Monday 30 July 2012
RESEARCH- Analysing music videos
I watched this music video today and analysed its Codes and Conventions .
Style of the video: animation, comic, abstract , making the band member appear to be like cartoon characters
Camera angles and shots: establishing shot - show the whole 2-D scene
Close up - show the band members
Zooming into individual band member
Zooming out to the whole band or whole scene
Low angle to show the member is standing on something high up
High angle to create a sense of falling , etc
Editing: Computer generated images
Mise-en-scene:
The music video has made use of bright and warm colours like red, orange and yellow. It also focuses on the band members and there isn't much of a story line involved.
They made use of very simple props like umbrellas, tea cups and a swing to help create this comic like music video.
Saturday 28 July 2012
RESEARCH- history of music
DECADES OF MUSIC
http://www.britain.tv/entertainment_britishmusic_60s.shtml
60'S
In the 1950’s people were still reeling from the devastation of the war. Music around this time generally consisted of a solo artist supported by an orchestra or big band. However the 1960’s saw the emergence of a highly competitive band scene. It was in this decade British music really exploded onto the international scene.
For the first time, British people had money in their pockets to spend on music. An underground music movement began to materialise to light up the teen scene. This overtook the cosy cardigan comfort music that people’s parents and grandparents enjoyed listening to. It was an exciting time for young people and this new, fresh and vibrant style overwhelmed the country.
Things really started to hot up when The Beatles arrived. With their catchy melodies and strong personalities, they captured the hearts of Britain. Along with media hype, Beatlemania swept into other countries and soon Britain was considered to be the centre of the music world. The Americans have even termed this as the “British Invasion”. They continued to dominate the decade, becoming the most influential band of all time.
The legendary rock group, The Rolling Stones was also a leading member of the British Invasion. They were a heavier alternative to The Beatles, and by 1966 had become one of the most experimental and trendy rock groups around. As with The Beatles, they had a huge following and many many hits.
There was almost a rivalry between these two great bands. The Beatles were seen as a nice, clean-cut bunch whereas the Rolling Stones were “naughty” and a band your mother would not approve of. (Although no doubt The Beatles weren’t quite as well-behaved as they seemed…)
In the mid to late 60’s came the Hippy Movement. The way of the Hippy was to dress, behave and live life in a manner that did not conform to society’s standards. They had a liberal attitude and lifestyle and greatly believed in the importance of peace, love and freedom.
Another movement of this decade was feminism and the rise of women in society, economy and family, which was mirrored by the chart successes of Lulu, Dusty Springfield, Sandie Shaw and Cilla Black.
Other major British bands/artists of this time are listed below.
The Kinks,
Gerry and the Pacemakers,
The Who
Tom Jones
The Hollies
The Dave Clark Five
Cream
70'S
http://www.britain.tv/entertainment_britishmusic_70s.shtml
Also remembered as “the decade that taste forgot”, the 1970’s brought with it glam, glitter and stadium rock as well as punk, soul and the dance music that many (very) secretly loved….disco!
The 70’s began with a major increase in LP sales from acts such as Led Zeppelin, The Who and Deep Purple. However, the decade itself also brought with it various fads, with term “One Hit Wonder” making its first appearance, with acts including Pilot and The England World Cup Squad.
In 1971 The Beatles confirmed the rumours that they were separating. Paul, George and John all went onto successful careers. Ringo went on to Thomas The Tank Engine.
The first big new sound of the decade was “Glam Rock”, the main advocates of this were Sweet, Slade Marc Bolan’s T-Rex and of course Gary Glitter. In the bleak political backdrop, these larger that life British bands and characters brought a welcome relief with their platform boots, sequins, nail varnish and colourful hair.
Intellectual artists also emerged, for example David Bowie. Bowie was a master of reinvention and is thought of as more vibrant and creative than the average rock star of this time. In 1972 he achieved an international breakthrough with “The rise and fall of Ziggy Stardust and the Spiders from Mars” about a gender-bending rock star from outer space.
In this decade the first manufactured British boy-band, the Bay-City Rollers, appeared to great teenage delight. This tartan-clad Scottish band generated a massive cult following known as “Rollermania”, and had many hits, such as “Bye Bye Baby” in 1975.
Also in this decade, Elton John had his first top ten hit with “Your Song” and the kings of disco, the Bee Gees spread Saturday Night Fever and had many successful dancefloor hits. The great rock band, Queen emerged in the 1970’s and proceeded to have a number of hits, including the unforgettable “Bohemian Rhapsody” which was also the song that launched the pop video. This pioneering promo only cost £3500 to make and three hours to shoot, but helped Bohemian Rhapsody reach a worldwide audience.
