna, Roll Deep, Rihanna, Swedish House Mafia and Freemasons. This channel is used as a form of branding due to the type of music played on the channel which consumers can relate to for a specific type of genre. Branding has also helped in the success of MTV's 8 different channels due to consumers knowing which specific channel to watch out of the 8 available that meet different needs. The logo of MTV Dance appeals to the audience because in the image you can see a character with music headphones on like a DJ in a club. This means the audience are able to see what kind of music this channel offers and has a clear indication from the logo.
MTV Hits is another music channel which MTV have started up, this channel caters for consumers who like to keep on track with the latest chart hits. MTV Hits offer The Official UK Top 40. Also found on the MTV Hits website was this quote 'See the number 1 before anyone else as we count down the only official rundown of the UK's top 40 singles!'. This shows consumers they are dedicated to finding the top hits in the music industry today. The target audience that this music channel caters for is young teenager to adults (11-25). MTV hits is also for consumers who want to know about music right now rather than the overall music charts which are done on a monthly basis. As a result of this MTV Hits offer 'The 10 Biggest Tracks Right Now!'. This means that consumers can become up to date with the music that everyone is listening to. In conclusion to this MTV Hits's target audience is for teenagers of any age to mature adults who just want to get to know what is played currently and what is new. This channel plays all types of music in all genre as the top 40 could consist of anything consumers listen to. Some of the artists that are shown on this channel on a regular basis are artists such as; Lady Gaga, Bruno Mars, Pixie Lott, Take That and The Saturdays. MTV Hits is used as a form of branding the same way that MTV Dance is. It is used so that consumers are able to identify which music channels best suit them and where to tune in to first. The logo of MTV Hits targets the audience from the character used again which is a clever thing that MTV have done in order to gain the attention of consumers throughout their different channels. The logo says the name of the channel clearly and this time there is a female character that when looked at can show a reference to the type of people who watch the channel. MTV have also put into place a number of different adverts that show each cartoon character in the logo's and how they act in response to the type of music each channel plays. Below is an advert MTV Hits have created using the same character from the logo and made it to a short commercial break in between viewings in the MTV Hits channel.
MTV One & MTV Two play TV shows that are mainly reality shows such as, Sweet 16, Jersey Shore, The City, 16 and Pregnant and Daddy's Girls etc. These two channels cater for all ages as they offer a variety of TV shows that consumers can relate to. For example, young teenagers may enjoy watching Sweet 16 as it targets the same age group, whereas teenagers between the age of 18-25 may enjoy watching a TV show such as Jersey Shore which contains different types of referencing some adults would not like their children to watch
Which is a selection of the latest Hip Hop and R'n'B music as well as Rap music. This channel targets the male audience more so than the female audience due to the level of male artists within the Rap and Hip Hop genre who dominate the market. Having said that new artists such as Nikki Minaj and gradually taking away some of the stereotypical views on female rap artists. MTV Base air artists such as Jay-Z, N-Dubz, Nelly, Eminem and Chris Brown on a regular basis. This channel is used as a form of branding as it represents the Hip Hop and R 'n' B genre which many consumers enjoy and is a big dominating genre of the music industry. By having this channel it allows consumers to get to know about different artists and their upcoming songs. The logo of MTV Base appeals to the target audience because the character used is a male and again both the Hip Hop and R 'n' B genre are dominated by males. This means it will allow them to continue on with the stereotypical perceptions consumers have of men having more authority over women.
