Does TV Programming Enhance Our Experience Of Music?

We can see a simple answer to this question as yes because it amplifies our experience of music via documentaries, music channels, and music programmes. Or no as it is just a superficial view of the music itself.
If we look at the X-factor for example we can see it enhancing people’s experience of music by making it active for the audience. As anyone can enter and viewers get to vote for their winner, therefore choosing what they wish to view, making it almost post-modern we get to see inside the finalists private life’s and find out their story, which creates an emotional response from the audience.
However we see that although the show appears to be open to everyone, by the finals the acts usually reinforce the ideology of youth and beauty. The show isn’t all about talent; money plays a major part and is exploited by ITV, with spin-offs like the Xtrafactor. The show itself is also an example of pseudo individualism as Theodor Adorno would say; it is another generic and manufactured show, much like that of its predecessors like Pop-idol.
Other TV shows show music in a slightly different manner. If we look at Jools Holland, it shows a whole variety of music, and allows for diversity in music tastes across ages, ethnicity and overall culture. We see examples from many genres like rock, folk, rap, pop, acoustic and many more. The show is much more informal than a show like the X-factor where the focus is on para-social intimacy, we see an arranged but relaxed program that is focused on interviews and live performances. The performances show us the true artist and takes away from generic manufactured music; Jools being a musician himself respects the artists that come on his show and acts like a guru.
A TV show like Pop-world is in much a contrast to Jools Holland. The focus is on humour and is presented as a sarcastic and very British music show. It gives the viewer a very narrow experience and only looks at the pop culture and doesn’t diverse into other genres. The use of British, sarcastic, dry humour is almost nationalist. It has come under scrutiny of mocking American artists as the interviews unlike with most shows are aimed at creating humour rather than enhancing the musician themselves. Unlike Jools Holland which is shown late at night, Pop World was shown on a Sunday morning. These times show the gap between target audiences and explain the different targets of both shows.
Music Videos give us another experience of music. The idea of videos acts as a promotion for artists and helps build on their star image. It gives a different look on music. It can be creative or can focus on the meaning, with visuals we can amplify or disjuncture instead of just the listener’s illustrative thoughts. Along with Auteurs, like Spike Jones and his ideas of transformation in the Bjork videos he has worked on, we can be taken into a much more post-modern interpretation of music.
Music videos allow the audience to watch voyeuristically, like with Britney being shown as a star, we see that sometimes the visuals of her music are more powerful than even the lyrics themselves, with her sexual representation appealing to the male audience, instead of her musical representations appealing to a younger female audience. We see that music videos often objectify women and create this media influenced role model for younger girls.
Music channels themselves allow the audience to be ambient or focused. We can choose what we want to watch when we want to watch it in an active way. But on other occasions we can also just leave a channel on to act like a background to our lives in a more passive manner whilst videos stream.
The problems with music videos are that they tend to pursue a capitalist ideology, and focus on consumerism for instance, American rappers who put emphasis on their money in their music videos.
Videos can also make or break a celebrity, a bad video can put people off a good song, so in some ways can hinder a good song, spoiling our experience of music. This is also apparent in videos with much smaller budgets.
Documentaries offer a different view on how we experience music. They allow us to get closer to artists then we normally can, creating para-social intimacy. We get to see behind the scenes of sets, like in the Oasis documentary we literally see the likes of Liam Gallagher sitting backstage playing guitar as if we were literally there with the band. This creates authenticity for the band and helps them to show off their live image. We also get to see the band perform live in concert and the angles used give us a better than life view of the band with angles that you couldn’t see if you were really there.
The problems occur by the fact that documentaries are bias pieces of work, they show you what the artist wishes you to see. So we see Oasis acting in a very typical rock n roll manner, by swearing lots and appearing jokey and casual along with heavy drinking. What we see is selected, the original footage will be heavily edited but it is made in such a way we are not meant to realise.
With the Madonna documentary we are made to know her and to like her, she comes across as a very down to earth person, and it is made to seem real with the camera following her along with the use of black and white and point of view shots. But overall the purpose is to show her in a good light and of course to make money. So it creates false visions of the truth.
Overall I think that in moderation, TV programming does enhance our experience of music. It allows us to view music and in ways that we could not have before, it is a creative and original medium. So although there is much focus on making money and the market is very saturated I feel it is still productive in engaging the audience and amplifies music as a whole.

