Preliminary Exercise: Recreation Evaluation

Mark: 26/32 Grade: A-

WWW:
- Very good introduction before film viewing
- Good sound
- Excellent performances
- Excellent camera work - over the shoulder shot
- Very good editing/continuity/pace
- Good camera positioning/framing
- Effective colour correction
- Appropriate location

EBI:
- Lighting
- Clothing/prop
- Camera Placement

1) Why did you choose this particular recreation and how does it link to your main production?
The recreation I chose was a scene from Inside Llewyn Davis. A Coen Brothers film showing a week in the life of a folk musician/singer, while he is playing gigs in the village and couch-surfing at friend's as he doesn't have a place of his own. The incorporation of live music in the film is something I want to do with my linked production, therefore, I thought a scene from this film would be appropriate. I chose this specific scene as it shows off camera placement and placement of actors. Being able to film and edit a three-way conversation is something I always found to be hard. Script-writing also come into this. I also chose this scene as the colour grading/correction was something I wanted to tackle early on and not have to learn to do when post-production starts for my linked production.

2) What difficulties did you face in producing this recreation?
One of my actors didn't turn up, so finding a replacement on very short notice was a problem. This resulted in me and Viraj (playing Llewyn Davis) waiting around for 2 or so hours. Another problem was filming, directing and doing sound at the same time.

3) What are the strengths of the production?
Camera  positioning and framing is something I wanted to recreate as accurate as possible; That is why I took screenshots of each shot in the original. The acting was also top notch (especially that of Viraj's). I also made sure that the sound produced was of good quality by using a boom mike and pole and mixing in post.

4) What aspects would you look to improve?
Mise-En-Scene is definitely an aspect to improve. Viraj's costume wasn't accurate and mine and Parum's costumes could have been better. Also, I was supposed to have been holding a cat, but my cat was nowhere to be found on the day of filming. Not being able to find a toy of some sorts, I had to settle for a pillow with a picture of Amanda Seyfried's head on it. Proper lighting is always the downfall of the student production. Even one filler light to help illuminate features would have been beneficial.

5) What lessons will you take from this process that will help you with your main production?
Colour correction/grading is something I will definitely be taking on-board for my final production. I will also be paying close attention to sound design as well as lighting. I'm thinking of having someone else being cameraman as I want to be able to focus on the sound and direction only. Also, casting reliable actors to make filming as smooth as possible with the least amount of problems.

Linked Production Brief

Your Critical Investigation topic:
To what extent has the British Music Industry changed in recent years, focusing particularly on Radiohead and Hozier.

Your Linked Production brief:
To produce a 3-5 minute short film linked to my Critical Investigation topic.

Length/size of production (e.g. 3 minutes, 5 pages etc.):
4-5 minutes maximum.

Give an example of an existing media text this is similar to what you plan to produce:
Inside Llewyn Davis (Coen Brothers film)

Give an example of an institution that would produce or distribute your planned production:
BBC Films
Film London (Microwave?)

How would your production reach its audience?
Through online distribution on YouTube or to buy through mediums such as iTunes and Google Play Store.

Who do you plan to work with on this project?
By Myself.
Actors:
Viraj Juneja
Emily
Gabby?
Masika?

Recreation Task: Inside Llewyn Davis Scene

Preliminary exercise: Recreation task

Name of the text you plan to recreate:
Inside Llewyn Davis (Coen Brothers Film)

Scene/section you will recreate:
Inside Llewyn Davis - Llewyn, Jean & Troy

Location you will use for your recreation:
Cousin's flat.

Actors you will require for your recreation:
Viraj Juneja to play Llewyn Davis
Me to play Troy Nelson
Jean to be confirmed

Props/costumes you will require for your recreation:
Accurate clothing
My cat
A chair

Equipment you plan to use:
Canon from media department
Tripod form media
Boom mic from media

Any other relevant information:
Jean may be played as a male.

Task #6/Critical Investigation First Draft

"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

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

As with any industry, change is unforeseeable; change in popularity (which can determine and be determined by many other factors such as online views and money in the industry), technology, the internet, and countless other factors can have an endless effect. The British Music Industry is no exception. The landscape in which the BMI thrives has changed an incalculable amount of times; however, it is still successful: bringing in total revenue of “£730 million” [1] in 2013. To represent this change, I’ll be carrying out an in-depth analysis of a music video from both Radiohead and Hozier. Both cover thought-provoking topics of today’s society: The song and the music video of Radiohead's ‘Lotus Flower’ channelling their thoughts about the Zeitgeist of today; and Hozier's ‘Take Me To Church’ talks about the loss of a lover, whereas the music video cover the issue of homosexuality in Russia. With the introduction of New Media, what is viewed as the “old industry” [2] can be seen as declining; “Once that does finally die, which it will, something else will happen” [3]. Thom Yorke's opinion can be seen as, perhaps, controversial. But, as shown further on in this investigation, it is what is to be expected.