KISS is a well established organisation that have their own radio station as well as music channel. This automatically means that they have more access to the public as MTV do not have their own radio station. As a result of this KISS have carried out different methods of market research in order to see what consumers want. Not only are consumer's able to watch KISS's music selection but they are also able to hear it wherever they go, meeting the needs of a wider target audience. KISS have quoted themselves as providing; 'The UK's Best Dance, Hip Hop & R&B on Radio and TV'. By having this on show to the public it is automatically drawing in attention from the claim that they are making which is that they are the best music station that provides both radio airing and TV viewing. KISS have the same target audience as MTV Base, this means that there is rivalry between the two organisations to stay at the top of their game and produce the most viewings. Although KISS have an upper hand of diversity on the radio station KISS 100 and being able to be seen on TV, MTV have different music channels for different types of music which enables customer needs to be met in the highest possible way which is a very hard element to compete with. Some artists that are shown regularly on KISS are artists such as; Usher, Katy B, Jason Derulo, Ne-Yo and Tinie Tempah. This channel is used as a form of branding due to the two media channels KISS airs on. Branding is all about creating a link between a brand name and their target audience. In this case KISS have managed to attracted their target audience through TV and the radio. Moreover the logo KISS allows their target audience to be attracted to their music channel because of the use of colour and style of the logo. The colour of the logo represents the channel playing new up to date and fresh music and the writing confirms the name of the organisation which all companies chose to include in order for their brand name to be recognised. Smash Hits is a Pop music channel that favour artists such as Pixie Lott, Miley Cyrus, Justin Bieber, Diana Vickers and Alesha Dixon. Kerrang, Magic and Q are all in competition with one another as they offer the same type of music as one another. Each music channel stated above target the same audience which is between the ages of 25-45+. I have drawn this conclusion from looking into each music channel and studying what each channel has chosen to broadcast. As well as this I have carried out research on each music channel website which has again allowed me to determine the same thing due to the layout and presentation of each website as they do not attract and draw in younger consumers due to the lack of colour, images and catchy headlines that tend to draw in a younger target audience. All of the music channels stated above use branding as a way of associating their organisation with consumers and creating a link that will allow the audience to interact with different artists that are shown on each channel. The Smash Hits logo is bold and straight to the point which adults may prefer, whereas younger consumers will like something to figure out and be attracted to. An example of a music channel that has done this is MTV, they have used their cartoon characters to relate to the audience making them think more about the music each channel plays along with portraying stereotypes in a form of a cartoon.
The Box offer 'Fresh New Music First' which is a quote taken from their website. This means that consumers will be able to switch to this channel if they want to find out what all the new releases are instead of watching MTV Hits for example which is good for watching The Official UK Top 40. The Box's target audience is for consumers of the age 10-35. The reason for this is because it allows the audience to make a link with the music channel for being kept up to date with the latest releases in the UK. Viva is the newest music channel out of the list stated at the beginning which means they have a lot of competition based on not having any fan base in comparison to the other music channels that have been running for years. Having said that Viva has become very successful in offering music selections and TV shows that are aired on their channel. Viva is known for their slogan which is 'Music and Entertainment'. This sums up to consumers what they will be able to watch while viewing the channel. Viva offer the same TV shows as MTV and is another channel produced from MTV One. Viva also offer 'The Official UK Top 40', which is the same as MTV Hits. This will not bother producers though because both channels work as a team from the MTV organisation and aim to gain higher viewings than other big music channels such as KISS and The Box. Some artists that are played on The Box are artists such as; Cheryl Cole, Michael Buble, Taio Cruz, Jay Sean and Alexandra Burke. The logo appeals to the target audience because different shapes are used to create a link between the channel and the consumers which will make them remember the music channel they are watching. This is the reason for the BOX shaped letters as they are easily remembered so that consumers know what they are looking for when wanting to watch The Box. Having said that it could just be that a television is the same shape as a square (box) and is where the name of the organisation came from.
Viva chose to show artists such as Katy Perry, Robbie Williams, The Wanted, Tinchy Stryder and Shontelle. This channel is used as a form of branding as part of the MTV organisation and is used to boost the overall viewings of the company as a whole. The logo of Viva appeals to the target audience because a lot of colour is used which many consumers get interest in by. The logo is very eye catching from the bold text and catchy slogan. The logo also stands out from other logos in the music industry and can be seen as daring as most music organisations tend to play it same in regards to the colour used and the amount.
4 Music offer a Top 20 which other channels don't. This means viewing slots will be smaller due to less music videos to get through. This can be seen as more effective because not all consumers have the time to be watching music channels constantly throughout the day. Which brings me on to the next music channel I have researched into 'MTV Rocks'. Just by the name it becomes clear what type of music is played in this channel. MTV have cleverly successfully launched and maintained different music channels that meet the every changing needs of the public. MTV Rocks offer the 'Official Rock Chart' which allows rock fans to see what new music has been released. MTV Rocks is used to target the audience of any age but is specifically designed for those who love rock music. MTV Shows is another part of the MTV organisation that cater for MTV Original Shows and Reality TV Shows. Again from the different amount of shows they offer determines what kind of target audience each programme offers. 4 Music play artists such as James Blunt, Olly Murs, JLS, Roll Deep and The Script. 4 Music is used as a form of branding again to create a link between the viewers and their favorite artists. This can also be done by the logo and how it attracts the majority of 4 Music viewers. The logo shows that the channel is bold and offers a different type of music selection in comparison to other music channels. Moreover moving onto MTV Rocks, some artists that are played on a regular basis consist of people such as; Florence and The Machine, Kings of Leon, Bon Jovi, Good Charlotte and Plan B. All of MTV's music channels are used as a form of branding and is used so that consumers that listen to all types of music can identify that MTV are so established within different areas of the music industry.
