Task #2

Bibliography:

Books:

• Rogers, J. The Death And Life Of The Music Industry In The Digital Age. Bloomsbury Academic, 2013. Print.

• Storey, J., ed. Cultural Theory and Popular Culture: A Reader. 3rd ed. Essex: Pearson Education Limited, 2006. Print.

• Wikstrom, P. The Music Industry: Music In The Cloud. Cambridge: Polity, 2010. Print.

Books Consulted:

• Storey, J. (2010). Cultural studies and the study of popular cultures theories and methods (3rd ed.). Edinburgh: Edinburgh University Press.

Academic Texts:

• Kolesnik, A. "Popular Culture And History: Representations Of The Past In British Popular Music Of The 2000s." Popular Culture And History: Representations Of The Past In British Popular Music Of The 2000s. National Research University Higher School of Economics, 10 May 2014. Web. 15 Dec. 2014. 

- "Changes in the music industry associated with the emerging and wide dissemination of new media has affected the search for new musical decisions, reformatting attitudes to the past in general, and to the musical past in particular." People were able to relate to certain sub-cultures through music. Now it is so accessable, we are almost alienated.
- "One very recent development is the arrival (in beta form) of Midge Ure’s new venture Tunited (http://www.tunited.com/), a new website and online community designed to help new unsigned artists get valuable exposure and make some sales." Bandcamp and Soundcloud link - compare.

Magazines:

• Budd, C. "Changes in the Music Industry: From Labels to Laptops." English And Media. Media Magazine, 1 Dec. 2010. Web. 15 Dec. 2014. <http://www.englishandmedia.co.uk/mm/subscribers/downloads/archive_mm/mmagpast/MM34_Change_music1.html>.

- "While Napster made it easy for users to share other people’s music, it wasn’t a massive leap to imagine that artists could use the same technology to promote and distribute their own music, thus cutting out two of the important functions of a record company. In this new world, there would be no place for physical records; instead music would live as data on people’s computers." Can be used for when comparing texts (YouTube, Soundcloud, Spotify, Bandcamp)

- "the music rights organisation PRS for Music reported this year that CD and DVD revenues fell by £8.7 million in 2009, but digital revenues grew by £12.8 million." (2010)"

- "The advantages of this sort of system to everyone concerned are clear – the system is a meritocracy: artists with talent, a big enough fan base and a good demo can get funding without contracting to record companies, and music lovers can share in that success. Only the democratic nature of the internet has made that possible on such a grand scale."

• Hendry, S. "Music and Politics." English And Media. Media Magazine, 1 Apr. 2011. Web. 15 Dec. 2014. <http://www.englishandmedia.co.uk/mm/subscribers/downloads/archive_mm/mmagpast/MM36_Collab_Music_Politics.html>.

- "The cultural theorist Adorno was pessimistic about the social impact of popular culture and claimed that the ‘cultural industries eliminate critical tendencies’."

- "In many ways The X Factor and other heavily constructed pop music models can be seen to create a ‘total system’ which Adorno saw as a ‘hegemony of markets’ offering audiences nothing more than the same thing to buy over and over again, breeding a ‘passivity’ that is ‘produced and circulated by the culture industries’."

- "The Conservative government of the time introduced a range of social and economic changes which were resisted by a large number of people including musicians. They challenged public sector cuts, privatisation of nationalised industries and the social changes (and mass unemployment) created by the closure of manufacturing and production industries. There was a spate of urban riots in UK cities in 1981 with ‘Ghost Town’ by The Specials voicing the hopelessness of life in deprived urban environments. The riots had a racial element and The Specials were one of many groups who continued to speak out against far-right political activism and attempted to present the values of cultural diversity within their music."

- "Many musicians supported the miners’ strike (1984-5) and songs were written to raise money for the miners and in support of the Union’s attempts to save jobs. Billy Bragg was actively involved in this as well as being a member of Red Wedge – a collective of musicians who collaborated to support the Labour party and motivate people to become more involved in politics – specifically supporting The Labour Party in the 1987 general election."

• Hobbs, M. "From the Unforgettable Fire to Arcade Fire." English And Media. Media Magazine, 1 Feb. 2011. Web. 15 Dec. 2014. <http://www.englishandmedia.co.uk/mm/subscribers/downloads/archive_mm/mmagpast/MM35_Cultural_Arcade.html>.

Internet Articles:

• Aitkenhead, D. "Plan B: 'I Love Directing. But Does My Art Change Lives? I Don't Think It Does'" The Guardian. The Guardian, 7 June 2012. Web. 15 Dec. 2014. <http://www.theguardian.com/music/2012/jun/07/plan-b-love-directing-art-lives>.

