Analysis of a Music Promotional Package

My featured band is Muse. Their new album is The Resistance. Featured single is Uprising.

This is the artwork of their new album cover. As you can see it is a kaleidoscope of clours with a gateway at which stands a silhouetted man. I am given the impression that the title The Resistance has connotations of rebelling against authority and the world which could indicate that the ball of colours represents the world and highlights its many differing cultures and aspects. The fact that the man is very small against the backdrop suggests that he is overwhelmed with the vastness of this world and the band may be attempting to attract an audience who similarly feels overwhelmed by the world and feels an urge to fight against it. The ball of colurs also appears to be engulfing the man which emplies that his time is running out. Also the fact that the man is silhouetted means that the man or possibly woman has no identity which tells the audience that the album is aimed at everyone. Also the path on which the figure stands is yelloe and looks gold which could refer to The Wizard of Oz which dealt with themes of trying to find your identity in a frightening world. Finally both the names of the band and album are written in fairly small lettering which may indicate that advertisers do not think the band yet has a commercial enough reputation.

It is interesting to note that the titles aren't particularly prominent and that the faces of the lead singer and band aren't used either - this suggests that the motif is the main selling point of the package. Often artists are the most eye catching factor in these packages so this absence means that the motif will have to be massively marketed so as to ingrain it into the public consciousness. I would have thought it possible that there would be a risk that a lot of potential consumers will not make the connection between the motif and the band unless they are huge fans who follow the band with obsessive precision.

This is a press advert for their new album. What is immediately noticeable is the lack of bright vibrant colurs which are visible on the album artwork. With the glowing ball underneath the title it almost looks like a poster for a science fiction film which may be relavent as a lot of science fiction films deal with themes of loneliness which is what I believe the album artwork implied. Part of the text seems to be emitting a glow which gives the title an almost mystical quality almost as if the album transcends our plane of existence. The name of the band is fairly small compared to that of the album name which suggests that the advertisers do not think that the band's reputation is strong enough to be the main selling point, it is almost as if the band is using the album to be a rebirth of their career. The starry black space could be the band's past with the shining orb being their new beginning. It could also be intertextuality to the 'Star child' from 2001: A Space Oddyssey.

It is quite unusual for a print advert to be as different as this one to its album cover and this suggests to me that the marketers are attempting to attract different areas of consumers. Whilst the album cover is brighter with connotations of joy to appeal to a more mainstream audience, the print advert is appealing to an audience more interested in darker themes (young adults and teenagers).

YouTube: Muse Uprising

http://www.youtube.com/watch?v=w8KQmps-Sog

The pop promo is heavily performance based with the band dressed in black driving around in the back of a pick up truck through a town playing their song. However what is interesting to note is that the town appears to be a toy town with plastic cars and plastic dolls lining the gloomy streets. A connotation of this is that they are talking about a world that is materialistic, I say this rather than the idea of the toy town representing childhood innocence because of the tone of the music and the intensity of the faces of the band which suggests that this is a serious song about issues that relate to them. The band also has a history of pained melancholic anger in their performances.

At the beginning of the promo, fire is seen inflaming the streets which suggests that the song will be about rebellion and possibly condone violence as a solution although it could also mean that they believe that oppression by authority evokes violence itself. This style ties in neatly with the codes and conventions of many rock music pop promos as the theme of rebellion runs through most of this genre. Furthermore I would suggest that the target audience is probably young men if not teenage boys who are typically attracted to the theme of oppression and of being an outcast as well as rock being a typically more male orientated genre.

There does not appear to be much of a narrative as it is just the band driving around the toy town however towards the end there is a glaring use of intertextuality. A giant teddy bear emerges from the rubble and this instantly reminded me of the puff monster from Ghostbusters which in contrast to the rest of the promo provokes humour and may indicate that the band are attempting to show that they don't take themselves too seriously as well as evoking childhood innocence. On the other hand the bear could be more evokotive of Godzilla which would continue the theme of anger and the desire to fight against oppression as well as playing on the famous loneliness of that monster.

