The
Emergence of Music Videos
The
blueprints for music videos date back to 1941 with the Panoram Soundie which
was a jukebox that played short video clips whilst unrelated music was being
played. As music-centred films took off in 1956 including Shake, Rattle and Rock (Cahn, 1956), the idea of featuring musical performances alongside video
became very popular. This lead to the creation of music television in 1962 with
shows such as Top of the Pops where
bands would be seen performing as-live and gain a great deal of promotion as a
result. As the record industry began to produce promos for bands in 1970, these
early examples of music videos became more popular until 1975 when Queen
released the first example of what we call the modern music video to accompany
their song ‘Bohemian Rhapsody’. In
this essay, I will explore how music videos grew more and more in the creative
industries, becoming what we know today.
Promotion
Music videos are a fantastic way of promoting an artist and their songs
as fans can have a visual association as well as an audial one. Artists will
often want their video to be as iconic as they can so that people it sticks in
people’s minds more identifiably as that artist’s song. It is a good
opportunity to promote their name as well as their image which will be
communicated through the way they act, perform and dress. Music videos often
also feature the director’s name so that they can also be promoted and credited
for their work in the film industry and other areas. It is a good way to
showcase the director’s style to encourage word of mouth and potentially more
work for them as a result. An example where a music video has been pushed as
promotion is R-Kelly’s 45 minute pop soap opera, showing audience members his
style and identifying characteristics.
Producers’ Strategies
Different bands
and artists are marketed differently according to what type of artist they are.
For example, a mainstream artist such as Justin Bieber is unlikely to be
marketed in the same way as an independent artist such as Radiohead. An artist
signed to a major label has a lot of money and publicity behind them allowing
for their music videos to be high budget featuring common conventions such as
dancers, celebrity cameos, a good quantity of props & costumes and grander
locations. As well as being available on online outlets (such as YouTube, Vevo
and ITunes), mainstream artist videos will also be seen on Pop music television
channels such as MTV Hits. An example of a grandiose music video of this
standard is Psy – ‘Gangnam Style’ which features a lot of interesting locations
and choreographed dancing. This would contrast to a low budget video like
Madness – ‘House of Fun’.
The expansion of
media outlets has given rise to self-produced artists who produce and
distribute music and videos by themselves. Some artists such as The Midnight
Beast find fame on YouTube from their own videos. Whilst this method does give
a lot of scope to be unique, the disadvantages may include a poor budget and a larger
piracy problem than signed artists may have. However, some artists have
artistic goals rather than commercial ones; they create a music video as an
artistic statement. The outcome tends to be fairly surreal and theatrical and do
not necessarily hit the mainstream viewers as they tend to be shown late at
night with other alternative music videos.
Extension of Income
Artists receive
royalty payments every time their track is played on the radio. If that song
has a music video to complement it then they also receive payment for every
time that it is watched. This is only theoretical as the task of tracking an
individual video’s consumption is implausible due to the huge quantity of media
outlets that exist now. Instead, an estimate is made according to the
popularity and sales of the track in order to pay the artist their royalties
accordingly. This system makes it more difficult for alternative or
un-established artists to get the airplay that they desire. This is because the
radio stations and television channels play what they think people want to see
and hear meaning that there are a lot of repeats on major stations and channels.
I think that the best ways for new talent to make money is for them to be
unique and do something big to get publicity. An example may be Okay-Go’s music
video for ‘Here It Goes Again’ implementing a quirky dance using treadmills to
entertain the audience. Also, by distributing their work on free media outlets
such as YouTube, they are cutting down on the costs incurred with getting their
work heard and seen.
Extension of Media Outlets
Media outlets are
sources that people can use to access and view a media text such as, in our
case, a music video. There are many types of media outlets, examples are shown
below:
- Internet sources
such as YouTube, ITunes and Vimeo are fantastic, free ways of watching music
videos and, with modern innovations in technology such as smart phones, they
can be viewed this way almost anywhere.
- Television
channels such as Scuzz and MTV Hits play music videos almost all of the time.
This is a great way to see a variety of artists in a similar genre or era. For
example, Scuzz deals with genres of hard and alternative rock.
- Artist’s DVDs
and CDs often have bonus features. These sometimes include digital discs with music
videos to accompany certain tracks for the audience to watch and enjoy. An
example of this is the special edition soundtrack to the film School Of Rock (Linklater, 2003) which
included an extra music video of the film band playing another original
composition, mentioned in the film.
- Some places such
as Pubs and Clubs have public screens where people can watch sports, the news
and even music videos!
The huge amount of
contemporary media outlets has both advantages and disadvantages. It is
advantageous because it means that anyone can watch music videos any time they
like which means potentially more income for the artists as well as more
advertising space or external companies to use. The problem here is that piracy
can be a big problem and, due to the amount of file sharing that happens,
artists can end up losing money. There is also more choice for the viewers.
However, this means that audiences become fragmented and watch different
things. Whilst the large amount of outlets gives new artists more platforms to
get recognised, it means that there is so much material going around that it
can be very difficult for new talent to actually get noticed.
Synergistic Marketing
Synergy is when a
subsidiary product to a main product or company is promoted and sold through
licensing deals. This means that you can promote a media product such as a
song, album or music video through the production of other products related to
it. A good example of this is Pink Floyd’s album ‘The Wall’. After its release
in 1979, it gained huge commercial success and to further promote it, a series
of promotional music videos were released which even lead to a film adaptation
being released in 1982. As well as this, a lot of merchandise was released
including conceptual artwork and other merchandise such as clothing, accessories
and other images such as framed lithographs and posters. Synergistic marketing
has a lot of benefits as a form of promotion. Firstly, potential or existing
fans of the original product can access other memorabilia to further their
enjoyment. As well as this, the rights holders will potentially increase their
income by a great deal due to the extra products sold and the extra customers
that they could potentially receive.
Conclusion
Since their birth,
the popularity of music videos has only grown stronger, providing more content
for fans and more income for artists and their record labels. As well as
providing the artists with promotion for their songs, it also opens up the
possibility for promoting the directors of music videos. These facts, when
combined with the growth of media outlets and widely accessible technology,
mean that new artists can also get popularity and recognition due to the
additional platforms of distribution that they now have access to.
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