• Andrews, C. "Has the Digital Revolution Really Changed the Music Industry? | Factor." Factor. Factor, 22 Sept. 2014. Web. 15 Dec. 2014. <http://www.factor-tech.com/connected-world/8125-has-the-digital-revolution-really-changed-the-music-industry/>.

- Laura Kidd "argues that increasingly sophisticated technology allows artists to record music, build websites, crowd-fund, upload music videos, create and sell a variety of merchandise and, most importantly, release and promote their music online"

- "Bandcamp is an online marketplace where artists can connect with fans, stream their music and sell digital and physical wares. The site allows artists to set their own prices, with the pay-what-you-want model being a popular option."

- "Prior to 2000, if you wanted to sell recorded music on a semi-wide scale, you needed to manufacture discs or vinyl (and probably needed a record label to do that)," she explains. “Then you needed to make a deal with a distributor, which would then act as a middleman between you as the artist/label and the retail record shop. Payments for sales were often slow, and unsold stock could be returned. Clearly, the development of digital music sales via stores like iTunes and Amazon has been revolutionary on its own.”

• Dredge, S. "Thom Yorke Calls Spotify 'the Last Desperate Fart of a Dying Corpse'" The Guardian, 7 Oct. 2013. Web. 15 Dec. 2014 <http://www.theguardian.com/technology/2013/oct/07/spotify-thom-yorke-dying-corpse>.

- "the last desperate fart of a dying corpse"

- "I feel that in some ways what's happening in the mainstream is the last gasp of the old industry. Once that does finally die, which it will, something else will happen"

• NME Blog. "NME Blogs | Did Radiohead's 'In Rainbows' Honesty Box Actually Damage The Music Industry?" NME.COM. NME, 15 Oct. 2012. Web. 15 Dec. 2014. <http://www.nme.com/blogs/nme-blogs/did-radioheads-in-rainbows-honesty-box-actually-damage-the-music-industry>.

- "the best response to music piracy is to explore new, legal ways to get music into fans' hands."

• Lewis L. "Radiohead, 'The King Of Limbs' - First Listen." NME, 18 Feb 2011. <http://www.nme.com/blogs/nme-blogs/radiohead-the-king-of-limbs-first-listen#LrFXuhDasc8Fd8kB.99>

• Perry, K. "Plan B: The Rapper Turned Director on Ill Manors, Class War and Why He Doesn't Want to Be a Politician." GQ. GQ, 8 June 2012. Web. 15 Dec. 2014. <http://www.gq-magazine.co.uk/entertainment/articles/2012-06/08/plan-b-interview-ill-manors>.

- "The most vile things that we as human beings do to each other is for money. Governments go into other countries and bomb them for oil, power and money. Girls get prostituted and sex-trafficked for money. It's all to do with class, and nothing to do with religion or race. It all boils down to money."

- "It's a class war perpetuated by journalists. There are so many people walking around with opinions that aren't their own. How can you judge people that you never come into contact with?"

- "The song "Ill Manors" and its video are a response to the riots, but we'd already shot the bulk of the film by September 2010. Really the riots were a response to the issues depicted in the film, so it's the other way around."

- "When it comes to film and music like that though, the only people who need to be worried are the well-off. It's only their kids who are going to be influenced negatively by that. The kids that I'm talking about are living that life already. They're not going to be influenced by Top Boy or Kidulthood to go out in the street and sell crack because they're already doing it."

• Taylor, G. "A Digital Revolution Transforming the Music Industry." - Capgemini. Financial TImes, 13 May 2013. Web. 15 Dec. 2014. <http://capgemini.ft.com/consumerisation-of-it/a-digital-revolution-transforming-the-music-industry_a-29-69.html>.

- "ABI Research shows that by 2017, over 50 million cars sold every year will have integrated Wi-Fi connectivity, allowing users to stream music directly to their cars."

- "Streaming services have integrated with social media like Facebook, so you can follow what your friends are listening to, and built in expert reviews and editorial. Twitter has just launched its own music service, allowing crowdsourcing of music trends and letting fans follow the tastes and comments of favourite artists. Hundreds of apps help fans to discover new music in every genre, helping users get maximum value from on-demand access to millions of tracks."

- "In addition, as cars increasingly draw on voice-activated functions, users will be able to sit at the wheel and ask for a specific artist or track: they'll say 'Play The XX, Co-Exist', and the album will begin playing instantly. In-car displays will suggest similar artists, albums and related information, allowing for a great entertainment experience."