Punk-rock exploded across Britain towards the late 70’s, spitting in the face of musical trends of the time. Angry and frustrated young men and women reacted against the system and rejected almost anything institutional. Great British bands of this scene were The Sex Pistols and The Clash. The Sex Pistols caused outrage across the nation especially when they swore on the Bill Grundy TV show and a cult was born. The Punk style of Mohicans, bondage clothes, safety pins, piercings, bovver boots and sneering attitude was a perfect front for their rebellion.
Roxy Music, fronted by Bryan Ferry, was a wildly influential and experimental rock group at this time. Dressed in bizarre, stylish costumes, their art-rock with pop undertones produced many hits. Roxy Music lifted the trend and was to influence the start of the 1980’s.
Other major British bands/artists of this decade include:Pink Floyd
Rod Stewart
The Police
Leo Sayer
ELO
10CC
Adam and the Ants
80'S
http://www.britain.tv/entertainment_britishmusic_80s.shtml
By the 1980’s, popular music was part of everyday life, whether in soundtracks to films or in the background of commercials. Also the introduction of the Compact Disc (CD) replaced vinyl and the quality of sound recordings vastly improved.
The 1980’s were an interesting musical decade. It brought the last waves of disco and music splintered into many different styles. Advances in technology resulted in genres from acid house to death metal to glam rock to techno-pop.
However, musical styles changed fast in this decade. One of the most significant of these was the birth the New Romantics, such as
Soft Cell, Duran Duran, Human League and Spandau Ballet. With bold make-up, sculpted hair, pirate costumes, kilts and leather jackets with scarves, these bands had their own fantasy-driven style and kids lapped up the outrageous glamour.
Electropop was a genre of synthesised pop music which thrived during the early 80’s and produced a cold, robotic, electronic sound with catchy melodies which has continued to influence artists since. British successes in this area were New Order, Depeche Mode and OMD.
Adam and the Ants were a great success in the early eighties, combining a punk and New Romanticism style. They were pioneers of pop videos which thrust their individual style and theatrics, including the infamous
white stripe across his face, into prominence. With his stunning looks and colourful costumes, Adam Ant proved to be a popular pin-up and enjoyed many hits throughout the 80’s.
Within the political climate of the 80’s, commonly known as “Thatcherism”, the power of pop was utilised for the roles of musicians as politicians. Protest songs were released in increasing numbers. For example in “Ghost Town”, The Specials were scathing in their opposition to Thatcherite Britain and response to rising unemployment. In the same way, the name of the group “UB40” was also the code of the dole card.
Bob Geldof, a singer with Boomtown Rats, achieved a magnificent political and musical feat in 1984. He brought many artists together to form Band Aid, a project to help the starving people in Ethiopia. They produced a No.1 hit with “Do they know its Christmas?” In 1985, he organised Live Aid – two huge concerts held at the same time via satellite, one at Wembley Stadium in London and the other at JFK Stadium in Philadelphia. These concerts were listened to on TV or radio by 1.5 billion people across 130 countries, as well as the 160,000 people who attended. Millions of pounds were raised for the African people.
Wham! had many hits in the 1980’s, proving hugely popular with the teenage market. Towards the end of the decade, Pop-Mogul Pete Waterman enjoyed considerable success with his own brand of cheesy music, such as Rick Astley.
Other British bands/artists in this decade include:Erasure
Pet Shop Boys
Culture Club
Bucks Fizz
Bananarama
The Smiths
Madness
The Specials
Kim Wilde
Boomtown Rats
Simplyred
90'S
http://www.britain.tv/entertainment_britishmusic_90s.shtml
The 1990’s brought with it the phenomenon of “Britpop”. Largely of the indie genre, this music provided the soundtrack to British youth of this era. Crucial to Britpop were the melodies and catchy choruses, all having a distinctly “British” taste. There were many British bands that emerged under this title. “Mad fer it” Oasis occupied the grittier side of the scene, whereas bands such as Blur and Pulp were more art-rock and middle-class.
With Oasis and Blur came a well-documented rivalry. This culminated in the race for number 1 between Blur’s “Country House” (the winner) and Oasis’ “Roll With It”.
The city of Manchester contributed greatly to the Britpop scene with The Charlatans, Stone Roses,
Happy Mondays, James, Inspiral Carpets and, of course, Oasis, earning the term “Madchester” for the city.