Feedback on chosen song from class

The general consensus of the class seemed to point towards the video having a narrative/conceptual based theme, this supported the idea we had come up with after listening to the track originally.
The focus route also allowed us to come up wit the idea of a performance from the band at the end and we have incorporated this into our storyboard.
The song has a dark feeling and holds quite a lot of attitude, this was depicted within the focus route and a lot of people suggested that the mise-en-scene should depict this.
The lyrics gave the group an idea of isolation and a good suggestion was an image of the lead singer surrounded with a group of people but isolated and feeling separated, this would go well with the idea we had about a party originally.
The camera technique feedback that we got from the class suggested that ‘handycam’ would be a good way to bring the audience into relation with the lead singer and to show a P.O.V.
Drunkenness is a key feature of the lyrics and it was suggested that it should be included within the narrative of the video, this would also go well with the party setting.
The feedback suggested a quickening of pace throughout and the idea of a person starting off walking and then quickening into a run whilst singing the song would fit into this. There would need to be something that he is running to get to though, perhaps a love interest?

The feedback has given us some valuable ideas and sources of reference that we can use to compile our research and ideas into a storyboard.

BFI Southbank

Tom Woodcock
1970's . . . TOTP started to use music videos as it was easier than booking all of the artists to come in and enabled more of a range at a cheaper cost etc
such artists as Bob dylan and The Beatles started to bring more alternative types of video on the scene, concept based, having fun.
David Bowie brought performance with rock.
Queen and bohemian rhapsody played with the lighting and had the band as a whole performing both with and without instruments.
Madonna brought about the narrative based videos that had a story embedded within them, very voyeuristic with Madonna objectified (much like Britney today) showing the artist (Madonna in this case) with different personalities and allowing the audience to view her in a different way.
50 cent has high budget videos including expensive cars, clothing, women and jewellery.
Women are shown in a very voyeuristic way, objectified and shown as a possession that can be paid for and there is a distinct lack of respect shown to women through this film, with women being shown in very revealing clothing all trying to gain the gratification of the male.
The male (50 cent) is also shown in a way that depicts product value as he attracts the female audience by revealing his body and muscular figure.

Six ways of Analysing: Goodwin’s points
Genre
Visuals & lyrics
Need to sell
Intertextuality
Voyeurism

Top 10 tips
Step 1 : choose track
Needs to be short – 3 mins
Source of music

Step 2: Treatment
strong but simple idea
clear concept which is workable .. . Be realistic

Step 3 : Planning
You can always shoot extra so take extra cameras and film from different angles
get everyones mobile number etc
shoot early!
rehearse!! vital

Step 4 : Blog
link ideas
influences... youtube etc
Photos
'recce' shots, post them
animational experiments need to be posted
all ideas up on blog

Step 5: Equipment
Test shots, try effects angles etc
check camera etc
tape battery and all aspects needed
experimental filming is vital
cd player!!

Step 6 : Shooting
shoot performance at least 3 times
different angles
cutaway shots are important
cu, ecu ls etc
enthuse performer - they need to perform!
shoot from different angles

Step 7 : Footage
label everything
only relevant footage
cut down to proper time

Step 8 : The Edit
synch performance first
whole picture
cut and cut again!
dynamic piece of work
effects need to be added last
upload rough onto blog to gain feedback

Step 9 : Screening
get feedback
upload to blog
get artist to give feedback as well as others

Step 10 : Analysis
analysis on the blog, see planning and how the final product differed in positive and negative ways.

We were screened the video for 'she is the new thing' by the Horrors, we felt this would be the kind of style in which we would want out video to be in.