- "we need to take action against illegal sites that build up huge businesses ripping off artists and undermine investment in the legal music scene."

- "The amazing progress that has been made in digital music reflects a transformation within record labels over the last 10 years"

• Travis, B. "Thom Yorke Wants You to Torrent His New Album." GQ. GQ, 29 Sept. 2014. Web. 15 Dec. 2014. <http://www.gq-magazine.co.uk/entertainment/articles/2014-09/29/thom-yorke-tomorrow-modern-boxes-review>.

- "Yorke revealed that the album is currently only available through a legitimate, paid BitTorrent file, and is available right now.
"

Task #1

Lotus Flower - Radiohead: (Established Artist - Contemporary Text)

Media Language:

The music video starts off with a medium shot of Thom Yorke convulsing his arms. This action is surprising the audience at first, but, as the video progresses, we become used to this. I can connote that Yorke seems to be letting the music flow through him to present another side to the music. A mixture of medium shots seem to be the norm (differing between different angles) blended with close-ups of Yorke's face and further-out shots to show the whole person.

The entirety of the video is in black & white with the first 50 seconds of the video having very low-key lighting. Only a filler light is used in this section to illuminate the background. A lack of light in the foreground almost creates a silhouette of Yorke. The simplicity in this composition reflects the simplicity in that part of the music as only bass and drums are being heard. Now a key light is introduced to present to us Thom Yorke. The majority of the video keeps this lighting until the three minutes thirty seconds mark where a mixture of close-ups of Yorke's face are shown to accentuate the change in pace in the song. Lighting is also used here to bring about complex shadows on the face. After this, the 'normal' lighting is brought back as another chorus plays out. The outro of the song again shows the audience the low-key lighting seen in the beginning of the video.

Only non-diegetic is heard which is the song itself. At times, what we are hearing can be considered parallel to what is seen onscreen, however, there are points where the audience again questions whether this is parallel or contrapuntal. An example is when Yorke will be moving to the beat and then will randomly start spasming.

Institution:

Lotus Flower was written by Radiohead themselves and produced by Nigel Godrich, who has produced all Radiohead albums past and present included. The song was self-released on the official Radiohead website as an online music download. The music video was uploaded to the official Radiohead YouTube channel. 

Genre:

There are little typical generic conventions of a music video here. This could be on purpose as Radiohead may be trying to almost parody music videos as a whole by Yorke flailing about on screen. However, I think that Yorke is letting the music engulf him and is losing himself within his senses and the music.

Representation:

An argument can be made that Yorke is physically representing the views of parts of society that go against the social conformities of today. Examples are seen throughout the video and heard throughout the lyrics. An example in the lyrics is "I will shape myself into your pocket; Invisible, do what you want, do what you want." The first line could be referring to having to abide by the social traditions of the public. The word "invisible" in the second line could be referring to this section of society; this unwanted opinion that needs to be heard.

Audience:

An audience consisting of late-teen to mid-thirties can be applied to this text. Late-teens as they may be able to relate to what can be seen as a rebellious tendency from the lyrics. Mid-thirties as this audience would have been fans when Radiohead was in its infancy in the mid-nineties. These audiences tend to consist more of males than females. Also, the main psychographic for this text would be an aspirer. This is because they are always on the look-out for quality rather than quantity; they also look for alternative rather than the mainstream. This would appeal to more of a middle/higher-class rather than working-class.

Ideology & Values:

They promote the Ideology of not conforming to mainstream values; they (the band as a whole) continue to provide alternatives to the popular opinions on topics of today's society.

Narrative:

His actions can be seen to mirror that of the lyrics: "I will shape myself into your pocket", Yorke puts his hands into his pockets while still bouncing around to the beat of the song. "Invisible, do what you want, do what you want", Yorke is now thrusting in the direction of the camera symbolising that you should do what you want. "I will shrink and I will disappear", he now slowly crouches.

Take Me To Church - Hozier: (Up-and-Coming Artist)

Media Language:

The text is again in black and white. This adds a certain grittiness to text which mirrors the location of Russia well. In the climactic parts of the song, a fast-paced editing style is used. The showing of a passionate kiss between two men shows the viewer that the issue of homosexuality is involved.

Institution:

The song was written by Hozier himself and produced and released by Island Records. The music video was uploaded to Hozier's official channel as well as his Vevo channel.