The main text I will be focusing on in this essay is Radiohead's Lotus Flower [4]. Lotus Flower was self-released by Radiohead in 2011 and is their latest music video to date. The video itself has gained more than 30 million views on YouTube, whilst Radiohead has 318 thousand subscribers on their channel. Having formed as a band in 1985, Radiohead would first-hand see changes happening to the industry. Radiohead's first single 'Creep' was initially unsuccessful, but rose to worldwide success a few months after the release of Pablo Honey; Radiohead's first studio album. The band's popularity grew in the UK with the release of their second album: The Bends. In the early stages of the band, Radiohead signed a six-album recording contract with major label EMI. The last album part of the contract was in 2003 with 'Hail To The Thief'. Following this, Radiohead have self-released two more albums (their 7th and 8th): 'In Rainbows' and 'The King of Limbs' in 2007 and 2011 respectively.

We are introduced to the video of Lotus Flower with a medium shot of Thom Yorke (Radiohead's singer and lead man) convulsing and flailing his arms. This action is very surprising to the audience, but, as we progress, the audience starts to get used to actions such as these. Dedicated fans, especially fans who have watched Radiohead live, may not necessarily be surprised as this type of 'dancing' is always a part of concerts. I can connote that, after the initial reaction, Yorke seems to be letting the music flow through him as to present another side to the music. A mixture of medium shots, with differing angles, blended with close-ups of Yorke's face and longer, further-out shots add a sense of variety to the almost monotonous video. The use of black and white for the entire video also adds to this feeling as a lack of colour gives a sense of dreariness. The first 50 seconds of the video has very low-key lighting with only a filler light being used to illuminate the background. A lack of light in the foreground almost creates a silhouette of Yorke. The simplicity in this composition reflects the music as only bass and drums are being heard. A key light is now used to present to the audience Yorke. This set-up is used for the majority of video. An exception is shown at three minute thirty seconds when 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.

At times, what we are hearing can be considered parallel to what is seen on-screen, however, there are points where the audience again questions whether this is parallel or contrapuntal. An example of the song being parallel to what is occurring on-screen is when Yorke's actions can be seen to mirror that of the lyrics: "I will shape myself into your pocket" [5], 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" [6], 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" [7], he now slowly crouches.

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 as the meaning behind the lyrics may be about "losing yourself in music and the senses" [8]. 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. This opinion of not conforming to the mainstream and challenging the status-quo is consistent with Radiohead. This can be linked to the theory of hegemony, where power is kept within elite through manipulation of the media. 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.

Being an established band, the music videos of Radiohead may be expected to be of a high budget. This, however, may not be the case for 'Lotus Flower' as there not much happening in the video itself. A video of the lead man 'dancing' doesn't typically cost hundreds of thousands of pounds. Compared to the U.S. music video for 'High and Dry' [9] (also by Radiohead), Lotus Flower is thought of as very simplistic. Just a quick glance at 'High And Dry's' video tells the audience that a substantially larger budget was used. This could suggest that the music video medium itself is declining. An argument can be made that this is due to the rise of new media, that newer and more sophisticated technologies have allowed artists in the British Music Industry to branch out when promoting themselves and their music. Websites and services such as Soundcloud and YouTube 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" [10]. With Bandcamp, artists can set their own prices, with the "pay-what-you-want model being a popular option" [11]. With all these developments, music videos are now not seen as the most important form of promotion. In an era before the internet, where the likes of 'MTV' and 'Top Of The Pops' dictated how successful your band was going to be, the music video was seen as the best marketing tool. Now, where a fan can listen to and download an artist’s music in a click of a button, services such as Amazon and iTunes are used instead of the record shops of yesteryear. The next step would be making music available for free and legally. Thom Yorke seems to have already thought of this as he told the world that his new solo-album "was currently only available through a legitimate, paid BitTorrent file" [12] in 2014. This may be a way to tackle piracy; a major problem for the industry.