How A Star’s Image Develops Over Time Through Music Video – Britney Vs Bjork

Britney Spears first appeared in the pop music scene with her first single “Baby One More Time” released at the end of 1998 and instantly became an international success. She is viewed as a role model for the teen market, her persona is identified within an artificial pop mainstream.
She started out with her school girl innocent look with pig tails and shown through a soft focus lens. It used the stereotypical school settings. Her look was much more athletic than sexual but still followed an artificial look.
Her early look was then backed up in “You Drive Me Crazy” in 1999 which helped portray her as a star by having a group of dancer-friends to help make her look popular.
By 2000 in her video for “Oops I Did It Again” her image had begun to develop as she had grown older, we see commodification as she becomes more of a product for men. There are also examples of feminine touch as she touches her face and body, and lies on the floor in a voyeuristic way.
We see an example of meta-narrative of her career when she hits back at the tabloids with her hit “Overprotected” in 2001, her she appears as a much more assertive character. We see more sultry pouts and sexual assertiveness in the video showing she has grown up and is now a woman. This is also represented by the use of close-ups and disambiguation, this is also one of the first times we see Britney not in a costume of some sort; with her staring as a school girl, waitress and devil in previous videos.
In 2002 Britney attempted to widen her appeal and took on a different look with “I Love Rock And Roll” in 2002 we see her seducing the camera with her crawling on the floor, an example of a ritual of subordination. This video is all performance based which is different from most of Britney’s previous videos.
By 2004, in the music video “Toxic” we see soft porn-like conventions and titillating costumes. We see her dominate over men by controlling them with her sexuality, she is a femme fatale.
However Bjork is presented in a very different manner. She is shown as a strange little pixie girl under a controversial light. She is used to sum up Scandinavian eccentricity. She is seen as a creative roll model and uses post-modern techniques in her videos, conveying the image of her niche music.
In the video for her song “Human Behaviour” in 1993 directed by Michael Gondry, whose work echo’s work within a world of folk and fairy tale, subverting traditional ideologies, we see the role of animals and humans swapped round. It uses the narrative of a fairly tale but subverts it, she is seen as an almost quirky fairy, and has a very natural look.
Her video released over 10 years late in 2005 “Triumph Of The Heart” directed by Spike Jones crams in as many intertextual Bjork-based references. It uses another fairy tale like setting and shows Bjork as a feminist revisionary. We see people in the bar help to improve her star image much like with Britney, this gives her recognition as being a popular artist.
We can see the vast contrast between both stars and how the wish to be portrayed throughout their meta-narrative of their careers.

Britney / Bjork Case Study

Britney Spears is one of the most influential teen turned female popstars in the world of ‘pop music’ today and is the type of star that we (as the audience) have begun to expect in todays music market. Britney’s aesthetics and attraction is a main part of her selling point, attracting both men and women of varying ages.

Bjork is a less popular type of star, being famous for not conforming with the world of music, creating her own genre, moving away from popular culture.
Eccentricity is the main attraction with Bjork and the main feature of her music and videos (which are a key part in her image) is to shock the audience and introduce them to something they haven’t seen before, giving them an alternative from the likes of Britney.

Britney’s musical career started when she was just 16 (although she had been involved with Disney since a very young age) and so through this her image started with that of a normal teen girl in American high school. This can be seen in her original video ‘One More Time’ (1998) where she is a school girl dreaming of a life that holds more adventure than the norm.
Despite the young age that she is at the time her sexual appeal is clearly defined within this first film and plays a role throughout with her objectification appealing to the heterosexual male audience whilst her age and type of music appeals to the young teen girls of the time, with whom she has become some what of an idol, particularly with the reflection of life she has shown throughout her songs and videos, showing how she can relate to the audience and her feelings are not that indifferent to their own.
Her changes in person can be reflected with her songs and their subsequent videos, “Oops I Did It Again” (2000) shows her in a dominant femme fatal position, with Britney in control, toying with human emotion and love. This begins to show the less innocent side that Britney has and wants to allow people to see she has.
“Over Protected” (2001) is a song that depicts Britney’s move from teenage girl into womanhood, this is something that the audience can relate to and plays upon the relationship she has with the audience and involving them within her personal life.
Commodification is apparent throughout Britney’s music videos particularly in “Oops..”
in which Britney is shown as a product that sells through her sexual appeal.

