Friday 31 December 2010

Analysis of 99 problems music video

The first thing that is on the music video is a subjective point of view shot showing us many various areas of a rough neighborhood it is quite a fast paced montage so we see a city almost like Detroit in theses shots there is graffiti which connotates gangs or a rough area, another thing you notice is the black and white colour which gives the video a gritty feel to it which adds to the rough asthetic of the city, the music starts to begin as we are going up the stairs through this camera shot. We first see Jay Z as he starts rapping in a run down area this music video does not follow a story it is more a kind of showing Jay Z as a gritty in your face rapper, the next thing we see is a hand shoving the camera down as if there is something we are not meant to or should not see or maybe the person does not want to be shot giving us the connotation of a criminal. We again get the connotation of a criminal when one of the men puts on a balaclava which again connotates the idea that the man is a criminal and the area they are in is rough and run down. We keep returning constantly through the music video to two things Jay Z this is because he is the star and the run down bloc of flats. we see some men free running which is interesting because it makes the video feel less gritty and more energetic as you can constantly see men doing backflips. We see Jay Z on a TV in New york and have established that the city we are in is New york as it says brooklyn also like i said Jay Z is on the TV showing us almost like where he has come from to where he is now. the way Jay Z says "99 problems but a bitch aint one" matches a shot of a man smashing a pay phone almost as if he is having problems with women.

The music video almost switches now to a story Jay Z is telling us about a time he got pulled over by the police, he makes it sound as if the police were racist a pulled him over because he was black as the police officer say's things like "you were doing 55 in a 54" and "are you carrying something on you i know most of you are" however the thing is why he is making out the police are racist the camera appears through the boot and we see a car loaded with cocaine its almost like he is strerotyping himself and making out they were racist to get out of it almost being cocky. while this story is being told we see more people doing amazing stunts like pulling of a wheelie on a motorbike or flipping it livens up the video and contrasts the gritty things Jay Z are saying about institutional racism and other things he is commenting on in the video.

Again though shots are matching what he says's as at the end of the story Jay Z says the line "99 problems but a bitch aint one" and we see some women dancing in bikini however during this chorus at 2:00 to 2:20 of the video we see a very fluid montage of very weird things such as a man in a subway dancing in an african outfit it is very odd and adds humour to the video, there is also a hacidic jew that plays no part in the video he just stands there it all adds humour to the music video there are also a bunch of men standing there almost as if they are back up dancers and should be dancing its very weird so basically the chorus has a montage of very paculier shots.

The next verse is weird it is as if he is telling a story through photos as there are many shots that go with what he is saying but are not a continuous shot such as "Try and pray to the lord" you see a church with a cross in it and the camera zooms into this cross so it is as if he is telling a story while acting a rapping for us its a interesting techniqe. It does it again when Jay Z say's " the only thing thats happening is im gonna have get to clapping him" as he says this we see like a mini montage of men fighting eachother which suits the song and matches it up.

Towards the end of the song it is a very gritty setting it is as if he is in an illegal underground performance rapping for people it is not very well lit cramped and you can see illegal stuff such as illegal dog fighting right below Jay Z and the camera shots are tight so it looks really cramped like loads of people are there. then the next shot is of Jay Z being shot a lot almost as if a firing squad are killing him there are that many bullets and we see Jay Z falling to the ground but he is still being shot also as he is being shot we hear " i got 99 problems but a bitch aint one" its as if he is saying sure he may be dead but at least he never had problems with women like some men do.

Monday 13 December 2010

Location of club scene





This was the hall where we filmed the club scene which came out really well on the film it is just a drama room in our art block in the school, however with a few changes in the hall such as adjusting the lighting and closing of the windows with tape and black paper we made the room appear darker and with the lighting and smoke machines we have it made the scenes look like genuine club scenes.

Thursday 25 November 2010

Our mood board


















This is our mood bored his has all the thiings on it we fel reprsent our artist DJ magma, Such as the music and the women also the time lapses as that as what we are doing in ou music video.