Throughout the promo the cinematography focuses a lot on the lead singer featuring him as the main selling point of the band which is typical of most bands in any genre. It also shows the toy town from a ground perspective rather than a birds eye view in order to create the illusion that it is human sized. Also the mise-en-scene maintains largely abonded desolate darkened streets and creates the feeling of some post apocolyptic horror films. The editing is relatively slow compared to some other chaotic pop promos as it instead chooses to focus on the action and fully utilize the intense performance level of the band indicating that in actuality the band are the main selling point of this production. There is also slow motion employed in scenes where the band commit rebellious acts (such as breaking 'what we assume are' shop windows) thus displaying them in a paradoxically powerful way.

What's striking is how the album cover's colourful image is so vastly differing to the darker image of the other two factors.

Analysis of Pop Promos

1. Noah and the Whale- Five years Time (Director: James Copeman)

http://www.youtube.com/watch?v=T8YCSJpF4g4

The promo begins with its title being displayed in a font similar to that used in may Wes Anderson movies which immediately creates a sense of offbeat humour and quirckiness. Each band member is shown with their name next to them creating a sense of identity and allowing the audience to become accustomed to them in a friendly manner. The promo itself is set in a quiet bar in an unknown location with fairly realistic furniture if a slightly brighter than normal colour scheme which also includes their clothes which are identical to each other and give them the look of a cruise band.

The promo seems to be aiming towards looking to be fairly low budget by the fact that its only other location is a park which is available to film in to us as students. There isn't a sense of difference in scale. The camerawork is slightly wobbly indicating hand held cameras and as a result the director mainly employs mid shots with artificial lighting being minimal. There is also a rather grainy texture to the film itself making it look more homemade. Furthermore there are some interesting use of editing techniques such as wipe edits, split screens and a dissolve in the form of a clock face. You would not expect to find these in most films which implies that the promo is embracing its indie slightly quirck character and not trying to impose itself as a serious work.

The promo is also a mixture of performance and narrative as there are many stretches which show the band performing but there is also a loose narrative in the form of the lead singer's relationship with the only girl in the promo which is his girlfriend. There is a relationship between the lyrics and the visuals such as when he mentions going to the zoo and we see a shot of the two of them at a zoo as well as holding wine bottles when they are mentioned in the song. The result of this is that it suggests to the audience that the song is based on the band's real life experiences which supplies a degree of realism to the promo and allows the audience to empathise. The lyrics also supply one example of intertextuality which is when James Dean is mentioned in the lyrics and this suggests that the target audience is if not old enough to understand then a young person who has interests slightly less mainstream. For example they could have mentioned a more modern movie star such as Brad Pitt.

The promo ties in with expected codes and conventions of this genre, indie, as it is designed to be offbeat and a little quircky, i.e antithesis to pop music. The theme of the song is also young love which means that the target audience will probably be young people probably of both sexes who have or are experiencing that feeling. The band play their instruments energetically but not aggressively like someone like a rock band would. They create a feeling of warmth and this is furthered with their bright costumes which look like a throwback to those worn in hi-di-hi. This also suggests that the band is not particularly self conscious and not bothered about their image which means that this promo is not just a star vehicle but something they enjoy doing.

2. Massive Attack- Angel (Director: Walter Stern)

http://www.youtube.com/watch?v=hbe3CQamF8k

The setting for this pop promo is an almost empty car park late at night which we can tell by the fact that only artificial low key light is employed. Initially there is a cut in exact time to every beat which creates a feeling of momentum. The camera straight away focuses on one character with both mid shots and close ups and this establishes him as the protagonist and he is dressed in black which creates an image of a loner and possibly a character with less than innocent intentions. However, there quickly shots of other characters and the performances of these characters immediately establish as the enemy whilst the original character is then framed with a slight circle of light over his head which could be interpreted as a halo which may mean that he is the 'Angel' of the title.