In stark contrast to the Britpop style came the success in this era of British boy bands. Take That were the most successful boy band of the 1990’s, having eight No. 1’s. East 17 were another boy band who, whilst being in the shadow of Take That, had ten top ten hits between 1992 and 1998. Girl bands had their moments too, such as All Saints and The Spice Girls. The latter were a national phenomenon and became massive export, with people all over the world watching with intent at the antics, styles and charisma of Baby, Sporty, Posh, Ginger and Scary Spice.
Dance music also became hugely popular throughout this decade. This brought about the growth of clubs and the birth of Superclubs, such as Cream, Gatecrasher and Ministry of Sound, and the international successes of DJs including Carl Coxand Pete Tong. Clubbing entered the mainstream and incorporated a number of distinct genres, ranging from garage to drum and bass to commercial dance/house to hardcore trance. In the early-90’s, rave culture was massive and heavily influenced by the widespread use of drugs – thought to add to the spiritual rave experience.
Other successful British bands from this decade include:Supergrass
Suede
Elastica
Simply Red
George Michael
The Prodigy
00'S
http://www.britain.tv/entertainment_britishmusic_2000s.shtml
The beginning of the 21st Century has so far seen music become more fragmented.
There has been a massive growth in manufactured pop with boy-bands such as Westlife, Blue and 5ive providing plenty of squeals of delight from teenage girls across the country. In fact, Westlife set a new record with their first 5 singles going in at No.1.
Along with this has been the appearance of TV programmes, such as “Pop Idol”, producing acts such as Gareth Gates and Will Young. Pop Idol proved to be a huge British success that it then moved over the Atlantic to American success.
After the clubbing theme of the 90’s, dance conformists argued that rock had been killed for good. However, this has proved to be far from the case, with bands such asThe Darkness becoming more popular as well as Coldplay, Radiohead, Travisand Stereophonics enjoying great success.
Increasingly, R&B has had a dominant presence in British charts, with home-grown artists such as The Sugarbabes,
Big Brovas, Ms Dynamite and Craig David doing well.
Despite our charts having a heavy American feel, the world continues to look at the UK for its evolving styles, talent and creativity.
60'S
In the 1950’s people were still reeling from the devastation of the war. Music around this time generally consisted of a solo artist supported by an orchestra or big band. However the 1960’s saw the emergence of a highly competitive band scene. It was in this decade British music really exploded onto the international scene.
For the first time, British people had money in their pockets to spend on music. An underground music movement began to materialise to light up the teen scene. This overtook the cosy cardigan comfort music that people’s parents and grandparents enjoyed listening to. It was an exciting time for young people and this new, fresh and vibrant style overwhelmed the country.
Things really started to hot up when The Beatles arrived. With their catchy melodies and strong personalities, they captured the hearts of Britain. Along with media hype, Beatlemania swept into other countries and soon Britain was considered to be the centre of the music world. The Americans have even termed this as the “British Invasion”. They continued to dominate the decade, becoming the most influential band of all time.The legendary rock group, The Rolling Stones was also a leading member of the British Invasion. They were a heavier alternative to The Beatles, and by 1966 had become one of the most experimental and trendy rock groups around. As with The Beatles, they had a huge following and many many hits.There was almost a rivalry between these two great bands. The Beatles were seen as a nice, clean-cut bunch whereas the Rolling Stones were “naughty” and a band your mother would not approve of. (Although no doubt The Beatles weren’t quite as well-behaved as they seemed…)
In the mid to late 60’s came the Hippy Movement. The way of the Hippy was to dress, behave and live life in a manner that did not conform to society’s standards. They had a liberal attitude and lifestyle and greatly believed in the importance of peace, love and freedom.
Another movement of this decade was feminism and the rise of women in society, economy and family, which was mirrored by the chart successes of Lulu, Dusty Springfield, Sandie Shaw and Cilla Black.
Other major British bands/artists of this time are listed below.
The Kinks,
Gerry and the Pacemakers,
The Who
Tom Jones
The Hollies
The Dave Clark Five
Cream
70'S
http://www.britain.tv/entertainment_britishmusic_70s.shtml
Also remembered as “the decade that taste forgot”, the 1970’s brought with it glam, glitter and stadium rock as well as punk, soul and the dance music that many (very) secretly loved….disco!
The 70’s began with a major increase in LP sales from acts such as Led Zeppelin, The Who and Deep Purple. However, the decade itself also brought with it various fads, with term “One Hit Wonder” making its first appearance, with acts including Pilot and The England World Cup Squad.In 1971 The Beatles confirmed the rumours that they were separating. Paul, George and John all went onto successful careers. Ringo went on to Thomas The Tank Engine.