Genre:

The songs genre is Indie Rock with Soul and Blues influences. Hoziers soulful lyrics are well-mirrored on-screen with the use of violence.

Representation:

The video is showing the representation of homosexuals in Russia; where it is against the law. I think that Hozier wanted to show an accurate representation of what is happening to those who are gay (ie brutally beaten). This also reflects back onto the society in Russia and the mediation of Homosexuality in the news.

Audience:

Hozier's general audience is predominantly younger than expected. However, this video is targeted to all ages and backgrounds as the message needs to put out to the masses. Hozier's audience is generally mainstream.

Ideology & Values:

The ideology of multiculturalism is being promoted here as Hozier wants to encourage social and political change within Russia and anywhere else where these views are held. He wants to educate and inform the masses about this big issue.

Narrative:

The video starts off with cutting between a close-up of a fire; a man franticly trying to bury a locked box; and another man riding a bicycle to come and meet the first man. Its is established quickly that these two are the protagonists of the text. Typically, Todorov's narrative theory could be applied to the text, however, there is no new-equilibrium here, only equilibrium then dis-equilibrium (the text ends here). The start of the dis-equilibrium is when the two protagonists are seen sneaking off to a secluded area by an on-looker. Next we see one protagonist packing and trying to get away from a hooded gang marching around looking for the two. Before this, the two male protagonists are shown passionately kissing, which, in turn, creates an action code to tell the audience that the issue of homosexuality is involved with the narrative. Once one is found and caught, he is dragged away to an area in the woods. A beating ensues, while the locked chest is unearthed and thrown into the fire shown in the beginning. The use of foreshadowing with the fire creates a non-linear narrative which draws the audience in even more. The villain (Propp) of the text is the gang on the hunt for two protagonists.

Tutorial Targets Review

1. Revise title. To what extent has the British Music Industry changed in recent years, focusing particularly on Radiohead and Hozier. GREEN

2. Rewrite proposal based on new title. GREEN

3. Identify a band/artist/album release as a case study. GREEN
- Well established
- Breakthrough/Underground

4. Analyse a music video in-depth from the well-established artist using MIGRAIN.
- Still a major marketing tool?
- Music videos in decline?
RED: Music video needs to be approved by Mr. Bush.

5. Pick a music video from the breakthrough artist and analyse using MIGRAIN for comparison and reference between the two.
RED: Music video needs to be approved by Mr. Bush

6. Articles: Guardian, Factor-Tech, Independent. AMBER

7. Academic links AMBER

8. SHEP AMBER
Social: Less important for youth. Other entertainment.
Historical: Mid-late 20th century: Music decided peoples sub-culture.
Economical: Decline of industry? - piracy.
Political: Politicians - laws passed

New C.I. Proposal

Working Title: To what extent has the British Music Industry changed in recent years, focusing particularly on Radiohead and Hozier.

Angle: What are the major changes to the BMI (British Music Industry) in recent years? and how has this affected audiences/artists/labels/the industry.
In-depth analysis of a music video by a well-established British artist [Radiohead? see Mr. Bush - ] (signed by a British label).
Analyse a music video by a breakthrough artist [Hozier - Take Me To Church] as well for comparison and reference (signed by a British label)

Hypothesis:
That the BMI has changed dramatically at certain points in time. Also, that many things have caused this change, but, the main things to be piracy, new technology and the introduction of streaming services.

Linked Production Piece:

Music video: Backstabber - The Kooks?

Short Film: A day in the life of a music producer/music student

MIGRAIN:

Radiohead:
High and Dry
Contemporary text - Lotus Flower

Hozier - Take Me To Church

SHEP:

Social: Less important for youth. Other entertainment.
Historical: Mid-late 20th century: Music decided peoples sub-culture.
Economical: Decline of industry? - piracy.
Political: Politicians - laws passed

CI: Notes & Quotes

Main Media Texts:

Radiohead :

Karma Police Music Video and Song meaning:


Thom Yorke calls Spotify 'the last desperate fart of a dying corpse': 
"the last desperate fart of a dying corpse"
"I feel that in some ways what's happening in the mainstream is the last gasp of the old industry. Once that does finally die, which it will, something else will happen,"

Thom Yorke wants you to torrent his new album:
"Yorke revealed that the album is currently only available through a legitimate, paid BitTorrent file, and is available right now.
"

Did Radiohead's 'In Rainbows' Honesty Box Actually Damage The Music Industry? Read more at http://www.nme.com/blogs/nme-blogs/did-radioheads-in-rainbows-honesty-box-actually-damage-the-music-industry#5zWkOobgVpqWVEKp.99:
"the best response to music piracy is to explore new, legal ways to get music into fans' hands."