Following this tracking shots are used when he begins to flee which creates a sense of real time and therefore added suspense for the audience. There is then a series of slow motion so that the audience can fully appreciate the scale at which the 'Angels's' predicament is increasing. There is a brief pause when we focus on one of the chasing pack stopping and miming the lyrics in harmony to the song. This is the only example of the lyrics and visual being linked as the promo is narrative based rather than performance based, in fact unless you knew the what the band members looked like beforehand you wouldn't be able to tell which people are the band and which are actors. Despite the lyrics and visuals being linked there is a link between the music and the visuals as there seems to be an increased level of momentum in the instrumentation when the chase also increases in volacity. Also the music almost grinds to a halt when the chase stops and enables the promo to take on a sort of stand off situation between the 'Angel' and the pack.

This promo suggests to me that the band are not focused on promoting their own physical image but are instead more interested in giving themselves a reputation for being melancholic, which is the sort of tone that may especially appeal to teenagers, and to have a darker heart. It is also interesting to note that that prior to this song the band were previously known for a more laid back ambient and the extremes of this promo suggest that the band wants to move away from their previous image and into to something darker and edgier and they are attempting to do so here.

3. Mika - We Are Golden (Director: Jonas Akerlund)

http://www.youtube.com/watch?v=2WknXCcVThI

This pop promo is set within Mika's bedroom and features him dancing around in his under pants in an exuberant way. The very first shot is of him putting on a cassette tape, which is quite a retro image, of the actual song and his name which immediately establishes with the audience who the artist is and the name of the song. There then follows a mid shot of his bedroom which gives the audience a very general idea of the tone of the song because the room is brimming with bright vibrant colour both on the wallpaper and with posters as well as dozens of shirts and trousers scattered on the floor which are similarly vibrant. The room is also very untidy which could have connotations of rebellion and the idea that your bedroom can look like whatever you want it to be.

Following this opening there is a series of rapid cuts which cut in time to the rythm of the song and help to emphasise the frenetic energy of the music and this is furthered by Mika's chaotic movements mirroring a teenager dancing around in his bedroom. More close up shots are used now and the audience gets to see more detail of the room which includes several cuddly toys which create a childlike sensibility as well as provoking empathy amongst the audience. There are also several poster referencing popular culture which indicates that that is his main interest and is also useful for establishing that the target audience are probably teenagers or even younger children with an interest in pop culture.

What makes a good Pop Promo?

A close relationship between the music and visuals is often beneficial to the success of a pop promo as it creates a feeling of cohesion and rhythm, for example cutting on beats or flashing up an important object or landmark such as in some Michel Gondy videos. It is also beneficial to maintain a close relationship between the lyrics and visuals as it can help to furhter translate the message the perfomer is trying to convey, for example when there is a lyric about heartbreak many pop promos often show someone experiencing that feeling which can create empathy amongst the audience.

There are many codes and conventions in different music genres which an audience will usually expect and desire, for example Heavy Metal and Rock bands often produce pop promos which are heavily performance based featuring them playing their instruments with kinetic gusto whilst their leas singer will usually leap around the stage attempting to encourage energy and enthusiasm for the audince watching. In contrast some performers rarely appear in their pop promos such as Fatboy Slim whose style of music is more electro based so he opts to produce more abstact videos such as his famous one of Christopher Walken defying gravity in an empty hotel.

This leads into the subject of 'star power' which is when a pop promo is more concerned with their own promotion than any artistic ambition. For example more indie bands such as Kasabian produce pop promos such as Fire which attempts to tell its own narrative of a bank robbery going wrong with guitars standing in for guns. These types of pop promos will often include more intertextuality such as references to films like being set in a creepy hotel in salute to The Shining, or referring to iconic TV programs such as Happy Days by being set in an idealic diner.

In contrast artists such as Madonna and Geri Halliwell produce pop promos that specifically show off their talents both vocally and physically to produce a larger than life image and nothing more than vehicles to showcase their attributes. Female artists and especially those in girlbands are more often than not prone to being exposed to close up shots of their bodies which are often adorned with very skimpy clothing. These pop promos are an example of voyeurism as they are dseinged to be consumed by a primarily male heterosexual audience whilst making many females desire to be more like them.