Bjork first came to prominence as one of the lead vocalists of the avant-pop Icelandic sextet the Sugarcubes, but when she launched a solo career after the group's 1992 demise, she quickly eclipsed her old band's popularity. Instead of following in the Sugarcubes' arty guitar rock pretensions, Björk immersed herself in dance and club culture her first solo single not only established her new artistic direction, but it became an international hit, making her one of the nineties most unlikely stars.
Bjork became the symbol of postmodernism within the music of the nineties and her difference from the popular norm was unique, attracting the new type of postmodern listeners.

Björk struck up a working relationship with Nellee Hooper, a producer who had formerly worked with Soul II Soul and Massive Attack. The first result of their partnership was "Human Behaviour" (1993). "Human Behaviour" became a Top 40 hit in the U.K, setting the stage for the surprising number three debut of the album. Throughout 1993, Björk had hit U.K. singles -- including "Venus as a Boy," "Big Time Sensuality," and the non-LP "Play Dead," a collaboration with David Arnold taken from the film Young Americans.
Her videos often were part of a collaboration with films of yester years.

The two stars have very different ideologies and audiences, Britney seems more stereotypical within the music industry, her ideology seems to appeal more to the teenage girl, who want to become the new Britney and are content on the popstar image and don’t want to break out from the norm.
Bjork’s ideology is completely different however and she appeals to both sexes because her music is not the key factor, Postmodernism takes the lead role within her music and attracts audiences with the idea of style over content.

The content of the two stars' videos is also very different and although the idea of a narrative performance based video is normally apparent in both, the content is completely differential.
“Human Behaviour” (1993) depicts the difference between Britney and Bjork well, in the video Bjork plays with the idea of Darwinism and the animal and humans are reversed within the video. The video is narrative and concept based and is a clear distinction of postmodernism text.
Britney’s videos are totally opposite to this and are very stereotypical with the whole focus of the video being upon the star and her objectification within the video, showing her commodification as a product rather than an individual.

The ideological views of both Britney and Bjork are vastly differentual. Britney's appeal is mainly aimed at young teenage girls who can relate to her videos and lyrics within their own life, as her music progresses and she gets older her music also starts to bring more relation to women of a similiar age to herself (early 20's)
although britney attracts both genders with her music videos because of her sexual appeal she is able to attract the male audience but because of her dominance that she portrays within her videos she can be considered an idol for the young female audience. 'Oops..' displays Britney in a sexual manner but she is also shown to be in control of the situation, toying with the male role. The power she has with this 'Femme Fatal' role also attracts the female audience and shows britney from a more feminist viewpoint.

Bjorks ideology appeals to not just one gender or age group it is a movement with her style and genre setting her apart from the rest, Bjork defies stereotypes. Men are supposed to be the producers, the ones who can arrange layers of beats and synth parts Bjork competes with the best men in the field. Bjork combines her own form of femininity with the usually masculine world of electronica. She is both conceptual and technical. She creates the trends instead of following them.
Bjork is a idol for all those different who aren't confromist and do not wish to follow guidelines for expressing themselves.