Hozier (Take Me To Church):

Take Me To Church Music Video and Song Meaning:



SHEP:
Social:Plan B: the rapper turned director on Ill Manors, class war and why he doesn’t want to be a politician:
-"The most vile things that we as human beings do to each other is for money. Governments go into other countries and bomb them for oil, power and money. Girls get prostituted and sex-trafficked for money. It's all to do with class, and nothing to do with religion or race. It all boils down to money."
-"It's a class war perpetuated by journalists. There are so many people walking around with opinions that aren't their own. How can you judge people that you never come into contact with?"

Historical:
Economical:

Political:
Plan B (Ill Manors Article): His music is sometimes based off political events. The London riots.
-"Social commentators are already talking about its political significance, and reviewing last year's riots through the prism of its lens."

Plan B: the rapper turned director on Ill Manors, class war and why he doesn’t want to be a politician:
-"The song "Ill Manors" and its video are a response to the riots, but we'd already shot the bulk of the film by September 2010. Really the riots were a response to the issues depicted in the film, so it's the other way around."
-"When it comes to film and music like that though, the only people who need to be worried are the well-off. It's only their kids who are going to be influenced negatively by that. The kids that I'm talking about are living that life already. They're not going to be influenced by Top Boy or Kidulthood to go out in the street and sell crack because they're already doing it."
-"

Books:

The Music Industry: Music In The Cloud - talks about the future of the music industry due to the digital revolution. (Patrik Wikstrom/2010)
The Death and Life of the Music Industry in the Digital Age - (Jim Rogers/2013)



Internet Links/Articles:
Q&A: Irish Musician Hozier on Gay Rights, Sexuality, & Good Hair

HAS THE DIGITAL REVOLUTION REALLY CHANGED THE MUSIC INDUSTRY? By Charlotte Richardson Andrews:
- Laura Kidd "argues that increasingly sophisticated technology allows artists to record music, build websites, crowd-fund, upload music videos, create and sell a variety of merchandise and, most importantly, release and promote their music online"
- "Bandcamp is an online marketplace where artists can connect with fans, stream their music and sell digital and physical wares. The site allows artists to set their own prices, with the pay-what-you-want model being a popular option."
-“Prior to 2000, if you wanted to sell recorded music on a semi-wide scale, you needed to manufacture discs or vinyl (and probably needed a record label to do that),” she explains. “Then you needed to make a deal with a distributor, which would then act as a middleman between you as the artist/label and the retail record shop. Payments for sales were often slow, and unsold stock could be returned. Clearly, the development of digital music sales via stores like iTunes and Amazon has been revolutionary on its own.”

A digital revolution transforming the music industry:
-"ABI Research shows that by 2017, over 50 million cars sold every year will have integrated Wi-Fi connectivity, allowing users to stream music directly to their cars."
-"Streaming services have integrated with social media like Facebook, so you can follow what your friends are listening to, and built in expert reviews and editorial. Twitter has just launched its own music service, allowing crowdsourcing of music trends and letting fans follow the tastes and comments of favourite artists. Hundreds of apps help fans to discover new music in every genre, helping users get maximum value from on-demand access to millions of tracks."
-"In addition, as cars increasingly draw on voice-activated functions, users will be able to sit at the wheel and ask for a specific artist or track: they'll say 'Play The XX, Co-Exist', and the album will begin playing instantly. In-car displays will suggest similar artists, albums and related information, allowing for a great entertainment experience."
-"we need to take action against illegal sites that build up huge businesses ripping off artists and undermine investment in the legal music scene."
-"The amazing progress that has been made in digital music reflects a transformation within record labels over the last 10 years" (need to elaborate).


Academic Texts:

Popular Culture and History: Representations of the Past in British Popular Music of the 2000s - Alexandra Kolesnik
-"Changes in the music industry associated with the emerging and wide dissemination of new media has affected the search for new musical decisions, reformatting attitudes to the past in general, and to the musical past in particular."
-"One very recent development is the arrival (in beta form) of Midge Ure’s new venture Tunited (http://www.tunited.com/), a new website and online community designed to help new unsigned artists get valuable exposure and make some sales."
-



Cultural Theory and Popular Culture - Stuart Hall and Paddy Whannel


Magazine:

Changes in the Music Industry: From Labels to Laptops -Media Magazine Issue 34, December 2010 the 'Change' issue
-"While Napster made it easy for users to share other people’s music, it wasn’t a massive leap to imagine that artists could use the same technology to promote and distribute their own music, thus cutting out two of the important functions of a record company. In this new world, there would be no place for physical records; instead music would live as data on people’s computers."
-"the music rights organisation PRS for Music reported this year that CD and DVD revenues fell by £8.7 million in 2009, but digital revenues grew by £12.8 million." (2010)"
-"The advantages of this sort of system to everyone concerned are clear – the system is a meritocracy: artists with talent, a big enough fan base and a good demo can get funding without contracting to record companies, and music lovers can share in that success. Only the democratic nature of the internet has made that possible on such a grand scale."