History of the Development of Pop Promos

The purpose of a pop promo is to promote the image of the given 'pop star' in a usually positive light which serves to encourage interest from consumers who will hopefully go on to buy their latest single or album.

It is thought by many that Queen's 'Bohemian Rapsody' was the first real pop promo when in fact German Oscar Fischinger had experimented with abstract synchronisations in the 1920s. Also a film of about eight minutes in length were used to promote singers Billie Holiday and Bing Crosby as part of the info wheels in cinemas at that time. The biggest leap towards modern day MTV was when US company Harman-ee began to produce pop promos which took on a very suggestive and often borderline pornographic route by employing extended shots of the female crotch and exotic dance routines.

Just prior to that Warner Bros and Disney had both produced individual animations cut to specific songs with a major example being 'Three Pigs in a Polka.' Additionally before the Second World War 'promotional clips' were made for visual jukeboxes usually involving Jazz musicians which became somewhat of a fad in bars and night clubs.

Elvis Presley signalled a big shift in attention towards pop promos when he appeared in a variety of fictional locations for singles such as 'Jailhouse Rock' whilst the Beatles appeared on a busy railway line in 'A Hard Day's Night'. This coincided with the launch of American Bandstand in the USA and Top of the Pops in the UK during the mid sixties. The Beatles continued to produce what we now consider to be pop promos with the likes of Penny Lane and Strawberry Fields Forever which, because of their enormous popularity, created increased interest in the medium.

Across the pond, the Monkees were being billed as an answer to the Beatles and they made several notable pop promos with Daydream Believer and Then I saw her Face amongst them. However their biggest contribution came after they disbanded when Mike Nesmith had the idea of producing a programme called Pop Clips which would show nothing but pop promos for a whole hour. Warner Brothers loved the idea of creating round the clock programming with the only cost being royalties but this was offset by advertisers being will to pay large sums of money for air time. MTV began broadcasting in 1981.

MTV grew quickly with numerous bands wanting play time and the introduction of 'serious rock' onto the channel enhanced their reputation. They also later introduced rap music which added to the channel's demographic. Nowadays MTV has several channels and has even introduced some regular programming such as The Osbournes and Jackass as they increase their power. However this may be threatened by the growing ease with which pop promos are available online as the new virtual generation see this as an easier and quicker way to consume pop promos.

Big time directors began to move into the medium with both John Landis and Martin Scorcese directing videos for Michael Jackson. As a result pop promos began to introduce 'plots' with the Kinks and the Rolling Stones being particular pioneers along with the director Anthony Stern. Further progress was into political means was made apparent when the Vietnam War broke out and numerous artists including the Doors and Morrissey used the medium as protest and to potentially galvanise youth support. Sympathy for the Devil is a famous example of a pop promo doubling up as a political film talking about John F. Kennedy and the Vietnam War - it was directed by the french political director Jean-Luc Goddard. The Sonny and Cher comedy hour also hired animators to create promos for several songs.

Michael Jackson's Thriller was the most watched and most anticipated pop promo of all time and caused the medium to jump further into the mainstream than ever before thus embedding it in the way it is today. It also sparked a wave of highly outspoken, flambuoyant and talented directors like Spike Jonze, David Fincher and Michel Gondry who as well as creating more artistic promos saw the medium as a means to create a respected reputation so as to eventually move into cinema. Their future films include Where the Wild Things Are, Fight Club and Eternal Sunshine of the Spotless Mind respectively.

In the eighties a few pop promos were banned by the BBC under pressure from Mary Whitehouse and others, most notably the Sex Pistols' God Save the Queen. Nowadays however it is unheard of for a band to release a single without a pop promo as it is often the first way potential consumers come across these particular songs. There has also arisen controversy over the increased sexuality of a lot of pop promos, usually in the rap and dance genre, which has caused outrage from some leading feminists. Sex sells.