Target Audience Interview

From doing my target audience interviews I have found that generally, people are tired of seeing 'average' features in a music video. For example, they would like to see a video which challenges gender stereotypes. They also agreed that they liked contemporary indie/rock bands such as Nickelback and Arctic Monkeys as well as being fans of reggae/ska artists such as Bob Marley and Madness. This means that they would be members of my target audience for the video as well - considering that The Specials were a band also in association with that genre. 

On the whole, they decided that often an urban setting is more effective and they preferred music videos that alternated between narrative and performance. They also suggested that they would prefer to see less flesh on display in a video and the use of clothing brands such as Fred Perry or even less sophisticated brands such as Primark.

Target Audience Research

Target Audience

The demographics from a YouTube video of the song reveals that my target audience would be people aged between 35 and 54 years living in the UK – particularly males.

As a band who headed the 2-Tone Ska revival in the late 70s/early 80s, it can be assumed that people part of this subculture would be particularly attracted to the song and therefore video.

Absolute 80s – a radio station which plays music fitting for its name – says that its ‘target audience is "reluctant adults" who want to reconnect with the tunes of their 80s youth’ and so inevitably my target audience could be described in the same way.

My Pitch!

The song I have chosen to use for my music video is The Specials' cover of Monkey Man. The 2 Tone movement which was headed by The Specials promoted racial unity at a time when racial tensions were high in the UK. There were many Specials songs that raised awareness of the issues of racism, rioting and social issues. This one in particular pokes fun at bouncers - or colloquially called 'monkey men'. 

Because of the context surrounding the songs release, I feel I could incorporate many of these cultural factors into my music video. In my pitch I described my early ideas for my music video. These include;
- Having a group of 80s-styled 2-Tone skinheads causing mayhem.
- Locations include; The Ermine estate and Back To Mono record shop in Lincoln, Freeman Street in Grimsby, JJs cafe in Market Rasen.
- The editing would be paced in time to the music.
- The video could be likened to films and TV series such as This Is England.

As a whole, the class generally liked my idea and thought that it had the potential to be a fun yet effective music video. Some concerns they had was on how much I was planning to promote the artists in my video, which made me realise that perhaps some element of performance in my video may be necessary to achieve this. 

Music Video Conventions of My Chosen Genre

Analysing the Inspiration for my Music Video



A music video which particularly resonates with me and triggered the initial spark for my own ideas is the one for Someday by The Strokes. The video promotes the image of the band having a gang mentality and makes the audience reminiscent for a time when you're at an age where you have a natural verve and lust for life. The music video for the song was directed by Roman Coppola and features appearances by band members from Guns N' Roses and Velvet Revolver - as well as the members of Guided by Voices. The video also features American TV presenter Richard Karn as himself, while The Strokes take on Guided by Voices in a fictional game of Family Feud.

From the very first shot of the video, mise-en-scene is used to signify rebellion such as; cigarettes, leather jackets and torn jeans. This type of display is also typically associated with 'rock and roll', therefore the genre is promoted in the same token. The mid-shot is also used to tease the audience by not revealing the identity of the artist until the we hear the opening chords of the song. This accentuates the authenticity of the artist by stressing the idea that without the music, there is no band.

The next long-shot of a silhouetted band member entering a dark room creates yet more enigma. Fab's identity is again made unclear which reinstates the concept that their image is irrelevant because you can't listen to music with your eyes. Considering at this point The Strokes were just being introduced to their much-publicized and critically acclaimed musical career, this shot could also be seen as foreshadowing the band entering the dark realm of fame and all of the formidable excesses it can entail.

Then we see a jump-cut to some equally enigmatic shots of each remaining band member individually. Although we now have a clearer image of each person in the shot, we are repeatedly left clueless about what they're doing or the close-ups of them in mid-conversation are in such immediate proximity of them that we are left unaware of the person on the other end of the conversation. This could connote that the band themselves are equally nostalgic, unaware of their surroundings and ultimately unclear of their paths in life.