Music and Politics - Media Magazine 36, April 2011: the ‘Collaboration’ issue
-"The cultural theorist Adorno was pessimistic about the social impact of popular culture and claimed that the ‘cultural industries eliminate critical tendencies’."
-"In many ways The X Factor and other heavily constructed pop music models can be seen to create a ‘total system’ which Adorno saw as a ‘hegemony of markets’ offering audiences nothing more than the same thing to buy over and over again, breeding a ‘passivity’ that is ‘produced and circulated by the culture industries’."
-"The Conservative government of the time introduced a range of social and economic changes which were resisted by a large number of people including musicians. They challenged public sector cuts, privatisation of nationalised industries and the social changes (and mass unemployment) created by the closure of manufacturing and production industries. There was a spate of urban riots in UK cities in 1981 with ‘Ghost Town’ by The Specials voicing the hopelessness of life in deprived urban environments. The riots had a racial element and The Specials were one of many groups who continued to speak out against far-right political activism and attempted to present the values of cultural diversity within their music."
-"Many musicians supported the miners’ strike (1984-5) and songs were written to raise money for the miners and in support of the Union’s attempts to save jobs. Billy Bragg was actively involved in this as well as being a member of Red Wedge – a collective of musicians who collaborated to support the Labour party and motivate people to become more involved in politics – specifically supporting The Labour Party in the 1987 general election."

From the unforgettable fire to arcade fire – 25 Years Of Change In The Music Business:
-"



Statistics:
http://www.ukmusic.org/research/economic-research/:
-"£3.5bn the economic contribution of the core UK music industry"
-"This is made up of: £1.6bn from musicians, composers and songwriters; £634m from recorded music; £662m from live music; £402m from music publishing; £151m from music representatives; £80m from music producers, recording studios; £1.4bn the value of exports; 101,680 full time jobs."
-"

Industry Income Breakdown: Facts & Figures:
Between 2003 and 2013:
-Physical Formats: Decreased from £1,223.1m in 2003 to £365.4m in 2013 (£857.7m decrease). In terms of total industry income, that's a 50% decrease in 10 years.
-Digital: Increased from £2.7m in 2004 to £365.1m in 2013 (£362.4m increase). In terms of total industry income, that's a 50% increase in 9 years.
-Overall: Total industry income has decreased from £1,223.1m in 2003 to £730.5m in 2013 (£492.6m). That's a 40% decrease in income.

C.I. Proposal Feedback 13/10/14

1. Revise title. To what extent has the British Music Industry changed in recent years?

2. Rewrite proposal based on new title.

3. Identify a band/artist/album release as a case study.
- Well established
- Breakthrough/Underground

4. Analyse a music video in-depth from the well-established artist using MIGRAIN.
- Still a major marketing tool?
- Music videos in decline?

5. Pick a music video from the breakthrough artist and analyse using MIGRAIN for comparison and reference between the two.

6. Articles: Guardian, Factor-Tech, Independent.

7. Academic links

8. SHEP
Social: Less important for youth. Other entertainment.
Historical: Mid-late 20th century: Music decided peoples sub-culture.
Economical: Decline of industry? - piracy.
Political: Politicians - laws passed

RELOADED Critical Investigation Proposal

Do Spotify and other developing new and digital media services have an impact on the current music industry? By Harpal

Angle:
He looks at if and how Spotify has had an effect on the music industry through allowing free online streaming. Therefore, taking power away from some artists, producers and labels.

Hypothesis:
The popularity of Spotify may have allowed audiences more opportunity for uses and gratifications because of the increased availability of music online. Also, Spotify may have had a big hand in the supposed downfall of the music industry.

MIGRAIN:

Representation:
Spotify by artists and the industry itself. May not be typically fair as the artists are only telling thier side of the argument.