The next video I'm focusing on is up-and-coming artist: Hozier. "Take Me To Church" [13] has seen critical acclaim with 62 million views on YouTube as well as Hozier having 224 thousand channel subscribers. Releasing his debut EP in 2013 and his debut self-titled album globally in October 2014, Hozier is signed to Island Records. 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. It 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 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. Later on, a locked chest is unearthed and thrown into the fire shown at the beginning. The use of foreshadowing with the fire creates a non-linear narrative which draws the audience in even more. Linking to Propp's narrative theory, the villain of the text is the gang on the hunt for two protagonists. Growing up in Ireland, Hozier is familiar with a "cultural landscape that is blatantly homophobic" [14]. This served as a basis for creating a "strong statement about the institutional homophobia in Putin's Russia" [15]. 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 (i.e. brutally beaten). This also reflects back onto the society in Russia and the mediation of Homosexuality in the news. 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. 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. Both videos cover pressing matters of today such as mediation of the news and media itself, moral panics and representations and stereotyping.

The popularity of the music video in the earlier decades was, on the other hand unparalleled. This was also supported by television music programs. The likes of "Top Of The Pops" [16] and Later..With Jools Holland significantly aided artists. The program may have seemed controversial in its time as it is widely known that the artist(s) were lip-syncing along to the studio track. All of this occurred in front of a studio audience. The show can be seen as one enormous music video; an advertisement for the band and their new song. This has since changed as during Christmas, the BBC shows a Christmas special with that year’s most popular music. It is seen that the artists do in fact play live now making the show more into a concert for television rather than an elongated music video. The year reflects the types of music shown as today's Top of the Pops would sound relatively similar throughout the program. At the time of this episode, it was thought that if a band is seen on TOTP, then they have made it to the higher stages of stardom. A UK-based bands main goal would be to get onto the show as this guaranteed sales. However, as new media was introduced and technology developed increasingly, there became more methods of advertising and informing the audience of the 'new album' or 'new single'. This included online advertising using social media (Twitter has aided tremendously) and making the music available through online means. This has reduced the need for the music video and is not regarded as the best way to show audiences new music any more. Websites such as Vimeo have tried to keep this marketing device afloat, but there is no helping a dying market. Consequently, budgets have decreased dramatically for music videos, except for the established, world-known bands/artists, which have not much need for them.

2,099 words



To Be Completed:

Section 4: Other smaller text with reference to online media more in depth as well as more SHEP points.

Section 5: Conclusion





Bibliography:

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. 

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>.

• 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>.

• 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/>.

• 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>.

• 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>.

• 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>.

• 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>.

• 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>.

Books consulted:

• 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.

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

Citations:

[1] BPI Surveys, 2014
[2] Dredge, S, The Guardian, 2013
[3] Ibid
[4] Radiohead - Lotus Flower from https://www.youtube.com/watch?v=cfOa1a8hYP8
[5] Lyrics for Lotus Flower from http://www.azlyrics.com/lyrics/radiohead/lotusflower.html
[6] Ibid
[7] Ibid
[8] Lewis, L, NME, 2011
[9] Radiohead - High And Dry from https://www.youtube.com/watch?v=BciOfJsqh7M
[10] Andrews, C, Factor, 2014
[11] Ibid
[12]Travis, B, GQ, 2014
[13] Hozier - Take Me To Church from https://www.youtube.com/watch?v=MYSVMgRr6pw
[14] Shepherd, J, NYMag, 2014
[15] Ibid
[16] Episode of Top Of The Pops from 1978 from https://www.youtube.com/watch?v=r5ZutqF5utA
[17]
[18]
[19]
[20] 

Task #3

• How is it similar/different to your main text?

This historical text is a British musical television program for Popular music artists of the time. This episode of Top Of The Pops is different from the main and minor texts as they are all music videos. The band/artist are shown playing on a stage in front of a studio audience. However, it is known that the artist is mostly, if not always, playing along/lip-syncing to the studio track. This is what makes this historical text similar to the music videos of the main texts. This show can be seen as one enormous music video. An advertisement for the band and their new song. This has since changed as during Christmas, the BBC shows a Christmas special with that years most popular music. It is seen that the artists do in fact play live now making the show more into a concert for television rather than an elongated music video. The year reflects the types of music shown as today's Top of the Pops would sound relatively similar throughout the program.

• How does this show how the genre/society/issue has changed?

At the time of this show (1978), music videos were very highly regarded by artists as the main marketing tool to be used to get their music out there to the masses. Furthermore, it was thought that if a band is seen on TOTP, then they have made it to the preferred stages of stardom. A UK-based bands main goal would be to get onto the show as this guaranteed sales. However, as new media was introduced and technology developed increasingly, there became more methods of advertising and informing the audience of the 'new album' or 'new single'. This included online advertising using social media (Twitter has aided tremendously) and making the music available through online means. This has reduced the need for the music video and is not regarded as the best way to show audiences new music any more. Websites such as YouTube and Vimeo have tried to keep this marketing device afloat, but there is no helping a dying market. Consequently, budgets have decreased dramatically for music videos, except for the established, world-known bands/artists, who have not much need for them.

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.
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