The reason MTV have 8 different music channels is because they want to appeal to all the target audiences they can. MTV is broken up into MTV One, MTV Rocks, MTV Base, MTV Hits, MTV Dance, MTV Shows, VH1 and MTV Classic. By having all of these channels MTV has become increasingly known and established within the music industry overshadowing smaller organisations such as Kerrang. MTV are a business that want capital growth and profit and they are able to keep regulating money due to all of the stations they run. Each music channel is used to target consumers and make them think that their channels are the best because there are so many of them that dominate the market. This leads me on to my next point which is why it is essential that music channels appeal to a target audience and manage to sustain their interest. If music channels did not have a target audience that was interested in what was shown on TV then the music channel will not succeed as a business due to a low number of viewings which will not generate enough income for the business to stay running. This means that each music channel needs to think of how they can target their audience by the music they play and the artists they promote in order to be successful. Music channels are only successful if they gain the interest of viewers by what they play only when they are well established enough will consumers keep watching their shows.
There needs to be a variety of music channels that viewers can gain access to through the television because each person is individual and enjoys different things to others. By having different music channels it allows artists and listeners to relate to each other from the same likes and dislikes which is only then when artists start to build up a fan base. Moreover each music channel meets different needs of the public from what type of music each individual likes to listen to down to what an individuals favorite artist wears on screen. All music channels allow everyday people to aspire to want to be something and to be successful as well as having an idol and someone to look up to. Through analysing all of the music channels I have it has allowed me to gain a lot of knowledge on what proceedings I will need to take myself in order for my music video to be successful. As the song I have chosen to create is in the Reggae genre I will be using elements I have found out from MTV Base/One/Dance/Hits to enable my success. These music channels have the elements my group and I will need when thinking about basic steps to creating our music video. As well as this from analysing all of the music channels I did I have gained a better understanding of how organisations work and the methods they choose to differ themselves from others. An example of this would be KISS as they have a TV channel and a radio station. The other example would be MTV and their 8 different music channels they have successfully launched and retained. In conclusion to this all of these different elements will help with my own production and understanding of how different elements can be used within my own music video.
Boy you waan fi hold me
Put your arms right arounddd me
Mi no se me give u di tightest hole u eva did see in your life
Boy you waan fi just squeeze me
Put di ting right around me
Mi no se me give u di tightest hole u eva did see in your life
Your eye dem dry and u na care
So you can give it anytime and anywhere
Inna de square
So we na care
Mi a yuh woman so mi haffi be there
Well you seh you want a girl who will tek u away
Baby come behind me let me wine pon u
Wid it gooddd
You haffi feel itt
I'll have you comin back for more
Boy you waan fi hold me
Put your arms right arounddd me
Mi no se me give u di tightest hole u eva did see in your life
Boy you waan fi just squeeze me
Put di ting right around me
Mi no se me give u di tightest grip u eva did see in your life
I a bike mi a ride like voom voom voom voom
Cock up mi bump up a boom boom boom boom
Lift it up n drop it back badoom boom boom boom
No time to play around boy jus get in my room
Me out a control
A real man me want in mi soul
Man mi no u ah di one so no politic on yuh
Di gyal who could hold u down
Mami waan fi hold yuh
Put di ting right arounddd me
Mi no se me give u di tightest hole u eva did see in your life
Boy you waan fi just squeeze me
Put di ting right around me
Mi no se me give u di tightest grip u eva did see in your life
I a bike mi a ride like voom voom voom voom
Cock up mi bump up a boom boom boom boom
Lift it up n drop it boy badoom boom boom boom
No time to play around boy jus get to my room
Me out a control
A real man me want in mi soul
Man mi no u ah di one so no politic on yuh
The one who could hold you downnn
Hoooold yuh
Put your arms right arounddd me
Mi no se me give u di tightest hole u eva did see in your life
Boy you waan fi just squeeze me
Put di ting right around me
Mi no se me give u di tightest grip u eva did see in your life
Your eye dem dry and u na care
So you can give it anytime and anywhere
Inna de square
So we na care
Mi a yuh woman so mi haffi be there
Well you seh you want a girl who will tek u away
Baby come behind me let me wine pon u
Wid it gooddd
You haffi feel itt
I'll have you comin back for more
Boy you waan fi hold me
Put di ting right arounddd me
Mi no se me give u di tightest hole u eva did see in your life
Boy you waan fi just squeeze me
Put di ting right around me
Mi no se me give u di tightest grip u eva did see in your life
I a bike mi a ride
Above are the lyrics of the song by 'Shani', 'Hold Me'. I will now be evaluating what the song is about as well as what the artist has come to represent through the lyrics of the song and what it is telling the audience about the artist. The first verse is as follows;
Boy you waan fi hold me Put your arms right arounddd me Mi no se me give u di tightest hole u eva did see in your life
While analysing the lyrics within the song by 'Shani' it becomes clear to the audience that she is singing about lust, love and relationships as well as sexual references. When 'Shani' is singing 'Boy you waan fi hold me' she is telling the audience that she wants to be held along with the lyrics that follow, 'Put your arms right arounddd me' which also shows a representation between an intimate relationship. These lyrics follow the conventions of the Reggae genre because lust and love are big elements that a lot of artists use throughout their work. Moreover the final row of lyrics in the verse are, 'Mi no se me give u di tightest hole u eva did see in your life' this references a sexual perception which again links in with the generic conventions consumers expect to see and hear.