Issues and Debates:

• Representation and stereotyping
• Ownership and control
• Regulation and censorship
• Media technology and the digital revolution – changing technologies in the 21st century
• The effect of globalisation on the media

Theories:

- Audience Theories

- Semiotics

- Marxism and Hegemony

- Genre Theories

Research Plan:

Other media texts: Youtube, Napster

1st Draft Critical Investigation Proposal

Working Title: To what extent and how has "Later...with Jools Holland" played a part in the British Music Industry, specifically up-and-coming artists?

How have audiences' attitudes towards the British Music Industry changed in the last 10 years/15 years/ 20 years?

Angle:
How (If it has) has the British Music Industry (BMI) played a part/changed (Has it changed?) due to television music programs such as "Later...With Jools Holland"?
Are the views and values towards up-and-coming (UAC) artists changed in any way compared to the last 10/20 years? And have any of these programs played a part in this?
Need to make a list of a few artists from a mixture of genres to focus on throughout the investigation.

Hypothesis:
The way UAC artists are now represented through these music programs may have had an effect on how the artists are popularised. This could have had an effect on the industry as a whole by bringing a lot more UAC artists into the limelight, making it harder for established artists to stay in said limelight.

Linked Production Piece (Initial Ideas):
Short film showing the different perceptions of these UAC aritsts:
1st part: showing the public perception of UAC artists.
- a waking up scene
- artist has gone straight alcohol and drugs to take his worries away
- flashbacks showing a label dropping the artist when he doesn't make enough money
- need to expand on this

2nd part: focuses on showing the real side of things.
- UAC artist is trying to get his music out there through multiple means
- Meets his old partner from his duo who has made the big time. This old partner left the protagonist on his own once he got an opportunity. The protagonist stills holds a grudge. (Adds some drama)

3rd part: His opportunity comes.
- His old label sees the new take the artist has and gets a spot for him on jools holland.
- Ends with the artist on stage deciding to play an 'oldie': his old style of music.

Music video: Backstabber by The Kooks

Documentary style film on British Music Industry, specifically UAC artists:
- An interview with an "UAC artist"
- Maybe some words from a "Producer"
- not interviewing real artists and producers but using these people as a means to get the information out there to educate the audience on what actually happens.

MIGRAIN:
Representation:
- Who: The Industry as a whole first, but then focusing on the UAC artists specifically.
- By Whom: The labels, the programs. Social Media (One persons opinion on an artist can affect the opinions of a lot of the audience)
- Why: Labels (May see more business opportunities in these artists) Programs (May feel that these artists need more recognition for their hard work as they are typically not of the song-writing factories for most pop artists)
- Fair and accurate? Sometimes. The representation can be distorted at times which may have a negative effect on the artist, which can, sometimes, not be fair or accurate.
- Opportunities for self-representation? Social media now provides a massive opportunity for this compared to even 10 years ago (need to look into how UAC artists got there music out there back then/T.v. and radio play mainly). Websites such as spotify and soundcloud allows an even wider audience reception.

Media Languages and Forms:
- Connotative: Something new that is out of the audiences comfort zone. May be something familiar but slightly different to what they're used to.
-Non-verbal structures of meaning: Clothing is more synced to the kind of music they play/more modern. Artists can be known to set fashion trends. UAC can be seen as very passionate for their work (can be seen through facial expressions and hand gestures).
- Mise-en-scene: Lighting plays a very important part: If the artist is on their own then the light focuses on just them with maybe just a spotlight. When it is a band, depending on the style of music, the light be very low-key orientated.

Narrative:
-Follows specific format: Usually around five bands positioned in a circle around the studio to perform to each other and a small studio audience (positioned in-between each artist)



SHEP:


Issues/Debates:
- Representations/stereotyping: The industry and the UAC artists specifically as well.
- Media Effects: Effects of the media on these artists. How far these effects go and how much of an effect the media has (influence).
- Regulation and censorship: How are these artists limited due to regulation? (not a major part of the investigation.
- Media technology and the digital revolution - changing technologies in the 21st century: Which specific technologies have played a part in the industry and artist lives.?
- The effect of globalisation on the media: How globalisation has affected artists and how their music can reach a world-wide audience now and how this has a had an effect on the media, if it has.

Theories:
- Audience theories
- Genre Theories
- Marxism? and Hegemony?
- Semiotics?

Research Plan:

Media Texts: Later...With Jools Holland From The Basement, Mercury Awards Presents?, The Later Show, Old Grey Whistle Test.