Product Analysis : The Strokes - You Only Live Once

The video is primarily performance based and the opening shots appear to be that simply of the band performing in what appears to be a studio.
The costume is particular and typical of the indy/alternative genre that the band represent, with all white clothing worn with all band members.
There are high and low angles used to give the audience the perception of the band being watched and show the members at all angles for audience satisfaction, allowing them to be viewed as a product.
The camera come in and out of focus on different parts of the costume, showing a chess board printed on the lead singers coat.
There are plenty of ‘meat’ shots of the lead singer but the camera also circulates around and between the band members to show relation as well.
The camera cuts back to a shot that shoes the band through a hole almost as if you (as the audience) are looking in through a hole on the band, this shows P.O.V
There are ‘meat’ shots for all members of the band that show the emotions and expressions of the band members before the camera drops back to a MS of them, showing them performing before cutting to the next member.
The lead singer is almost objectified and shown from many angles with the camera cutting from ‘meat’ back out and encircling the lead singer showing his movements with ECU used a lot heightening the effect that his facial expressions has on the audience.
There are numerous holes in the walls around the room and the camera moves round from one to the other to show the different angles.
At 0.55 into the song the holes start to pour black water out of them into the room and the audience is alerted to the illustration of the video, with the performance becoming narrative. When this happens it is in tune with the pace of the music and the editing gets quicker creating tension which is heightened more so with the lead singer increasing his movements to be in tune with the pace of the music and the camera focuses on his gestures as well as his facial expressions.
There are lots of ‘beat’ shots of the drummer to show that the performance is in tune with the music.
As the song quickens pace and tempo the same is reflected upon the performance with their gestures and facial expressions becoming much more dramatic showing a sense of danger and insecurity within the band.
The water starts to rise creating more tension and drama that the band play off and the lyrics and music start to fit in with the narrative.
The song begins to come to a close as the water gets increasingly higher and the tempo increases showing that the song and the story is coming to a close.
The band still play on struggling through the water, this shows relation between the struggle within the lyrics and the visual.
The band members start to disappear into the rising water starting with the drummer and ending with the lead singer who is left until last to finish the song and the song finishes with his face disappearing beneath the water and the camera cuts back to the original shot through the hole showing the room filled with dark water and the lead singers jacket floating across the room, showing the song has finished.

Bloc Party - So Here We Are - Technical Analysis

00.00 - close up of kele lying on leaves focus is on his facial expression it then zooms out
00.07 - similar close up of matt also lying on leaves and zooming out
00.12 - close up of gordon following the same zooming out
00.16 - close up of russel - however he isnt looking at the camera unlike the rest of the band (this is a trademark of the member)
00.19- close up of kele revolves over the top of his head, this is an interesting and orignal camera angle
00.23 - close up of gorden revolves the opposite way to his body
00.25 - the same happens with matt
00.27 - russels does a similar motion but from a side angle
00.29 - this repeats with kele but the opposite angle
00.30 - this then repeats on matt
00.31 - then repeast with kele agian
00.32 - follows gorden sitting up with a midshot that follows the same movement
00.33 - this is repeated with russel
00.34 - this is repeated with matt
00.35 - this is repeated with kele
00.36-00.37 there are a selection of quick cuts between all the band memembers sitting in the same position looking atht ecamera
00.37 - kele begins to sing toward the camera- peformance
00.37-00.42 there are a series of cuts following the band walking through woods, kele is still singingthe background is blurred bringing focus to the memebersthe cuts are aschynchronous with the music as the song is face passed
The rest of the video follows this quick cutting close up pattern, this brings a very voyueristic feel as we are simply just watching the band walking about. The fast cuts and quick panning make the audience almost feel dizzy and create a sense of confusion. We are made to watch the bands faces this presents their emotions across to the viewers.
The video is more concept based, following the band members, there is slight performance with Kele singing the lyrics.


Kele - lead singer
Gordon - guitarist
Russel - bassist
Matt - drummer

Good Shoes - The Photos On My Wall - Product Analysis

The video opens with a close up of a photo, the camera then proceeds to zoom out to show the singer of the band walking away following the camera as if it is not there.

We see the drummer on the whislt hhe carriers on walking, this is the effect that the band are watching themselves in their own video.

We then see the singer on the tv aswell whilst he carries on walking throughout the house, which appears fairly rundown, almost like a flat of a student.

At the breakdown in 1.17 we then realise that the video has been shot with the singer walking backwards as we see a set of clever effects with the boxes falling and the other people appearingly walking backwards past him.