 

One shot that particularly stands out to me is a mid-shot of Albert desolately lying on what appears to be a seat in a bar with nothing but an alcoholic drink to keep him company. From his facial expressions, the audience can make the assumption that he is dazed and confused. The lighting and use of vignette editing makes the outer of this shot appear to be dimming at the edges. The dark, blurred periphery could be symbolising how when you're young the odds will always be against you and it's life's boundaries and limitations put in place to 'support' you along the way which can often have devastatingly adverse effects. Perhaps now knowing that Albert went on to take a notably toxic road of self-destruction fortifies the poignancy of this shot but many could also argue that this can be seen as metaphorically prophesying the future for any person willingly throwing themselves into the 'rock and roll' arena.

Next the camera goes on to jump-cut to mid-shots framed to promote the lead singer, firstly by showing him amongst a crowd. Although it is not just him in the shot, Julian is highlighted by those around him by their eye contact which is solely on him. The mise-en-scene used in this shot such as empty glasses and bottles of alcohol also reinforces the idea of the band being 'rock and roll' clichés.

Julian again is promoted as the front man when we see a mid-shot of him playing pinball with arguably one of the most recognisable figures in rock and roll - Guns N' Roses guitarist, Slash. The casual nature of this shot emphasises Julian as being an especially significant member of the band and his credibility is intensified by how nonchalantly he handles being around such a well-established musician.

In my opinion the cutaway shot to the game of American football on the pub's television makes perhaps the most minimal yet most profound statement in the entire video. The shot represents how amidst the artist's new-found fame, TV appearances and dabbling amongst rock and roll clichés, underneath they're merely a group of young lads who are just as easily distracted from the mayhem around them by a game of football as any other youth their age would be.

The game show scene in this video almost creates a sense of dramatic irony; although we know that in the grand scheme of things the band has not reached a level of fame at this point which would grant them the position to be asked to appear on prime time national television, we are happy to believe that we are seeing the real deal. Also, just the fact that there is a seemingly irrelevant gameshow featured in this music video could also be representing that life is just a game of luck. Following on from this, recurring visual metaphors for the meaning of life in this video could also be referring back to their aptly named début album Is This It.

As the game show goes on, the questions leave more room for controversial answers - all of which contribute to creating the image that the band is a bit 'rough around the edges'. Again, the close-up on Albert promotes him and highlights him as a member of the band as opposed to the other artists in the video.

From here there is a jump-cut to a performance scene, we immediately know this because of an extreme close-up on the band's logo on a drum set - this is a notable point in the video where the artist is most overtly promoted.

Next, a mid-shot of the band reinforces the idea that they have a gang mentality and diverts some of the attention from just the lead singer.



Saying this, the camera then reverts back to close-up of Julian as he sings the last line of the chorus. Perhaps this has been used to add some visual impact to the most catchy part of the song.

To end the performance scene there is a flash of white light. Ironically, The Strokes cite 60s New York band The Velvet Underground as the blue-print for their music and one of their greatly influential 'gutter-rock' albums is named White Light/White Heat. This could be a reference to their influences but this could also be representing the band's plummet into the world of 'bright lights' and all the connotations of fame and fortune that goes along with that.

From here, Julian is yet again promoted as a significant member of the band as there is a mid-shot of him isolated, taking a drag of a cigarette. Cigarettes are used as a vehicle to convey rebellion, bohemianism and nonconformity throughout and this shot is no exception.
He then stares directly at the camera for the first time in the video. This lets the audience know that he has acknowledged the fact that he's being filmed and creates the illusion that what we are seeing is 'fly on the wall' footage of the band's backstage antics as opposed to a staged and scripted music video. As an avid music fan I find this approach to directing music videos particularly effective because often promotional music videos can almost completely discard the authenticity of the artist. Using this method, however, changes the audience's perception of a music video and disguises it of what it really is - an advertisement designed to aid the record company in making a profit from the artist.