Other Media Texts: Spotify, Soundcloud, YouTube, 
Books:
The Music Industry: Music In The Cloud - talks about the future of the music industry due to the digital revolution. (Patrik Wikstrom/2010)
The Death and Life of the Music Industry in the Digital Age - (Jim Rogers/2013)

Internet Links/Articles:
HAS THE DIGITAL REVOLUTION REALLY CHANGED THE MUSIC INDUSTRY? By Charlotte Richardson Andrews


Academic Texts:
Popular Culture and History: Representations of the Past in British Popular Music of the 2000s - 

Alexandra Kolesnik: 

National Research University Higher School of Economics:This paper investigates the basic mechanisms of representation of the past in British 
popular music in the early 2000s. Changes in the music industry associated with the emerging 
and wide dissemination of new media has affected the search for new musical decisions,
reformatting attitudes to the past in general, and to the musical past in particular. In this regard, 
questions of historical representations in popular music and their relationship with cultural 
heritage are closely interrelated. This paper analyses the mechanisms and formats of ‘working’ 
with the past in British popular music of the 2000s using examples from the London rock band, 
the Libertines. The author draws conclusions about structure of historical representations in 
popular music and their typology. The use of popular music studies approach is suggested to 

analyze mechanisms of representation of the past and broaden the concept of popular music.

The Young Audience - Stuart Hall and Paddy Whannel:

Linked Production Initial Ideas

Short film:
1st part: showing the public perception of UAC artists.
- a waking up scene
- artist has gone straight alcohol and drugs to take his worries away
- flashbacks showing a label dropping the artist when he doesn't make enough money
- need to expand on this

2nd part: focuses on showing the real side of things.
- UAC artist is trying to get his music out there through multiple means
- Meets his old partner from his duo who has made the big time. This old partner left the protagonist on his own once he got an opportunity. The protagonist stills holds a grudge.

3rd part: His opportunity comes.
- His old label sees the new take the artist has and gets a spot for him on jools holland.
- Ends with the artist on stage deciding to play an 'oldie': his old style of music.

Music video: Backstabber by The Kooks

Documentary on British Music Industry, specifically UAC artists.

Ignite Presentation Feedback

Grade: B

WWW:
- Very good overview
- Good use of reviews/quotes
- Fluent and articulate
- An interesting subject that was well researched
- Good knowledge about the subject
- Varied
- Challenging audience

EBI:
- The focus of the presentation wasn't completely clear
- Link to noun(?)/internet(?)
- Not much theory included

Self-evaluation:
I feel that I could have explained my main point and what I want to get across more clearly at the beginning: The Views and Values towards up-and-coming artists focusing on the program Later...with Jools Holland. However, I do think that my presentation was well received and I did get to explain my points as much I wanted to.

I do think that I needed to rehearse the presentation more as at times I felt out of breath from talking constantly. I also definitely needed to include more about theory and theorists.

Critical Investigation:
I think I could write about the public perception of up-and coming artists and the views and values towards them and how Later..with Jools Holland could have played a role in this as well as other music television programs. I also think I could research and write about the previous generation's music television programs and how the perception of UAC artists may or may not have changed since the time of these programs (The Later Show & The Old Grey Whistle Test). However, the programs of today will be the main focus of the investigation.

Linked Production:
My initial ideas for the production is showing a day in the life of an UAC artist. A basic explanation is that there will be 3 parts. The first part will show public's perception of the artist and these artists in general. The second part will show the real side of what these artists have to do to survive in the industry and in life. The 3rd part may or may not show the artist getting a chance to perform on jools holland ending with artist on stage.

Draft questions for critical investigation (Need to be refined)

How has "Later...with Jools Holland" played a part in the British Music Industry, specifically up-and-coming artists? (The main question so far)

Previous drafts:

How has the television program "Later...with Jools Holland" changed audiences' perception towards up-and-coming music artists compared to the program "From The Basement"?

How have music television programs such as "Later...with Jools Holland" changed audiences' views and values towards up-and-coming music artists?

How have music television programs such as "Later...with Jools Holland" changed audiences' perception towards up-and-coming music artists?

How have music television programs of today such as "Later with Jools Holland" and "From The Basement" affected audiences' views and values towards up-and-coming artists compared to the previous generation's programs such as "The Later Show" and "The Old Gray Whistle Test"?

How have music television programs of today such as "Later with Jools Holland" and "From The Basement" affected audiences' perception towards up-and-coming artists compared to the previous generation's programs such as "The Later Show" and "The Old Grey Whistle Test"?

Ignite Presentation on Later...With Jools Holland and Up and Coming Artists