Review of time lapse location







We started at the london eye and filmed for around two and a half hours however unfortunately Jay Jervis's camera ran out of battery and we had to leave that one as if we carried on with a different camera the shots would not match and this beautiful shot of the london eye would not work anymore. the second place we shot at was a merry go round which we shot for around 5 minutes and looks really bright and vibrant, the third place we started to film for our time lapse was the bridge leading to big ben Which was good as it was dark and all the lights were on big ben and it looked really good, the fourth place we filmed was Big Bens clock which came out really nice as all the hands on the clock were moving and will look good time lapsed as it will be the hands moving , the final shot we did was a more long shot of the london eye but also the building next to it had lots of lights changing colors which when time lapsed will look really colorful and is almost a metaphor for the club scene.

Things we could have done better:
Taken a battery for jays camera which would have given us an even better shot of the eye.
Bought more warm clothes for the eye such as hats scarfs and thicker coats.
Bought some medicine as i was really ill with flu on the night we filmed.
Bought some film as none of us had really eaten and were extremely fatigued.

Friday 5 November 2010

digipack inside analysis

JAY+Z+%26+LINKIN+PARK+copy.jpg
Inside of the Digipack Codes and conventions
Inside the digipack there are not that many codes and conventions. The only thing’s I can see that may be a code and convention is the C.D the actual C.D is inside the case this is very normal for a digipack as that is what you are paying for. Also like all digipacks it folds out and reveals cover art and uniqe art you would not get on a normal C.D. Another thing is the special C.D you get of the live concerts that you can watch they sometimes give you a special song that you can get with only this C.D this is another thing digipacks do a lot.

Description
Again there is very uniqe Graffiti artwork on the inside of the case much like the outside of the case it is very interesting and uniqe and has a very special style that may attract the audience or buyer of this C.D. Another thing that the Inside of the cover have done that the outside of the cover have done is wrote the artists name on the case again to show the audience this is there C.D it may also be to add to this graffiti look as there names look like it has been sprayed on a wall or the case to represent them. The C.D also has a sleeve that is interesting as it allows them to not take up space in the C.D for another slot to put the C.D in and therefore can put some more artwork in. The C.D pretty much follows the codes and conventions of a case and is just sitting in the slot compared to all the artwork you see in the case the C.D is a bit of a let down as there is nothing interesting about it.

Digipack analysis outside





Outside of the digipack
Codes and conventions
This digipack follows many codes and convention such as an adult advisory sticker like most albums with explicit content. The front of the C.D cover has the name of the artists like most albums/digipacks do. The album also has the name of the album on the cover like other albums/digipacks do as it makes the album stand out as an individual product. On the back of the digipack it has the name of the Songs on it as it gives the audience an indication of what type of genre or album this is also what songs are on there like most C.D’s do. There is also copyright information on the back of the digipack this is a lot of information about the C.D’s producers and distributers like most C.D’s do. Another code and convention is the fact there is a bar code on the back of the digipack. One of the codes and convention the digipack defies is that the artists are not on the C.D this shows that the artist is big enough for us to automatically know who they are. The digipack also follows the code and conventions of having the name of the artist on the side of it.

Description
The C.D has a very unique design on the front as it looks like graffiti it does not have a photo of the artists it also would attract a potential buyer of the C.D as it stands out more and is different the design looks as if has been sprayed on a wall as the background of the C.D looks like some sort of wall. The top left of the C.D has a MTV logo on it this could mean that they ever distributed it or they sponsoring it, I think more people would be attracted to this C.D if they saw this look. The name of the C.D is collision course indicating that the two artists ever clash or collide which makes the album sound unique. Also on the back of the C.D it looks as if Linkin parks name looks as if it has been sprayed on which works with the look of the rest of the album. On the spine of the C.D you can see the Artists name like you would on the other albums which may attract people. Another thing to do with this graffiti art look the album are going for the names of the songs looks like they have been written on a white part of graffiti almost as if they are graffiti as well. The adult advisory sticker on the album looks out of place on the albums graffiti look it makes the album almost look a bit weird as if it was me I would try and make a graffiti version to keep with the albums look.

Thursday 4 November 2010

Storyboard for our film


This is our storyboard for our music video.

