Album art work

(From left to right)
 Santigold - 99¢
AlunaGeorge - I Remember
Goldfrapp - Silver Eye
Annie - Anniemal
Sia - 1000 Forms of Fear
Lorde - Melodrama

For inspiration, I looked at a few album covers under the genre Electro-pop to get an overall idea on what is conventional and what is not. All of the album cover examples above feature the artist and uses them as the main image however it is done abstractly. The artist is either embedded within the album art like Lorde - Melodrama, or iconography is used such as Sia - 1000 Forms of Fear. The album artwork is often bold or monochrome for a more dramatic and eye-catching aesthetic. In my opinion, it is because since Electro-pop is aimed towards the youth, they're most likely to look for album artwork that is pleasing to look at; to put for display. 

Sia - 1000 Forms of Fear album is a monochromatic photograph which puts the focus on the wig by emphasising the light reflected on it. The figure of the artist is subtle as you don't actually see Sia's face however, we know that it is her album because of her iconic wig. The title of the album and name of the artist is positioned at the bottom of the cover which connotes the importance of Sia's name and the title. It also looks like the title is scratched on and this links to the album's theme of 'fear'. 

The Iconograpghy of the Album Cover

Some interesting points that I found from the article 'The Iconography of the Album Cover' are:


- The artist can use inspiration from things that they find interesting like books, films etc. It doesn't have to be music-related.


This was interesting to me because the fact that the artist's inspiration doesn't have to be music-related is unusual since the album art could almost be anything and almost doesn't have a limit to what the product could end up being.


- 'I tend not to think of designs in terms of genre.' Quote from an interview in the article with Julien House.


I believed that album art was restricted creatively depending on the genre and that is why this quote intrigued me and typically you would expect a certain design or colour scheme. For example, for a rock band's album art, we would expect to see the use of a medieval-horror font, the main colour is black and occult based imagery to give it a heavy, mysterious feel.


- The album cover can be self-referential.


This point wasn't new to me however, the phrase 'self-referential' was what stood out to me. This is because people would usually see it as copying when we see an album that looks awfully similar to another artist's album cover as well.

Update on logo

Looking back on our logo, we became unsure about it therefore we created a poll which 10 candidates took part in. They were all within a similar age range to our target audience's which is 17-18.

When we counted in the results, the most popular font was Manbow and cause of this result, we ended up changing the logo. It suits the genre still and we plan to use introduce the logo at the beginning of our music video - whilst matching the beat of the song. This logo will also be seen on further work to do with our artist such as the digipak. 

Codes and Conventions for Electro-pop

Digipak

A digipak is patented style of optical disc packaging and typically consist of a book-style paperboard or card outer binding which includes a CD and/or DVD inside. This is an example of how it should look:

How to have a successful digipak:

1) It is unified with the content or message you are trying to get across. This creates an intermediate connection and sense of belonging. 

2) Is there an information and visual hierarchy? This means there is a focal point or image that grabs your attention first, and then your eye is led around the design in the order of what is important after seeing the main image or reading the main text.

3) Does the design have a graphic impact? There are many CDs competing with yours for attention so yours must be a major contender. 

4) Is it appropriate for when you want to attract an audience and the environment in which it will be presented? A poster or CD for a country audience will not have the same look and feel.

An example of a iconic logo is the Rolling Stones' which also became their brand and one of the most recognisable symbols of the rock 'n' roll genre. It captures the bands rebellious attitude in pushing sexual and social norms in both their lyrics and their off-stage antics.                                                                                                                            The golden era of cover art design began in the early to mid 1960s and lasted into the early 1980s. During this time the major format for music was the 12 inch, long play disc or LP. Cover art became a part of the musical culture of the time. Often used to express graphically the musician's artistic intent, it helped connect and communicate to listeners the message or underlying theme of the album. 

Designers, photographers and illustrators sometimes became famous for their cover art creations. Such notables as Andy Warhol and Frank Frazetta were taken from being known in their industry to becoming household names due to their cover art graphic design work. So respected and desired are the designs and illustrations found in cover art that there are numerous art galleries that specialize in helping collectors find rare album covers. Designers learned to capture snapshots and portions of the artist's musical intent rather than trying to convey the entire message. Also, designers started conveying the emotion of the music rather than the musical intent. 