He then carries on round the corner to the rest of the band,they then perform briefly this was presumably shot backwards. This happens whilst a women films them performing.

They then simulataneously jump, which would be the way it was filmed first.

Throughout the entire piece there is no use of cuts the camera is either being followed or is following the singer.

The video is both narrative and performance based

The Cribs - Mirror Kisses - Product Analysis

The video starts with a long shot of a photocopier with boxes saying the cribs either side, this establishes the video.
When the guitar comes in we see the guitar first in a mid-shot from a high angle in b/w
This then cuts to views of the rest of the badn in b/w also in a mid-shot.
We then see hands come over the top of it, this creates the feeling that the band are just like drawings on paper, this idea is then followed by the guitar turning orange breaking the b/w mould previously set from the video.
The hands then continue to add other arty touches to the background, like the video is a canvas which he is creating work.
Whilst the band play their instruments change colour, the colours used are birght and therefore contrast the blandness of the rest of the video.
The video is also used to express lyrics with "better" and "woah" coming up creating a relationship between song and video.
There is then a top layer of colour, so it appears someone has sketched over the top of the video in an almost graffiti like manner
There is use of disambiguation to show instruments or legs and close ups of the members faces.
The band proceed to perform the song with the video carrying on with various new drawings and colours.
At 1.07 clever animation has the hand appearing like it is giving the lead singer the phone which he then proceeds to shout down.
The costume then also changes from the casual clothes to rough suits and glasses, this look is backed up with newspapers in the background of the room.
There is later use of a 360 rotating camera creating the effect of the band memebers are spinning around.
There is also another clever effect using an etch-a-sketch to make it look like the hands are drawing out the singer on it.
At 2.33 the singer jumps into a black hole for the breakdown of the song this runs in time with the music and the look becomes more old fashioned. For the first time we see the band members in colour although it is grainy.
By the end the band memebers have apperaerd to have completely become drwaings and it ends with a set of close ups of the guitar, then the lead singer and finishes on the bass drum saying "the cribs"
The video is very abstract and uses alot of artwork, it has probably been made by filming the video in a plain studio then transferred into a black and white look, the film maker has then had to draw sketches over the slides to create the effect of an art piece.
The video is all performance based

Product Analysis : Coldplay - The Scientist

The video is concept/narrative based with the concept of the video (the way that it has been reversed) being the most striking feature. The concept is not revealed to the audience until about twenty seconds into the video and up until this point the video doesn’t do much to step out of the norm.
The moment that the audience is alerted to the concept and it becomes clear that the video is in rewind the audience immediately takes interest and makes the audience sit up and pay attention.
The star image of Chris Martin is shown and there are a lot of ‘meat’ shots that show the audience what they want to see, the performer.
The video uses narrative fuzz and conveys the story well (there is no performance throughout), this is not something that is seen often with music videos and when it is it often fails to impress but with this video the effect is perfectly created and holds the audiences attention through the narrative as well as the concept.
The narrative is used well to illustrate the meaning of the lyrics with Chris Martin singing “I’m going back to the start” at the end to show that the story is coming to a close.
There is a meta narrative as well with the fact that the video is going backwards fits in with the narrative of the video well.
The camera follows Chris Martin throughout the narrative and although there are cuts there aren’t many and they are slow and reflect the pace of the song with ‘Beats’ used well.
The video had a large budget and was very complex to film, with Chris Martin learning and performing the lyrics backwards to complete the concept to such a high standard.
The concept of the video is unrivalled, performed well and has repeatability that appeals to the masses.