Monday 1 November 2010

Time lapses of london

These types of videos is how we want our time lapses to look like as in the dream the girl/women will be travelling around london so this type of thing is how we would love for our music video to turn out.





what we did in lesson

We made a mood bored that expressed our artist's tastes it also shows the type of things we think we should put in our music videos, such as clubs and london monuments we can do time lapses on.

inspirations for our music video's

Her morning elegance
This video is interesting and has gave us a few ideas for our music video what we ant to do is have her dreaming and as the camera comes out of her dream she is dancing but in this animation way instead of us just filming a girl dancing it is a much more interesting way of looking at this video.



Faithless feeling good official music video


This is another inspiration as we have the idea of the girl dancing so we thought that waht we could do is see the girl dancing in her dream world club then we will cut back and see the girl dancing so its as if we give this idea she is dreaming.

Ray of light music video


This is another video it is actually the video that made us decide to use a time lapse as i n this video it works really well and will also work with our video as it is about a club and have dance music so the time lapse we will use is almost giving this connotation of a hectic club.

Tuesday 12 October 2010

rough trade history









Here is the rough trade history from the rough trade website
In 1978 the world was a very different place. Punk was in ashes, Elvis was not long dead and John Lennon was yet to be assassinated. Music came in analogue form, unsullied by a digital age which was still a hazy blur on the thought horizon. It was in this year that the Rough Trade record label began.
The label grew, quite literally, out of the record shop Geoff Travis had opened in West London in February 1976. The shop was trailblazing, farsighted, welcoming, radical – even revolutionary – and it was brimming over with wonderful things: seven-inch picture sleeves whose market was about to exponentially explode, reggae LPs, punk fanzines, badges. By 1978, it had a distribution system and was taking and selling records from bands benefiting from an emerging DIY culture. It was logical, then, that they should start a record label.
‘Paris Maquis’ ( RT001 )1 by French punk rock band Metal Urbaine has the distinction of being the first Rough Trade release and was swiftly followed that year by an eclectic further eleven singles, many of which stand today as classics of their genre. Reggae – reflecting the label’s location in the heart of the west Indian community – punk and a healthy slice of electronic music were presented. Cabaret Voltaire, Augustus Pablo, Swell Maps, Electric Eels and Subway Sect were amongst the first artists.
By the end of 1979, a number of bands now commonly associated with Rough Trade had started to release records on the label, including Scritti Politti and The Raincoats. Such was the label’s recognised importance that a television programme the South Bank Show was devoted to it. When its first album, Stiff Little Fingers’ ‘Inflammable Material’, was released later in the year, it became the first independent record in history to sell over 100,000 copies and charted at number 14.
With the turn of the decade and the emergence of post punk, Rough Trade had grown far too large for its legendary but relatively tiny premises. The growth of the label and the success of its distribution arm, which by then distributed product by many hundreds of independent record labels, meant that larger premises needed to be found and in December 1980, the label and distribution moved to Blenheim Crescent.
The move coincided with what is often regarded as a golden period for the label. Innovative, emboldened by its success and as ever drawn inexorably towards the maverick, Rough Trade released over the next few years some of the finest independent music ever committed to vinyl. New acts to the roster included The Fall, Pere Ubu, Young Marble Giants, This Heat, Robert Wyatt, Television Personalities, Aztec Camera and James Blood Ulmer. Classic LP releases include The Fall’s ‘Grotesque’, This Heat’s ‘Deceit’, Pere Ubu’s ‘The Modern Dance’, Young Marble Giants’ ‘Colossal Youth’, Scritti Politti’s ‘Songs To Remember’ and James Blood Ulmer’s ‘Are You Glad To Be In America?’, all totems of that era from 1980 to 1983.
The signing of The Smiths in 1983 drew Rough Trade into new territory. A stifled independent music scene was gradually giving way to what would go on to be recognised as ‘indie’ and The Smiths, although not entirely foursquare with the genre, found themselves at the forefront of the emerging scene. The intensity with which the media embraced them, and the ensuing parallel success of their records meant that the label had to learn how to promote a band in a way it had never had to do before.