Second Verse:
Boy you waan fi just squeeze me Put di ting right around me Mi no se me give u di tightest hole u eva did see in your life
Again when 'Shani' is singing 'Boy you waan fi squeeze me' it is telling the audience the same thing as the first verse, that she wants to be held tightly. 'Put dise me give u di tightest hole u eva did see in your life' is a repetition of the first verse, this is done continually throughout the song to build on the feel of the song as well as to make it catchy so that consumers can remember the lyrics.
Third Verse:
Your eye dem dry and u na care So you can give it anytime and anywhere Inna de square So we na care Mi a yuh woman so mi haffi be there
In this next verse the lyrics become more emotional towards the feelings 'Shani' has within the song. As she sings, 'Your eye dem dry and u na care' this means that the person she is singing about has shown no emotion as he/her has not cried and they do not care. This line references relationships and is something consumers in a relationship are going to be able to relate to. The next three lines, 'So you can give it anytime and anywhere,
Inna de square, So we na care' shows a representation between intimacy and the subculture of today's society and the artists within the music industry that follow mainstream perceptions of relationships, love, sex and lust. The final line in this verse 'Mi a yuh woman so mi haffi be there' shows the dedication that partners put into their relationships as 'Shani' is singing that she is his/her woman so she has to be there, not that she may be there, she has to be. This again allows all age groups and genders to relate to the lyrics within the song as well as creating history between the artist and the consumers.
Fourth Verse:
Well you seh you want a girl who will tek u away Baby come behind me let me wine pon u Wid it gooddd You haffi feel itt I'll have you comin back for more
The fourth verse consists of lust and the feeling of being loved. I am able to tell this from the following lyrics, 'Well you seh you want a girl who will tek u away, Baby come behind me let me wine pon u'. These lyrics show what relationships are based on as well as what individuals expect to get out of a relationship. In this verse the song is concept based due to the perception of relationships working out perfectly. I am also able to pick up on this from the last line in the verse 'I'll have you coming back for more', this again relates back to the perception of having a perfect relationship. The middle part of the verse, 'Baby come behind me let me wine pon u, Wid it gooddd, You haffi feel itt' shows a sexual reference once again that creates a link between the type of genre the song and artist is based within.
Fifth Verse:
Boy you waan fi hold me Put your arms right arounddd me Mi no se me give u di tightest hole u eva did see in your life
This next verse is a repetition of the first verse which is done continuously as the chorus. This part of the song makes it narrative based because it is telling the audience a story about love.
Sixth Verse:
Boy you waan fi just squeeze me Put di ting right around me Mi no se me give u di tightest grip u eva did see in your life
The first two lines in this verse is repeated throughout the song, however the last line is changed to suit the change in narration. The last line, 'Mi no se me give u di tightest grip u eva did see in your life' allows the audience to imagine holding someone tight and having a grip on them as well as not wanting to let go. Throughout the song some of the verse's are put together from different lines from each verse to create something new and innovative that consumers will find catchy and expressive.
Seventh Verse:
I a bike mi a ride like voom voom voom voom Cock up mi bump up a boom boom boom boom Lift it up n drop it back badoom boom boom boom No time to play around boy jus get in my room
This next verse contains a lot of onomatopoeia within the verse. Onomatopoeia can be defined as the creation of a name that sounds like what it referes to, an example of this is snap, crackle and pop. In this case voom voom voom voom is the onomatopoeia which is in the first line within the verse. This creates an automatic image in the audience's head that can be related to a motorbike or a car. In this verse, also the ending in each line is with an 'oom' this makes the lyrics easy to catch on to which is the aim of many music labels in order for their songs to stick in consumer's heads. As 'Shani' sings 'Cock up mi bump up a boom boom boom boom, Lift it up n drop it back badoom boom boom boom, No time to play around boy jus get in my room we become increasingly aware of the conventions of the song from the type of genre it is in. As a result of this the audience are able to perceive a performance based element. The reason for this is because the lyrics and the tempo of the song is upbeat which makes the audience feel they can dance to the music.