Technical Analysis : Supergrass 'Pumping On Your Stereo'

0:01 The video starts with the camera showing a LS of the main singer and the two other vocalists faces in the dark. The camera gradually zooms in and the singers can be seen to be voicing the words of the song.
0.12 The camera reaches the stage where it can zoom no further and as the drums and instruments kick in the camera cuts to MS of the drummer showing Visualisation
0.14 The camera cuts back to a MLS of the drummer and the audience can see that everything apart from the head is part of a puppet.
0.15 The camera starts to zoom in again on the drummer and shows that the music is in time with the visual.
0.18 The camera moves across to show another member of the band who is also involved in the performance in a MS.
0.21 The camera cuts back to show the whole band performing and the full elaborate nature of the props are evident to the audience.
0.24 The camera uses a ‘Meat’ cut straight to the face of the lead guitarist, who is show to be singing.
0.26 The camera cuts back out to a LS to show the guitarist performing.
0.30 The camera moves at a high angle across from the guitarist to the drummer.
0.32 The camera cuts to the Lead singer as the main lyrics start to come in, showing good visualisation. The shot is a MS to show the hand movements and to show the brilliance of the puppet.
0.33 The camera begins to pan out showing the puppet moving in the same way as the singer actually would (hand gestures, stomping of the foot etc) and the other members of the band all come into view, with them all performing together.
0.38 The camera moves back to a MS of the singer lingering for a few seconds before cutting quickly to the guitarist and subsequently to the drummer and then to the keyboard player.
0.42 The camera cuts to a MS of the singer who is in a classic rock pose, showing attitude and the star appeal of the singer. The singer performs a classic move by flipping the microphone in the air, something that is elaborate because of the puppets.
0.54 The singer continues to perform classic moves such as clapping with beats but the moves are focused much more because of the skill and nature that they are performed around the puppets.

The video is primarily performance based but because of the complexity of the props and puppets the video is much more elaborate and takes the norm recreating it within the concept of the video. This is a good example of a Disjunctive music video that works well.
The video is Concept and Performance based.

Chosen Song : We Are Scientists : Can't Lose

The party's alright, I might wanna stop drinking
What were we talking about?
My body won't tell my mind what I've been thinking
Before it's out of my mouth

The minute I get upset, that's it, it's over
I'm already out of the room
Why can't I just forget that what I know's gonna hurt?
There's not much else I can do

I'm breaking my own rules, becoming someone else
Well everybody says I oughta get over myself
I'm thinking I can't move
If there isn't somewhere else to go

I've probably made mistakes that I've forgotten
It's all ambiguous now
I'd be willing to take the shape of what you wanted
I could just figure it out

I'm breaking my own rules, becoming someone else
Well everybody says I oughta get over myself
I'm thinking I can't move
If there isn't somewhere else to go

I'm breaking my own rules, becoming someone else
Well everybody says I oughta get over myself
I'm thinking I can't move
If there isn't somewhere else to go

It's changing my issues as far as I can tell
Well everybody says I oughta get over myself
I'm thinking I can't lose
If there isn't somewhere else to go

The song generates a a party atmosphere and is very lively with the lyrics and pace of the song creating a high tempo and pace that the editing will have to keep up with. With the setting of the video it seems plausable that part of the video is actually set within a party to create illustration and visualisation.
There will need to be a concept included to show the sturggle within the singers inner self that is represented within the song and its lyrics.

Music channels

How do audiences consume music channels?

Audiences consume music channels primarily in two ways; active and passive. Active watching revolves around passionately writing something and passive revolves around a rotation of going through channels. Boht of these can then be viewed in two other ways which are focused and ambient. Focused is attributed to an active audience and ambient is attributed to an audio or visual background.
Music TV creates zones that people can explore,to discover new music creating inspiration and stimulation to an audience.
It changes the social currency and is postmodern because it gives a communial feel to the home and lets the viewer be a voyuer without real involvement

Why are they commercially viable?

They are commerically viable because they attrat viewers at any time of the day and provide a constant supply of music which its content wont really change throughout the day. This is very unlike terrestrial channels which are forced to show a variety of programs to accomadate for all types of people. Young people are the main demographic for watching music channels, so companies whose focus group is on young people want to advertise on these channels. Like Creative with the Zen, Emap offered them a deal to have their advert appear on 13 music channels, a viewer who switched channels would repeatedly ecounter Zen activity on the adverts. This was a previously unprecedented event.