The outcome was an unprecedented run of sixteen chart singles beginning with ‘This Charming Man’ in 1984 and culminating in ‘Last Night I Dreamt That Somebody Loved Me’ in 1987. All four studio albums reached the top two.
By 1984, Rough Trade was successful and on the move again, this time to larger premises in Kings Cross. In spite of its growth it had shed none of its principles and those characteristics that defined the company early on – egalitarianism, inclusivity, leftfield vision – were evident at the time of the Miners struggle against Margaret Thatcher’s government. Rough Trade released ‘Strike’ by The Enemy Within and distributed records to help support miners’ families.2 They also donated records to the children of the miners.3
In 1987, Jeannette Lee joined Rough Trade and would go on to co-develop the Rough Trade record label as we know it today. A former member of Public Image Ltd and former employee of the legendary punk clothing outlet Acme Attractions, Jeannette would initially be influential in steering some of the bigger successes of late 80-s Rough Trade, including The Sundays whose album ‘Reading, Writing & Arithmetic’ was a top five hit in 1990. Jeannette’s arrival coincided with a new influx of guitar bands that looked set to reinvigorate the label, bands like Galaxie 500 and Mazzy Star.
But it was not to be, and, after an ill-fated move to Finsbury Park, in early 1991, following a series of unfortunate business decisions and credit issues affecting distribution, Rough Trade International, the parent company, went into Administration. All of the assets, including the record company and the rights to the Rough Trade name itself, were sold off in an attempt to cover Distribution’s debts. The Rough Trade story, at least for the moment, was over.
It would be the best part of a decade before Geoff Travis and Jeannette Lee could reacquire the rights to the Rough Trade name and begin again as a record company with the help of trading partner Sanctuary. Once again the old Rough Trade ethos came to the fore – an openness of mind, a willingness to be moved and an unswerving belief in the vision of the artists. They were back in west London, too, which has always seemed the spiritual homeland of Rough Trade. In Spring 2001, Geoff and Jeannette DJ’d at the V&A for the 25th anniversary party of the Rough Trade shop and the good faith elicited convinced them that they were absolutely right to re-launch the label. They had already released a trickle of albums and singles but it was an unsolicited tape from New York they had received a few months earlier that would spectacularly give them they ammunition they needed.
The Strokes first release ‘The Modern Age’ – the title almost says it all – galvanised both the revitalised Rough Trade and the British music industry, which was sorely in need of a lift post Brit-Pop. Geoff’s and Jeannette’s peripatetic foray to a New Jersey bar in search of the band they would bring back and promote before attending to the small detail of signing them to a contract paid off. Subsequent releases by The Strokes through 2001/2 and beyond would give their label its biggest commercial success since The Smiths.
Releases during the early- to mid- part of the 2000s by important artists like The Libertines, Eddi Reader, British Sea Power, Low, Emiliana Torrini, Arcade Fire, Belle & Sebastian, Sufjan Stevens and Antony & The Johnsons reflected the refreshing eclecticism of the co-founders, but by 2005 the label had hit a vintage vein of credible and commercial form. Antony & The Johnsons were the unexpected yet deserved winners of the Mercury Prize for the outstanding ‘I Am A Bird Now’ and Arcade Fire’s ‘Funeral’ album had become a worldwide hit, eliciting breathless praise from the likes of David Bowie and David Byrne.
By 2006, some old friends had returned, too. Scritti Politti’s ‘White Bread, Black Beer’ suggested they’d never been away and made it all the way to the Mercury shortlist, whilst Jarvis Cocker, whom Rough Trade had managed for nearly fifteen years, released his first post-Pulp album, ‘Jarvis’.
Over the last few years the record industry has not escaped the economic downturn and one result of that has been the severing of ways between Rough Trade and Sanctuary in July 2007 when the label entered an equal partnership with the Beggars Group. A perhaps more appropriate fit, the Beggars deal ensured ‘stability, dynamism and expertise to grow on a worldwide basis’.4Rough Trade now has a stronger US presence, one that will continue to grow and serve rising artists like Basia Bulat who can benefit from local as well as transatlantic guidance.
With British Sea Power taking ‘Do You Like Rock Music?’ into the Top Ten and onto the Mercury Prize shortlist in 2008 and with groups like The Hold Steady, ‘the band that set out to do nothing’5 finding themselves rising global stars, for the moment Rough Trade heads in the right direction. Important new releases for 2009 by Antony & The Johnsons and The Veils underline the fact that the future is promising. ‘It’s flattering that people are interested in the past,’ Geoff Travis has said, ‘but… the most important thing is what happens now, what happens next.