The first big new sound of the decade was “Glam Rock”, the main advocates of this were Sweet, Slade Marc Bolan’s T-Rex and of course Gary Glitter. In the bleak political backdrop, these larger that life British bands and characters brought a welcome relief with their platform boots, sequins, nail varnish and colourful hair.
Intellectual artists also emerged, for example David Bowie. Bowie was a master of reinvention and is thought of as more vibrant and creative than the average rock star of this time. In 1972 he achieved an international breakthrough with “The rise and fall of Ziggy Stardust and the Spiders from Mars” about a gender-bending rock star from outer space.
In this decade the first manufactured British boy-band, the Bay-City Rollers, appeared to great teenage delight. This tartan-clad Scottish band generated a massive cult following known as “Rollermania”, and had many hits, such as “Bye Bye Baby” in 1975.
Also in this decade, Elton John had his first top ten hit with “Your Song” and the kings of disco, the Bee Gees spread Saturday Night Fever and had many successful dancefloor hits. The great rock band, Queen emerged in the 1970’s and proceeded to have a number of hits, including the unforgettable “Bohemian Rhapsody” which was also the song that launched the pop video. This pioneering promo only cost £3500 to make and three hours to shoot, but helped Bohemian Rhapsody reach a worldwide audience. Punk-rock exploded across Britain towards the late 70’s, spitting in the face of musical trends of the time. Angry and frustrated young men and women reacted against the system and rejected almost anything institutional. Great British bands of this scene were The Sex Pistols and The Clash. The Sex Pistols caused outrage across the nation especially when they swore on the Bill Grundy TV show and a cult was born. The Punk style of Mohicans, bondage clothes, safety pins, piercings, bovver boots and sneering attitude was a perfect front for their rebellion.Roxy Music, fronted by Bryan Ferry, was a wildly influential and experimental rock group at this time. Dressed in bizarre, stylish costumes, their art-rock with pop undertones produced many hits. Roxy Music lifted the trend and was to influence the start of the 1980’s.
Other major British bands/artists of this decade include:Pink Floyd
Rod Stewart
The Police
Leo Sayer
ELO
10CC
Adam and the Ants
80'S
http://www.britain.tv/entertainment_britishmusic_80s.shtml
By the 1980’s, popular music was part of everyday life, whether in soundtracks to films or in the background of commercials. Also the introduction of the Compact Disc (CD) replaced vinyl and the quality of sound recordings vastly improved.
The 1980’s were an interesting musical decade. It brought the last waves of disco and music splintered into many different styles. Advances in technology resulted in genres from acid house to death metal to glam rock to techno-pop.
However, musical styles changed fast in this decade. One of the most significant of these was the birth the New Romantics, such as Soft Cell, Duran Duran, Human League and Spandau Ballet. With bold make-up, sculpted hair, pirate costumes, kilts and leather jackets with scarves, these bands had their own fantasy-driven style and kids lapped up the outrageous glamour.
Electropop was a genre of synthesised pop music which thrived during the early 80’s and produced a cold, robotic, electronic sound with catchy melodies which has continued to influence artists since. British successes in this area were New Order, Depeche Mode and OMD.
Adam and the Ants were a great success in the early eighties, combining a punk and New Romanticism style. They were pioneers of pop videos which thrust their individual style and theatrics, including the infamouswhite stripe across his face, into prominence. With his stunning looks and colourful costumes, Adam Ant proved to be a popular pin-up and enjoyed many hits throughout the 80’s.
Within the political climate of the 80’s, commonly known as “Thatcherism”, the power of pop was utilised for the roles of musicians as politicians. Protest songs were released in increasing numbers. For example in “Ghost Town”, The Specials were scathing in their opposition to Thatcherite Britain and response to rising unemployment. In the same way, the name of the group “UB40” was also the code of the dole card.
Bob Geldof, a singer with Boomtown Rats, achieved a magnificent political and musical feat in 1984. He brought many artists together to form Band Aid, a project to help the starving people in Ethiopia. They produced a No.1 hit with “Do they know its Christmas?” In 1985, he organised Live Aid – two huge concerts held at the same time via satellite, one at Wembley Stadium in London and the other at JFK Stadium in Philadelphia. These concerts were listened to on TV or radio by 1.5 billion people across 130 countries, as well as the 160,000 people who attended. Millions of pounds were raised for the African people.Wham! had many hits in the 1980’s, proving hugely popular with the teenage market. Towards the end of the decade, Pop-Mogul Pete Waterman enjoyed considerable success with his own brand of cheesy music, such as Rick Astley.