Eighth Verse:
Me out a control A real man me want in mi soul Man mi no u ah di one so no politic on yuh Di gyal who could hold u down
'Me out a control, A real man me want in mi soul', both of these lines within the verse show a representation between everyday life that people want to be happy and loved. In conclusion to this music is about expressing what artists feel so that the audience can relate to those emotions.
Ninth Verse:
Mami waan fi hold yuh Put di ting right arounddd me Mi no se me give u di tightest hole u eva did see in your life
Tenth Verse:
Boy you waan fi just squeeze me Put di ting right around me Mi no se me give u di tightest grip u eva did see in your life
Eleventh Verse:
I a bike mi a ride like voom voom voom voom Cock up mi bump up a boom boom boom boom Lift it up n drop it boy badoom boom boom boom No time to play around boy jus get to my room
Twelfth Verse:
Me out a control A real man me want in mi soul Man mi no u ah di one so no politic on yuh The one who could hold you downnn
Thirteenth Verse:
Hoooold yuh Put your arms right arounddd me Mi no se me give u di tightest hole u eva did see in your life
Fourteenth Verse:
Boy you waan fi just squeeze me Put di ting right around me Mi no se me give u di tightest grip u eva did see in your life
Fifteenth Verse:
Your eye dem dry and u na care So you can give it anytime and anywhere Inna de square So we na care Mi a yuh woman so mi haffi be there
From the ninth to the fifteenth verse each stanza has been repeated so that consumers are able to pick up on the tune and style of the song.
Sixteenth Verse:
Well you seh you want a girl who will tek u away Baby come behind me let me wine pon u Wid it gooddd You haffi feel itt I'll have you comin back for more
This verse consists of lust when 'Shani' sings 'Well you seh you want a girl who will tek u away'. Lust is defined as a craving for sexual intimacy which is part of the narration for this song. The rest of the verse emphasizes the feeling of lust for example; the way the 'gooddd' is dragged out to make the word sound emphasized.
Seventeenth Verse:
Boy you waan fi hold me Put di ting right arounddd me Mi no se me give u di tightest hole u eva did see in your life
Eighteenth Verse:
Boy you waan fi just squeeze me Put di ting right around me Mi no se me give u di tightest grip u eva did see in your life
I a bike mi a ride
Finally, the eighteenth and nineteenth verse are used to sum up the song as it ends and the music fades into the background.
In conclusion to analysing the lyrics of my chosen song I have decided that my music video will be performance and narrative based. The reason my music video will be performance based is because the music video will be set around the artist of the song. She will also be singing and dancing to her own song making herself involved within the production of the music video. Moreover, it then becomes narrative based, the reason for this is because as the music videos goes on it will be telling the audience a story that they will be able to follow. Both of these elements when looked into carefully will allow my music video to be a success.
From analysing the lyrics in the music video it has also given me potential ideas for different camera shots and locations. The different locations the music video will be filmed in are in the following places;
The Artists House (Stair Case)
The Artists House (Bedroom)
The Artists Car (Car & Driving Off)
A River
Main Road (A10)
These different locations will allow my music video to follow the generic conventions of a Reggae music video. The opening scene will be an establishing shot of a busy main road (A10). This shot will enable the audience watching the video see where the music video is set and starts off the narrative storyline. For an effect the establishing shot of cars driving on the (A10) will be sped up in order for the cars to look like they are moving quickly, by doing this it will look very effective as it is dark and the headlights from the cars will be able to be seen. Moreover the next shot will be of the artist running up her stairs to go to her bedroom, she will then lie down on her bed while she is on her computer watching Gyptian 'Hold Yuh' which is her inspiration for the song. A number of different shots will be filmed in order to keep the audiences eyes moving. Following this the artist will see a present on her desk of a 'Tiffany Necklace' she then opens it up and is admiring it in front of the mirror while she is dancing and singing along to her song. Again different shots will be filmed to portrays the view of the artist from a Point of View shot and low angle shots as well as close ups.
To have a change of location the audience will then be shown the artist driving off in her car showing that she is going somewhere, this links in with the cars at the beginning of the music video as she then at the end is dancing while she is walking along side a river. These aspects once put into place will be very effective and will allow the audience to follow the narrative and performance based elements.