Thursday 30 September 2010

What i did in lessons

Today we looked at digi packs and had a look at the codes and conventions of a C.D cover we also looked at hype williams a famous music video director we have been asked to do a presentation of a director.

Coursework brief

you have been asked to devise and make a promotional music video for the act detailed below. As a new act, the record label is keen that this first release appeal to a wide audience and establish an image that is both recognisably uniqe and appealing to their target audience. With this in mind, their first release will be a cover version and will be used as a platform for future original releases. The record label is happy for this release to be any of the three songs listed below and would like you to choose whichever one you can make a dynamic promo for, as the key thing is to get them exposed!

Magma
Magma (real name jack mitchell) is a 25-year old Dj from milton keynes who started out working local clubs and making demo tapes for local wannabes. He moved to london at 19 and then went to the home of dance music - Ibiza. He made a name for himself on the mixing decks and has featured on various complication albums. He has been working with various artists to produce his new album as he is now signed to an affiliate of sony bmg.
Sound: Dance/house
Ideology: Party all night, sleep all day
Influences: fatboy slim, chemical brothers, The prodigy, basement jaxx, Delerium, Tiesto
Likes: Sun, Clubbing, keeping things chilled, The ;adies
Dislikes: Early mornings, being in the limelight, Cheesy pop

Song choice:
Hey boy, Hey girl (Chemical brothers)
Silence(Deleriuam feat. sarah Mcloughan)
Dreamer (living joy)

Sunday 26 September 2010

Andrew godwin Theory

  1. Music videos demonstrate genre characteristics (e.g stage performance in rock video dance routine)
  2. There is a relationship between lyrics and visuals. Amplifies,illustrates.contradicts
  3. There is a relatinship between music visuals. Amplifies.illustrates,contradicts
  4. Demands of the record label will include the need for lots of close ups of the artist may develop motifs which recur across their work a visual style
  5. There is freaquently reference to notion of looking(screens within screens telescopes ect) and particularly voyeristic treatment of the female body.
  6. There is often intertextual reference( to films, tv programmes, other music videos etc).

What we did in lesson

This week we have learnt about Modonna in a case study which taught us about phases artists go through also another thing we have learnt is about, is a theory from two german/Jews called Adorno and Horkheimer which talked about the culture industry and standerdiation a psuedo individuality also we have learnt about the codes and conventions of music videos. And last week we learnt about an independent music company that changed music labels and how artists would get signed.

Sony BMG



Sony BMG

Sony BMG Music Entertainment was a global recorded music company, which was a 50–50 joint venture between the Sony Corporation of America and Bertelsmann AG. The venture’s successor, the again-active Sony Music Entertainment, is 100% owned by the Sony Corporation of America.

Sony BMG Music Entertainment began as the result of a 50–50 joint venture between Sony Music Entertainment (part of Sony) and Bertelsmann Music Group (part of Bertelsmann) completed on March 4, 2004. It is one of the Big Four music companies, and includes ownership and distribution of recording labels such as Arista Records, Columbia Records, Epic Records, J Records, Jive Records, RCA Victor Records, RCA Records, Legacy Recordings, Sonic Wave America, and others. The merger affected all Sony Music and Bertelsmann Music Group companies worldwide except for Japan, where it was felt that it would reduce competition in that country’s music industry significantly.
Financial analysts covering the merger anticipated that up to 2,000 jobs would be cut as a result, saving Sony BMG approximately $350 million annually

Sunday 12 September 2010

general reasearch into music videos

Music videos general purpose is to sell the song to you some lots of people use YouTube in todays society so if a music video is boring people will not want to watch it so inevitably they will turn it off, thus people will not ejoy the music or song so music videos can sell a song. Another purpose is if the video is emotive you will have a good or bad response depending on whether or not you like the song and therefore will make you remember the song.