Other British bands/artists in this decade include:Erasure
Pet Shop Boys
Culture Club
Bucks Fizz
Bananarama
The Smiths
Madness
The Specials
Kim Wilde
Boomtown Rats
Simplyred
90'S
http://www.britain.tv/entertainment_britishmusic_90s.shtml
The 1990’s brought with it the phenomenon of “Britpop”. Largely of the indie genre, this music provided the soundtrack to British youth of this era. Crucial to Britpop were the melodies and catchy choruses, all having a distinctly “British” taste. There were many British bands that emerged under this title. “Mad fer it” Oasis occupied the grittier side of the scene, whereas bands such as Blur and Pulp were more art-rock and middle-class.
With Oasis and Blur came a well-documented rivalry. This culminated in the race for number 1 between Blur’s “Country House” (the winner) and Oasis’ “Roll With It”. The city of Manchester contributed greatly to the Britpop scene with The Charlatans, Stone Roses,
Happy Mondays, James, Inspiral Carpets and, of course, Oasis, earning the term “Madchester” for the city.
In stark contrast to the Britpop style came the success in this era of British boy bands. Take That were the most successful boy band of the 1990’s, having eight No. 1’s. East 17 were another boy band who, whilst being in the shadow of Take That, had ten top ten hits between 1992 and 1998. Girl bands had their moments too, such as All Saints and The Spice Girls. The latter were a national phenomenon and became massive export, with people all over the world watching with intent at the antics, styles and charisma of Baby, Sporty, Posh, Ginger and Scary Spice.
Dance music also became hugely popular throughout this decade. This brought about the growth of clubs and the birth of Superclubs, such as Cream, Gatecrasher and Ministry of Sound, and the international successes of DJs including Carl Coxand Pete Tong. Clubbing entered the mainstream and incorporated a number of distinct genres, ranging from garage to drum and bass to commercial dance/house to hardcore trance. In the early-90’s, rave culture was massive and heavily influenced by the widespread use of drugs – thought to add to the spiritual rave experience.Other successful British bands from this decade include:Supergrass
Suede
Elastica
Simply Red
George Michael
The Prodigy
00'S
http://www.britain.tv/entertainment_britishmusic_2000s.shtml
The beginning of the 21st Century has so far seen music become more fragmented.
There has been a massive growth in manufactured pop with boy-bands such as Westlife, Blue and 5ive providing plenty of squeals of delight from teenage girls across the country. In fact, Westlife set a new record with their first 5 singles going in at No.1. Along with this has been the appearance of TV programmes, such as “Pop Idol”, producing acts such as Gareth Gates and Will Young. Pop Idol proved to be a huge British success that it then moved over the Atlantic to American success.
After the clubbing theme of the 90’s, dance conformists argued that rock had been killed for good. However, this has proved to be far from the case, with bands such asThe Darkness becoming more popular as well as Coldplay, Radiohead, Travisand Stereophonics enjoying great success.
Increasingly, R&B has had a dominant presence in British charts, with home-grown artists such as The Sugarbabes,Big Brovas, Ms Dynamite and Craig David doing well.
Despite our charts having a heavy American feel, the world continues to look at the UK for its evolving styles, talent and creativity.
Friday 27 July 2012
RESEARCH- Good life sucess
Good life sucess
Good Life" is a song by American alternative rock band OneRepublic, taken from their second studio album, Waking Up (2009). The song was written by group members Ryan Tedder, Brent Kutzle, and Eddie Fisher along with group associate Noel Zancanella, with production done by Tedder. Featuring upbeat lyrics describing the travels of its narrator, the song is accompanied by prominent whistles and fast-paced drumming.
The song was released on November 19, 2010 as the album's third single in the United States, and as its overall fourth single. Its popularity was increased by its use in various films and television series and advertisements. The single was a commercial success, peaking at number 8 on the US Billboard Hot 100 and eventually being certified multi-platinum, as well as reaching the top twenty of other music charts across Europe, Australia, and New Zealand. Critical reception of "Good Life" was generally positive.
A remix of the song, featuring American rapper B.o.B, was released to radio stations in June 2011.
The background music of this song was played on a Walt Disney World Resort radio commercial.
Tuesday 24 July 2012
RESEARCH- THE SONG'S PROMOTION
Initially released as a single in November 2010, the song's popularity was increased after its use in various media. Google used the song in its 2010 "in review" video.The song is featured in the trailers for the films Eat Pray Love and One Day, the filmEasy A, and in the television series Cougar Town, Gossip Girl, One Tree Hill, Rookie Blue and 90210. The group performed the song at the 2011 Teen Choice Awards, 2011 Billboard Music Awards, American Music Awards of 2011, Live with Regis and Kelly,Dancing with the Stars and recently at the 2011 Disney Parks Christmas Day Parade.