In the present, CD design is undergoing a true renaissance rather than becoming obsolete in the digital age as many thought it would, graphic design is once again proving itself as the difference maker. The internet is now the largest record store imaginable. Now rather than browsing a few hundred albums or songs at a time you may be exposed to thousands. Since it would be impossible to listen to portions of all those thousands of songs the design of the accompanying artwork must cause potential listeners to stop, take notice and give the album a try.  

The Design Process:

- Professionals have processes to assist them creatively. There will be an initial consultation during which lots of questions are asked and most designers use a design brief form. The questions on the form are designed to crystallize and solidify your identity  and vision, so you and the designer are clear about it. Both get a copy, and sometimes you will be asked to sign it to approve the accuracy before the concept development production begins.

Location Scouting

Previously we've mentioned, our group wanted to film at God's Own Junkyard, an arcade and in/around other places in London such as Camden. We've contacted God's Own Junkyard and Namco Funscape (the arcade) to ask for their permission to film there in the near future.

However, only Namco Funscape got back to us and unfortunately denied permission to film there. In result of this, as a group we've discussed about the situation and decided to scout TenPin Bowling Alley instead - in hopes that they'll grant permission to film there. 

Post modernism

Post modernism is a shortcut to mass audiences and a phrase used to describe anything that looks culturally avant-garde in an retro way.

If the experimental stage of genre attempts to establish trends and the cannon stage works within those trends to fix them into our cultural understanding. Then post-modernism looks at those trends, mocks them and adds a new element in. It could be agreed that the music video is a post-modern stage of the evolution of cinema. So post-modernism becomes the new by referring to the old and invents by copying. Artists like Madonna, Michael Jackson and David Bowie are all cited as examples of post modernism in the way in which they have created, or re-created, different identities for themselves.

This has implications for realist forms of media, since our sense of reality is now said to
be utterly dominated by popular media images; cultural forms can no longer 'hold up the mirror to reality', since reality itself is saturated by advertising, film, video games and television images. 

We consume images and spectacles as opposed to forms of communication such as the written word that encourage us to ponder and reflect. When books are turned to into films, the consumers enjoy the action more than the idea behind the whole film. The authors idea may have been to critique society, but the film clouds this idea or the message is lost in the action of the film. 

The culture industry and X Factor

Culture Industry

Adorno and Horkheimer adopted the form 'culture industry' to argue that the way in which cultural items were produced, was analogues to how other industries manufactured vast quantities of consumer goods.

Adorno and Horkheimer agued that the culture industry exhibited an ' assembly-live character' which could be observed in the synthetic, planned method of turning out of its products. 

The X Factor machine

Adorno and Horkheimer linked the idea of the 'culture industry' to a model of the 'mass culture' in which cultural production had become a routine, standardised repetitive operation that produced undemanding cultural commodities, which in turn resulted in a type of consumption that was also standardised, distracted and passive. 

Who is in control?

Adorno and Horkheimer's view of cultural production has, with some justification, often has been portrayed as the pessimistic lament of cultural artists who were dismayed at what they perceived to be the homogeneity and vulgarity of 'mass' taste, and who were co-opted and corrupted by the production methods and administrative regimes of industrial capitalism. 

The capitalist corporation seems to enjoy an almost omnipotent form of domination and both the consumers and the creative artists are not separate from; but are directly connoted to this system of production. 

Adorno and Horkheimer stressed that the structures of economic ownership and control of the means through which cultural products are produced and argued that this directly shapes the activities of creative artists and consumers. 

The metaphor of the 'assembly-line' was used to stress the repetitive and routine character of cultural production. Adorno and Horkheimer argued that the 'culture industry' operated in the same way as other manufacturing industries. All work had become formalised and products were made according to rationalised, organisational procedures that were established for the sole purpose of making money.

Standardisation

Adorno and Horkheimer argued that all products produced by the culture industry exhibited standardised features. The argument here is that there is nothing spontaneous about the process of cultural production; it has become a routine operation that can be carried out in an office by the application formulae.

Adorno noted that songs which became successful over time were often referred to as 'standards', a category that clearly drew attention to their formulaic character. From the 'plan' to the details, songs were based around repetitive sequences and frequently recurring refrains (Adorno, 1976, p.25) This was done for quite calculated commercial reasons, so that the song would imprint itself on the mind of the listener and then provoke a purchase. For Adorno, the production of songs had become a mechanical and manipulative operation motivated purely by commercial gain.