Another part of music video's that are very important are the codes and conventions these are in a way the blueprints or the rules for a standerd music videos that music video directors follow,
For instance:A music video will either have a famous actor or the artist/artist's in them.
This is an obvious one but it will always have the song from the artist.
Technichal codes
Camerawork

  • As with any moving image text, how the camera is used and and how images are sequenced will have a significant impact upon meaning.
  • Camera movement, angle and shot distance all need to be analysed.
  • Camera movement may accompany movement or performances but it may also be used to create a more dynamic feel to stage performance, by for instance constantly circling the band as they perform on stage.
  • The close up does predominate, as in most TV partly because of the size of the screen and partly because of the desire to create a sense of intimacy for the viewer. It also emphasises half the commodaty.

Editing

  • Though the most common form of editing associated with the music promo is fast cut montage, rederfining many of the images impossible to grasp on first viewing thus ensuring multiple viewings, there are videos which use slow pace and gentler transitions to establish mood.
  • Often enhancing the editing are digital effects which play with the original image to offerdifferent kinds of pleasure for the audience.
  • Most common form of editing association with the music promo is fast cut montage.
  • Split screens, colourisation are also common.

Development of technical codes

  • The key innovation in the development of the modern video was of course, video recording and editing process, along with the development of anumber of related effects such as chroma key or green/blue screen.

Theme/narrotive

  • George Michaels uses intertextuality both stylistically in parts and through its narrative, which refers to a incident in a hollywood toilet

Content

  • Some videos contain more subtle intertextual references within teir content, a nod to a person or character or political movement, current news item anything really.
  • Intertextual references can add another dimension of meaning to a text, as well as fulfilling on important rle for audiences. They can work different levels so that they will be understood by swome. Those who do "get" the reference feel priveledged, as though they are in on a secret.

Monday 6 September 2010

my case study on a well established artist Eminem

Marshall Bruce Mathers III (born October 17, 1972),[1] better known by his stage name Eminem, is an American rapper, record producer, and actor. Eminem quickly gained popularity in 1999 with his major-label debut album, The Slim Shady LP, which won a Grammy Award for Best Rap Album. The following album, The Marshall Mathers LP, became the fastest-selling solo album in United States history.[2] It brought Eminem increased popularity, including his own record label, Shady Records, and brought his group project, D12, to mainstream recognition.

The Marshall Mathers LP and his third album, The Eminem Show, also won Grammy Awards, making Eminem the first artist to win Best Rap Album for three consecutive LPs. He then won the award again in 2010 for his album Relapse, giving him a total of 11 Grammys in his career. In 2003, he won the Academy Award for Best Original Song for "Lose Yourself" from the film, 8 Mile, in which he also played the lead. "Lose Yourself" would go on to become the longest running No. 1 hip-hop single.[3] Eminem then went on hiatus after touring in 2005. He released his first album since 2004's Encore, titled Relapse, on May 15, 2009. Eminem is the best-selling artist of the decade on the US Nielsen SoundScan,[4] and has sold more than 80 million albums worldwide to date, making him one of the best-selling music artists in the world.[5] In 2010, Eminem released his seventh studio album Recovery. It became Eminem's sixth consecutive number-one album in the US and achieved international commercial success, charting at number one in several other countries. It stayed at number-one on the US Billboard 200 chart for five consecutive weeks.[6]

Eminem was ranked 79th on the VH1 100 Greatest Artists of All-Time.[7] He was also ranked 82nd on Rolling Stone magazine's list of the 100 Greatest Artists of All-Time.[8] He was also named the Best Rapper Alive by Vibe magazine in 2008.[9] Including his work with D12, Eminem has achieved nine No. 1 albums on the Billboard Top 200, 7 solo (6 studio albums, 1 compilation) and 2 with D12.[10] Eminem has had 13 number one singles worldwide. In December 2009, Eminem was named the Artist of the Decade by Billboard magazine.[11] His albums The Eminem Show, The Marshall Mathers LP, and Encore (in order) ranked as the 3rd,[12] 7th,[12] and 40th[13] best-selling albums of the 2000–2009 decade by Billboard magazine. According to Billboard, Eminem has two of his albums among the top five highest selling albums of the 2000s. In the UK, Eminem has sold over 12.5 million records


Eminem is a very unique type of rapper as his lyrics can convey emotions of humour and sadness in the same song putting his points and views across. However because of his type of humour it has caused much controversy as it offends many groups and singles them out such as homosexuals.