In August 2012, "Good Life" was featured in a Honda Summer Clearance Event commercial.
The music video for "Good Life" was released on February 14, 2011. The video shows the band performing the song in a field, shot through a vintage lens. It shows many different symbols and is a bit different from their previous videos. The original video was filmed in a mountain valley located in West Hills, California.
In December 2011, a second music video, filmed entirely at Magic Kingdom in the Walt Disney World Resort was released. It features the band performing at Cinderella Castle as well as riding on several attractions.
In August 2012, "Good Life" was featured in a Honda Summer Clearance Event commercial.
The music video for "Good Life" was released on February 14, 2011. The video shows the band performing the song in a field, shot through a vintage lens. It shows many different symbols and is a bit different from their previous videos. The original video was filmed in a mountain valley located in West Hills, California.
In December 2011, a second music video, filmed entirely at Magic Kingdom in the Walt Disney World Resort was released. It features the band performing at Cinderella Castle as well as riding on several attractions.
Saturday 21 July 2012
RESEARCH- Good Life- Lyrics
After looking at all the music videos of our chosen songs, we have finally come to a conclusion that we are using the song Good Life by One Republic for our music video and here are the lyrics.
Woke up in London yesterday
Found myself in the city near Piccadilly
Don't really know how I got here
I got some pictures on my phone
New names and numbers that I don't know
Address to places like Abbey Road
Day turns to night, night turns to whatever we want
We're young enough to say
Oh this has gotta be the good life
This has gotta be the good life
This could really be a good life, good life
Say oh, got this feeling that you can't fight
Like this city is on fire tonight
This could really be a good life
A good, good life
To my friends in New York, I say hello
My friends in L.A. they don't know
Where I've been for the past few years or so
Paris to China to Col-or-ado
Sometimes there's airplanes I can't jump out
Sometimes there's bullshit that don't work now
We are god of stories but please tell me-e-e-e
What there is to complain about
When you're happy like a fool
Let it take you over
When everything is out
You gotta take it in
Oh this has gotta be the good life
This has gotta be the good life
This could really be a good life, good life
Say oh, got this feeling that you can't fight
Like this city is on fire tonight
This could really be a good life
A good, good life
Hopelessly
I feel like there might be something that I'll miss
Hopelessly
I feel like the window closes oh so quick
Hopelessly
I'm taking a mental picture of you now
'Cuz hopelessly
The hope is we have so much to feel good about
Oh this has gotta be the good life
This has gotta be the good life
This could really be a good life, good life
Say oh, got this feeling that you can't fight
Like this city is on fire tonight
This could really be a good life
A good, good life
Oh yeah
Good, good life
Good life
Ooh
Listen
My friends in New York, I say hello
My friends in L.A. they don't know
Where I've been for the past few years or so
Paris to China to Col-or-ado
Sometimes there's airplanes I can't jump out
Sometimes there's bullshit that don't work now
We are god of stories but please tell me-e-e-e
What there is to complain about
Found myself in the city near Piccadilly
Don't really know how I got here
I got some pictures on my phone
New names and numbers that I don't know
Address to places like Abbey Road
Day turns to night, night turns to whatever we want
We're young enough to say
Oh this has gotta be the good life
This has gotta be the good life
This could really be a good life, good life
Say oh, got this feeling that you can't fight
Like this city is on fire tonight
This could really be a good life
A good, good life
To my friends in New York, I say hello
My friends in L.A. they don't know
Where I've been for the past few years or so
Paris to China to Col-or-ado
Sometimes there's airplanes I can't jump out
Sometimes there's bullshit that don't work now
We are god of stories but please tell me-e-e-e
What there is to complain about
When you're happy like a fool
Let it take you over
When everything is out
You gotta take it in
Oh this has gotta be the good life
This has gotta be the good life
This could really be a good life, good life
Say oh, got this feeling that you can't fight
Like this city is on fire tonight
This could really be a good life
A good, good life
Hopelessly
I feel like there might be something that I'll miss
Hopelessly