I agree with Adorno's argument about standardised songs because, in consideration of the music industry, trends are quickly picked up then forgotten about until the next big thing comes up. However, old trends do make their come back eventually because what is not heard of, in a long time, is considered different and fresh. Although some songs may sound different, it is very much the same beat/tune being recycled by other artists and tweaked a bit.

Pseudo Individuality

Adorno and Horkheimer were also critical of what they referred to as pseudo individuality. By this they meant the way that the culture industry assembled products that made claims to 'originality' but which when examined more critically exhibited little more than superficial differences. Adorno and Horkheimer evoked the image of the lock and key - an item that is mass produced in millions, whose uniqueness lies in only very minor modifications.

Artists certainly have managed to give themselves an identity unique enough for the audience to differentiate between one another.

In conclusion, Adorno and Horkheimer believe that the culture industry allows people to become 'masses' and be easily manipulated by capitalist corporations and authoritarian governments. Adorno and Horkheimer therefore presents us with a powerful argument about what happens to culture when it is subject to the structural control and organisation of industrial capitalist production: It becomes merely a standardised, formulaic and repetitive element of 'mass culture'. It has no aesthetic value whatsoever and leads to a very specific type of consumption that is passive, obedient and easily manipulated for the purpose of propaganda or advertising.

Artist that fits the theory - Justin Bieber



Justin Bieber is a Canadian pop star who was discovered via YouTube. Bieber, whose debut album, My World, hit stores in November 2009, is a true overnight success, having gone from an unknown, untrained singer whose mother posted YouTube clips of her boy performing, to a budding superstar with a big-time record deal, all in just two years. He signed a record contract with Usher and became the first solo artist to have four singles enter the Top 40 before the release of a debut album. His album My World has gone platinum in several countries. Naturally, his target audience became teenage girls; his lyrics and even up to his entire image as an a solo, male artist was made to appeal to a female audience. His image has become the standard but this because he is the result of a successful male, pop star therefore record labels are using him as product inspiration for their upcoming male artists as well. 

Artist that doesn't fit the theory - Tyler the Creator



American rapper, record producer, songwriter and video director, Tyler Gregory Okonma, also known as “Tyler, The Creator” is the co-founder of the flourishing hip-hop collective ‘Odd Future Wolf Gang Kill Them All’. He began his career by uploading songs on ‘Tumblr’ that quickly went viral and grabbed mass attention. Tyler self-produced his first mixtape ‘Bastard’ and soon followed it up with his debut album ‘Goblin’. His first single from the album ‘Wolf’ called ‘Domo23’ was placed at number 2 on ‘Bubbling under Hot 100 Singles Billboard’ and at number 13 on ‘US Heatseekers Songs Billboard’. Producing and creating your own music is unconventional as an artist 

The music industry

Music Industry Crisis

For most of the 20th century, record companies made money by selling a tangible product - a vinyl, disc or CD. You owned music by having a disc collection.

Changing Tech

With the internet, the music industry has had to adapt as CD sales are falling each year. The 'product' is new bought online as a single song or album, only exists only as an item, on an IPod, mobile phone or computer.

The music industry claimed as a victory in 2009 when four men behind the file-sharing site 'Pirate-Bay' were sentenced to a year in jail and ordered to pay £2.5m in damages for helping internet users to download music, films and computer games without paying for them.

HMV vs ITunes

Chief executive Simon Fox said that within three years, technology would become its single biggest product category ahead of both CDs and DVDs. It plans to devote 25% of the floor space to just MP3 players, tablets, computers and headphones.

De-commodification

A commodity always depends for its status and its value. Once the reproduction and distribution of that commodity becomes effectively free, then it necessarily loses that value and that status.

The three major record labels, as of now are:

- Sony BMG
- Universal Music Group
- Warner Music Group

Artists who are signed to one of these major record labels are either signed to the parent label or the subsidiary of that label. For example, Sony is the parent company to the subsidiary label, Columbia Records. Some artists who are under Columbia Records are Adele, Beyoncé and John Legend. Advantages of being under a major record label is that, when producing a music video, it will have a high production value, wide distribution when the album or song is released, international tours, merchandise, and vast advertising across a range of different platforms. Disadvantages of being under a major record label is that you get little freedom, the company has complete creative control of your music and little to no attention is shown to you because you as the artist may not be as successful as other artists who are under the same label. Therefore, if you do not meet the amount of money, or results that they expect back from producing your music, then you are most likely to be forgotten by the company.