However eminem has calmed down over the years as we see through the interviews below he is more serious,he seems to be more careful about what he says now he does not just to go at people like you see in the previous links, also he seems to be able to talk about himself more and he now allows people such as Jonathan Ross to have a joke and a laugh with him as he is more laid back. Although i do think that even know the way he is in interviews has changed i still think his music remains edgy and offensive.





Eminems image has also changed over the years if you look at the way he dresses from his slim shady LP to his recovery album period we see how much different he is, in the beginning i think the look was to make him look like some edgy gangster, as it goes with the type of music he does his image would have to back him up.












However when since doing the recovery album his image has changed i think this is due to his popularity he can wear what he wants now as people know what they are getting with him where as before this edgy controversial rapper needed a look that matched this.











Another thing that has chaned is eminems music it is more appealing to a mass audience now than before his first five albums are very edgy and rude, explicit and controversial where as his ne album like i said appeals to more of a mass audience for instance these are songs i have picked at random from his first five albums.











Here is some songs that i feel appeal to more of a mass audience on his recovery album compared to these songs.









You can see a definate change in the style of the songs however it is the same rapper it still edgy and will have an adult advisory sticker. Also he is doing more songs for everyone on his albums showing how good of a rapper he is however he has not changed completly there are still many songs that are the songs we would expect.


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Monday 5 July 2010

Music videos we watched in media

Madonna: Vogue

This video was shot and directed by a professional photographer who takes photos for modeling magazines, the style it was shot in was like a noir film so it was black and white and had lots of models in it so it looked like a photo shoot, i did not really like it as it is not my style of music however the video was good it is very unique as it has a photo shoot feel to it which you do not really see often in music videos. The reason i did not like it is one because it is not my type of music and two i found the video a bit boring i guess this reflects my interest in fashion.

Eminem: Stan
Stan was a very high budget music video we could tell this as it had the lead actor from final destination and had a bit of CGI in it which was at the end when Stan is at the window of Eminems coach. I liked this video one because i like the type of music and also because the music video was so well shot and told a story that was easy to follow almost like a short film but a bit more high budget. I also liked this video as it made you feel bad for the protagonist of the story.

Tenacious D : Tribute
This video is a lot like the band you do not take them to seriously as even know they make out they are these metal gods and amazing enough to make the greatist song in the world it is all for comical value. I liked this video a lot as there were a lot of easter eggs such as Dave Grol as the devil, i also liked the song and again how the video told a story and we followed it but the reason i liked this story is because it was again not to be taken serious it was for comical value. I also liked how they made the video very funny.

http://www.youtube.com/watch?v=GuJQSAiODqI&feature=channel Moddona vouge
http://www.youtube.com/watch?v=aSLZFdqwh7E Eminem stan
http://www.youtube.com/watch?v=pcJwz7wu8_s Tenacious D Tribute

Sunday 4 July 2010

Music video i like

my homework for media is to find a music video i like or enjoyed watching for our next lesson for thursday i will look at some of my favoraite songs on youtube and look for a good music video.

Filming

We have started filming various teachers and students doing the running man for our project it should look really good and funny.

Monday 21 June 2010

Project for waftas

me and my class carried on learning the routine for the Waftas. It is hard to get to grips with but we will learn it by the time we need to film it, which me and tommy are in charge of.

Thursday 17 June 2010

First journal post reflecting on AS

I feel i have learnt many things from AS media for instance things such as how to edit and that planning a shoot is vital as well as how research can help and influence your project and to do more when research when you need to as it is vital. I am very happy with project however i would have done many things differently more planning on the shoot and also more research when i should have been doing it to help more with the project although i did enjoy the project for the second year of media (A2) i will be focussing more on the research and planning side of the course so things like the shoot will beneft more this time instead of being as hectic as last time.