I feel like the window closes oh so quick
Hopelessly
I'm taking a mental picture of you now
'Cuz hopelessly
The hope is we have so much to feel good about
Oh this has gotta be the good life
This has gotta be the good life
This could really be a good life, good life
Say oh, got this feeling that you can't fight
Like this city is on fire tonight
This could really be a good life
A good, good life
Oh yeah
Good, good life
Good life
Ooh
Listen
My friends in New York, I say hello
My friends in L.A. they don't know
Where I've been for the past few years or so
Paris to China to Col-or-ado
Sometimes there's airplanes I can't jump out
Sometimes there's bullshit that don't work now
We are god of stories but please tell me-e-e-e
What there is to complain about
Thursday 19 July 2012
RESEARCH- Track Titles
1. Coldplay- Viva Lavida
2. Foster The People- Waste
3. Noah and the Whale- 5 years time
4. Foster The People- Don't Stop
5. Guns N' Roses- Sweet Child o' Mine
6. The Beatles- Hey Jude
7. The Beatles- Strawberry Fields
8. One Republic- Marching On
9. Ed Sheeran- Lego House
10. Jason Mraz- Worldplay
11. One Republic- Good Life
12. One Republic- Secrets
13. Coldplay- Yellow
14. Foo Fighters- Pretender
15. The Script- Breakeven
16. The Fray- Never Say Never
17. The Killers- Human
2. Foster The People- Waste
3. Noah and the Whale- 5 years time
4. Foster The People- Don't Stop
5. Guns N' Roses- Sweet Child o' Mine
6. The Beatles- Hey Jude
7. The Beatles- Strawberry Fields
8. One Republic- Marching On
9. Ed Sheeran- Lego House
10. Jason Mraz- Worldplay
11. One Republic- Good Life
12. One Republic- Secrets
13. Coldplay- Yellow
14. Foo Fighters- Pretender
15. The Script- Breakeven
16. The Fray- Never Say Never
17. The Killers- Human
Monday 16 July 2012
RESEARCH- Codes and Conventions
Style of video
- Performance: Band/ artist playing
- Narrative: Included story
- Mixture: Both performance and narrative based
- Cameo: Band/ artist features in the narrative but doesn't perform eg. Foo Fighters
- Animation: Digitally (flash)/ Stop-frame
- Abstract:
Camera- variety of shots depending on the style.
A lot of close ups ( esp in performance music videos) - perhaps ECU of lips, guitar strings being strummed.
- Crane shots
- Low- angles
- Long shots and Extreme long shots
- Pans/ tilts- move from different performers.
- Tracking
Editing and Sound- There are many different editing techniques used in music videos. Music videos usually feature jump cutting. Footage is usually edited too match the music.
- Split screen
- Computer generated images
- Diagetic sound
- Non- diagetic sound
- Change in the levels of sound
Mise-en-scene- can cary greatly depending on the genre of music and the type of music video.
- Props- performance, equipment and band merchandise.
- Costume- certain outfits.
- Location- concert halls, venues, street.
- Facial expressions.
- Performance: Band/ artist playing
- Narrative: Included story
- Mixture: Both performance and narrative based
- Cameo: Band/ artist features in the narrative but doesn't perform eg. Foo Fighters
- Animation: Digitally (flash)/ Stop-frame
- Abstract:
Camera- variety of shots depending on the style.
A lot of close ups ( esp in performance music videos) - perhaps ECU of lips, guitar strings being strummed.
- Crane shots
- Low- angles
- Long shots and Extreme long shots
- Pans/ tilts- move from different performers.
- Tracking
Editing and Sound- There are many different editing techniques used in music videos. Music videos usually feature jump cutting. Footage is usually edited too match the music.
- Split screen
- Computer generated images
- Diagetic sound
- Non- diagetic sound
- Change in the levels of sound
Mise-en-scene- can cary greatly depending on the genre of music and the type of music video.
- Props- performance, equipment and band merchandise.
- Costume- certain outfits.
- Location- concert halls, venues, street.
- Facial expressions.
Friday 13 July 2012
RESEARCH- What is a digipak
Digipaks typically consist of a gatefold (book-style) paperboard or card stock outer binding, with one or more plastic trays capable of holding a CD or DVD attached to the inside.
Since Digipaks were among the first alternatives to jewel cases to be used by major record companies, and because there is no other common name for Digipak-style packaging made by other companies, the term digipak or Digi-Pak is often used generically, even when the media holder is a hub or "Soft Spot" rather than a full plastic tray.
The digipak has an important role to play in establishing the artist as a recognisable brand and creating familiarity with its audience. This means that fans who own one album will subconsciously be drawn to an advert for a new album release.