From here there are shots of the band commiserating their losses at the games show. Things appear to be going along in a typical fashion with mid-shots of the games host shaking hands with members of both teams when there is a jump-cut to a close-up of Fab and Julian back at the bar scene. Now, however, the lighting has dramatically changed from high-key to low-key representing the passing of time and perhaps the deterioration of the band's sobriety. We could also interpret this shot where both characters in view are looking noticeably worse in their mental and physical states than previously as justification behind the scenes that follow it; with alcohol and cigarettes in hand and extremely large pupils, reckless and flippant behaviour should be expected. Next there is a jump-cut back to the games show where things begin to take a turn for the worse; both teams are seen to be rioting and causing havoc on set as the host proclaims "I can't believe this!" in subtitles. The use of subtitles as opposed to just placing the original audio over the top of the song makes it easier to follow and ensures that the audience can only hear/read the questions and answers that create the effect intended. Also, some might say that the subtitles represent the saying 'see no evil, hear no evil' which again reinstates the general ethos of the band.

From here onwards, the video alternates between scenes from the bar, the games show and performance until finally we see a mid-shot of the band interacting in an almost brotherly manner which not only represents their harmonic kinship but also their unified vision of music. 

To end the video we see a mid-shot of the games show host walking away from the camera down a backstage corridor along with the fitting words 'GAME OVER'. It is interesting that the host - someone whose whole career is based in front of a camera - is walking away from one rather than towards it. This notion can be seen as a visual metaphor reinforcing the idea that rock and roll is merely a performance and that someday, it will be necessary for the band to walk away from the perilous podium that is otherwise known as fame.



Inspiration for Music Video

The main inspiration for my music video comes from other music videos which use a compilation of clips from different scenes and situations added together to create the overall idea that the the music video is simply a collection of 'fly-on-the-wall' footage - as opposed to an advertisement designed to promote the artist - which can all too often discredit the artist's authenticity in the eyes of their audience.

Some music videos I have been inspired by include;

Someday by The Strokes.


Time For Heroes by The Libertines.


Kissy Kissy by The Kills


Sticks and Stones by Jamie T



Johnny Appleseed by Joe Strummer & The Mescaleros

Music Video Conventions

The Song I Have Chosen...

The song I have chosen to use for the promotional music video I will be making later on in the course is The Specials' cover of a Toots & The Maytals track named 'Monkey Man'. My reasoning behind this choice stems from the images which the rocksteady ska song provokes in my mind whilst listening. The 2 Tone movement which was headed by The Specials promoted racial unity at a time when racial tensions were high in the UK. There were many Specials songs that raised awareness of the issues of racism, rioting and social issues. This one in particular pokes fun at bouncers - or colloquially called 'monkey men'. Because of the context surrounding the songs release, I feel I could incorporate many of these cultural factors into my music video.

The lyrics are as followed;

This one's for the bouncers. Big, big Monkey Man 

Aye aye aye, aye aye aye 
Tell you baby, you huggin up the big monkey man 
Aye aye aye, aye aye aye 
Tell you baby, you huggin up the big monkey man 

I never saw you, I only heard of you 
huggin up the big monkey man 
I never saw you, I only heard of you 
huggin up the big monkey man 

It's no lie, it's no lie 
Them a tell me, you huggin up the big monkey man 
It's no lie, it's no lie 
Them a tell me, you huggin up the big monkey man 

Now I know that, now I understand 
You're turning a monkey on me 
Now I know that, now I understand 
You're turning a monkey on me 

Aye aye aye, aye aye aye 
Tell you baby, you huggin up the big monkey man 
Aye aye aye, aye aye aye 
Tell you baby, you huggin up the big monkey man 

I was on my way to Banbury Cross, 
Then I see a monkey upon a white horse 
With rings on he fingers, bells on him toes 
Sing a little song, wherever he be 
'Cos he's a monkey, 'cos he's a monkey 
'Cos he's a weedy little monkey man 

Aye aye aye, aye aye aye 
Tell you baby, you huggin up the big monkey man 
Aye aye aye, aye aye aye 
Tell you baby, you huggin up the big monkey man.

Brief.

A promotion package for the release of an album, to include a music promo video, together the following two options:

- a digipak for the album’s release

- a magazine advertisement for the digipak