EMI used to be part of the big four but now it is only the big three; ever since Universal Music had bought EMI. These labels can make up almost 80% of the music market, depending on the year, however it was estimated to be about two-thirds in 2016.

Here are some examples of independent record labels:

- 4AD
- Rough Trade Records
- LAB Records

Advantages of being under an independent record label is that the company will be more likely to be passionate about your music personally and therefore be driven to get your music across to the audience when promoting. The artist or band will also have most of the creative control when producing music or a music video and since independent labels are significantly smaller in amounts of artists, the company will be likely to pay more attention to you. However, there are limitations to being signed under an independent label such as, there is a lower budget in comparison to the budget that major record labels are able to have. Consequently, the artist or band will gain less money back depending on their success.

Cross-media case study

Lorde powerpoint from Kelly Loi

The history of music video (3) and notes from class

An example of a home video style music video, with no cuts, is Fatboy Slim - Praise You 



An example of a one take music video, which does not feature the artist in it, is Wiley - Money in my Pocket 





Wiley - 'Cash In My Pocket' from Ben Moulden on Vimeo.

Goodwin's Music Video Analysis

Andrew Goodwin writing in 'Dancing in the Distraction Factory'. (Routledge, 1992) 

1) Music videos demonstrate genre characteristics 
2) There is a relationship between lyrics and visuals 
3) There is a relationship between music and visuals - largely to do with editing
4) The demands of the record label will include the need for lots of close ups of artists 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) and particularly voyeuristic treatment of the female body
6) There is often an intertextual reference - to films, tv programmes, etc. 

Reference for intertextuality: Orange's advert featuring Snoop Dogg - references the film and music industry




Stylistic intertextuality - by imitating the style of a film, tv genre or video game

Contemporary intertextuality: Madonna - Material Girl makes reference not necessarily to Marilyn Monroe but to the archetypal Hollywood blonde who uses her looks < references a 'Diamond's are a Girl's Best Friend' 




The purpose of intertextuality: 

John Stuarts description of the music video 'incorporating raiding, reconstructing' is essentially the essence of intertextuality. 

The history of music video (2) and notes from class

Camera movement may accompany movement of performers (walking, dancing, etc.) but it may also be used to create a more dynamic feel to stage a performance, for instance by 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 intamicy or the viewer.

Techinical Codes - Editing

Through the most common form of editing associated with the music promo is fast cut montage, rendering many of the images impossible to rasp 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.

Often enhancing the editing are digital effects which play with the original images to alter different kinds of pleasure or the audience. This might take the form of split screens, colourisation and block buster film from style CGI.

Example: (The Verve - Bittersweet Symphony) 



Cinematography:

- Tracking backwards with performer in centre of frame
- Hand held close ups
- Over the shoulder
- POV shot of girl in the eyes of performer  
- Low angle mid shot of group of men
- Depth of field (focusing on him as a performer)

Editing:

- Cuts every 2-6 seconds
- Blue filter/negative saturation to portray cold and moody atmosphere
- Uses continuity editing for seamless cuts

Development of technical codes

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 or green/blue screen.

The advent of high quality colour video recorders and portable video cameras enabled many pop acts to produce promotional videos quickly and cheaply in comparison to the relatively high costs of using film.

In the 1990s, a number of technical codes became common:

- Most common form of editing associated with the music promos is a fast cut montage
- Many images are impossible to grasp on fast viewing thus ensuring multiple viewing
- Split screens, colourisation are also commonly used effects
- Non - representation techniques in which the musical artist is never shown, became more common
- Lack of edits; long takes/steadycam a common experimentation
- 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 accompanied by a new single had become the standard

The history of music video

The invention of film and cinema brought about the possibility of combining music and moving images. 

Advances in techonolgy have turned the music video into what it is today but you might be surprised at where it came from. 

In the early years surprisingly, music videos have been around since the 1920s. Many jazz musicians of the time, such as Bessie Smith, made short films to accompany popular songs. 
Here is an example of one of her most famous pieces:



Bob Dylan 

1965: Bob Dylan films Subterranean Homesick Blues as a segment for D.A Pennebaker's film, 'Don't Look Back.' - widely credited as one of the first modern music videos. 




Pop Music TV Shows 

1970: The record industry discovers 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 artists on the TV-stage. 

Bohemian Rhapsody 

1975: Bohemian Rhapsody, a groundbreaking video released by Queen, marked of the beginning of the video era and sets the language for modern music video. The video is considered one of the first to use advanced visual effects.