Thursday 12 July 2012
RESEARCH- What is a music video
A music video or song video is a short film integrating a song and imagery, produced for promotional or artistic purposes. Modern music videos are primarily made and used as amarketing device intended to promote the sale of music recordings. Although the origins of music videos date back much further, they came into prominence in the 1980s, when MTV based their format around the medium. Prior to the 1980s, these works were described by various terms including "illustrated song", "filmed insert", "promotional (promo) film", "promotional clip" or "film clip".
Music videos use a wide range of styles of film making techniques, including animation, live action filming, documentaries, and non-narrative approaches such as abstract film.
Some music videos blend different styles, such as animation and live action. Many music videos do not interpret images from the song's lyrics, making it less literal than expected. Other music videos may be without a set concept, being merely a filmed version of the song's live performance.
Tuesday 10 July 2012
My Brief
I have chosen to go along with the music video brief, oppose to the other 14 briefs which involve film trailers and radio. The music video brief involves:
- A music promo video;
- A digipak for the albums release;
- A magazine advertisement for the digipak.
- A music promo video;
- A digipak for the albums release;
- A magazine advertisement for the digipak.
Friday 6 July 2012
RESEARCH- Analysing Music Video
We looked at some music videos today in order the further understand the methods and themes of presenting different ideas:
Perfect Drug - Nine inch nails
Can't Stop - Red Hot Chile Peppers
Human Behaviour - Björk
99 Problems - Jay Z
I really like Perfect Drug by NIN as it is very narrative and conveyed the story behind the song very well. The dramatic performance of the lead singer also brings out the sadness of losing someone you love and creates a very big impact upon the audiences.
Perfect Drug - Nine inch nails
Can't Stop - Red Hot Chile Peppers
Human Behaviour - Björk
99 Problems - Jay Z
I really like Perfect Drug by NIN as it is very narrative and conveyed the story behind the song very well. The dramatic performance of the lead singer also brings out the sadness of losing someone you love and creates a very big impact upon the audiences.
Monday 2 July 2012
RESEARCH- Thirty Frames Per Second
Thirty Frames Per Second: The Visionary Art of Music Video
Steve Reiss and Neil Feinman (HArry N. Abrams, New York, 2000)
The music video has to be densely textured so that it can hold up over repeated viewings. It has to be edgy enough to be noticed but palatable enough to satisfy the often divergent demands of the performer, the record company and the public ( AKA the lowest common denominator)
A plot driven narrative usually gets boring...knowing that their music video are meant to be seen repeatedly.. most video directors prefer a denser, more abstract style to tell a simple story.
For Jim Farber ('The 100 Top Music Video' Rolling Stone October 14 1993), Video directors prove what good film directors knew all along - that visuals can also be music. When executed with élan, an edit becomes a backbeat, a crane shot becomes a solo, a close-uo becomes a hook.'
RESEARCH- Narrative in music video
Heidi Peeters' view on narrative in music video is much more about building the emotional environment surrounding the band or star and thereby making connections with the audience than about plot or interpreting lyrics. For Peeters, this ability to connect the band to the audience is the KEY GENRE CONVENTION: 'One would be surprised at how the majority of theorists still consider music videos to be visualizations of a song.
While they may seem discontinuous .., the shots (in music videos)are highly connected through the image of the star.” “The star promotes the phenomenon of identification, a process by which viewers become attached to a star, ranging from emotional affinity limited to the context of the movie theatre to projection, by which fans try to become their idols through imitating speech, movements and consumer patterns.'
While they may seem discontinuous .., the shots (in music videos)are highly connected through the image of the star.” “The star promotes the phenomenon of identification, a process by which viewers become attached to a star, ranging from emotional affinity limited to the context of the movie theatre to projection, by which fans try to become their idols through imitating speech, movements and consumer patterns.'
Sunday 1 July 2012
RESEARCH- Analysing Music Video
Here is a music video- 'If you tolerate this your children will be next' by Manic Street Preachers .
The song's theme is taken from The Spanish Civil War. The song takes its name from a Republican poster of the time. A photograph of a young child killed by Nationalist bombs is shown under a sky of bombers with the stark warning "If you tolerate this, your children will be next" written at the bottom.
Certain lyrics pertain directly to these works. For example, the line "If I can shoot rabbits/then I can shoot fascists" is attributed to a remark made by a man who signed up with the Republican fighters to his brother in an interview years later.
The background colour of this music video is mostly blue- suggesting a negative tone, which addresses to the war theme. Andrew Goodwin points out the artist's mode of address . Songs can be seen as stories and artists as the storytellers, making a music video a two way communication device, them telling us a story and us listening- this might suggest the reason of the use of blue background colour.
However the music video is largely focused on the band performance as the 'code and conventions' instead of an actual story
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