Pitch Delievered!!!!

BooSH - One More Time Pitch

Jack Mitchell AKA BooSH is a 25 year old DJ named after his love the TV ‘The Mighty BOOSH’. Originally from Milton Keynes, he begun working in local clubs making demo tapes. He moved to London at 19 where he made a name for himself on the decks and featured on various compilation albums. He then went to Ibiza where he work with various artists to produce his new album. Now back in London he decided to make a music video for his new single.

BooSH states that he has many influences who play a large part in the music that he creates, these influences include Fat Boy Slim, Basement Jaxx, The Chemical Brothers and The Prodigy.The club music in Ibiza is a large influence within his music he says that Ibiza is his favorite place on the earth it has the things that he likes more than anything else in the world these things are sun, clubbing and keeping things chill, Mitchell was quoted as saying once that his ideology in life was “Party all night and sleep all day” and Ibiza is one of the only places on earth that this was possible.  

The influences behind our music video, were similar dance videos such as Gangnam Style and the original video for One More Time. We realized that dance songs videos very rarely have a narrative to them and they are quite random however these types of videos usually have some kind of dance routine, conventions that we will also try to stick to. Also in the brief BooSH stated that he disliked ‘cheesy pop videos’ so we are looking at the possibility of spoofing certain videos.

The audience profile above is the primary target audience that we have identified but with regards our secondary target audience it would be females within the same age bracket and similar tastes in music. The main way that the song would be heard by both audiences is in clubs, because clubs are unisex and the people within the age range listed above.

On our mood board we put plenty of pictures of acts similar to ourselves or acts that have inspired us. Also the words that we put around the mood board are either song lyrics or things that we are going to try and incorporate into our videos. 

We decided that BooSH should be signed to Sony as there are several similar artists signed to them including:

•Calvin Harris

•Skrillex

•Mike Posner

Also Sony have the ability to get him a lot of media coverage.

1)The one of our ideas for the One More Time video will consist of a select spoofed iconic pop videos. We wanted to do this as we wanted to take the mickey out of videos such as Gangnam style in a similar way to of Eminem’s ‘Without Me’ video. The idea of playing with intertextual references and mocking the mainstream pop industry.

2)For the costumes we feel that because we are spoofing videos we should try and make it look as close to the real one as possible, so we will try and get outfit similar to ones worn in the original videos, for example morph suits for the around the world video and drag for the queen’s video I want to break free, again another iconic pop video. The location that we are considering is public places with flash mob feel with a lot of people dancing, we could also use the green screen to get to locations that are not realistic to get to. 

3)Because there are not many conventions for dance videos we can go crazy with the ideas that we have and can make the video as random as we like, because we don’t have the constraints of a normal music genre with usual codes and conventions demonstrated by Goodwin

4)In the video we are trying to imitate iconic dances from the YMCA to Party Rock Anthem. The reason that we feel that spoofing videos is such a good idea is that in our artist brief he said that he disliked cheesy pop videos, and from there with the lack of codes and conventions that we had that we were going to spoof videos.Drag is intertextual reference to Queens ‘I want to break free’.

Iconic Album Artwork

Digital Pack Analysis - Linkin Park & Jay Z

Target Audience Profile

Party Rock Athem - LMFAO

 

Here is another example of a music video that has infulenced our decisions when creating our own music video. As soon has the music video starts, the first thing the viewer sees is a very bold intertexual reference to Danny Boyle's 28 Day Later, with that exact title appearing at the beginning. This may have been used to relate to the world of iconic dance routines and how they can turn into big pandemics, much like this years Gangnam style. As the video proceeds, the outfits become very wacky and colourful contrasting the abanded setting which the video sets up which is used to twist or mock the seriousness of apococlpse movies, giving the video a much lighter hearted feel. they also intertuexualise the 80's dress sense and gives people who lived in the era something to relate to. I think the reason that the director chose to film the video on a street, is for one it is a chep set, and two, it is relatable to audiences. Throughout the video, the shots are styles to look like movies, but as the song develops there is a long shot dance routine where we see the two lead singers plus dancer performing the routine of the music. This is a import convention of all dance songs as it creates the inconic moves which people can what and try to imitate. Essciatially I would like to create the same sort of tyle in my music video.

 

 

Moodboard!!!!

Boosh Moodboard on Prezi

Above is the moodboard we created to express the overall style and look of our artist and music video. It expresses the club scene dance music theme in which we would like to make our music video based on. It includes artist like Daft Punk, Swedish House Mafia and OK Go, which either have the same genre or the same sort of video that we would like to respond to.The shape we chose gives it a space feel and hence calling it planet BOOSH!!!! As a group it helped get an understanding of what exactly we want to do in the next stage... THE BRIEF!

Chosing A Logo

  Here is the first logo idea for Boosh. I have tried to make this logo very comic to correspond with the identity we want to create for the artist. The fist is a intentexual reference to to superhero comic books as they are very light hearted and typically very camp and funny. They also have reference of the 'pow' and 'bang' which is used to show violence in comics. We thought that Boosh sounded similar to on of these action words, so we decided to link it in our logo.  

Here is the second logo design for Boosh. I have attempted to make it a bit more stylised and simple with references to Calvin Harris. I don't feel that this logo give our artist the right identity we want a more light hearted feel to him. I don't think we want to use this idea for our final logo. 

This our third logo idea in which I have tried to give a electronic feel, corresponding to the nature of the genre of music. This logo will also allow audiences who lived in the 80s a relation as there is a reference to space invaders. Because of the time period we have chosen to include in this logo, it not aimed for the right demographic we want to aim our artist at.

This is my final logo design for our artist 'Boosh'. Here I have added a lighting bolt behind the text. There is only one problem with this logo and that is that it connotes a rock and mental reference that we really don't want for our dance and house artist. his is the reason we will not use this for our final logo.

Gangnam Style - PSY

 

The reason I chose to analysis this video is the contraversal natural of it, and how famous the dance has. In realation to the style of our video, the cheesy and comicical nature, is something we want to use as it will almost contridict the genre, but also spoof cheesy pop music. The video is accentially a montage of scenes focusing on the famous horse riding dance. As a typical convention of a dance video, a dance is key as it draws audinece in as they can recognise the style and respond in there own way. The colour image make the video very light hearted and make very easy to watch. the intertexual references that could be shown in this could be other famous dances including the Macerana, Party Rock Anthem and all the work by Micheal Jackson. I think that in our video we would take the dance aspect, as we want a comical style to our video. 

Capitalisum, creativity and the crisis in the music industry

It will not come as news to any of us that the music industry is changing rapidly, and that there seem to be some very obvious losers and winners from these changes. The big changes, of course, are all largely the consequence of the development of the internet and of digital media formats which can be reproduced and distributed by anyone, effectively cost-free. The losers are those musicians and corporations who have traditionally made their living through selling various types of musical commodity: most obviously recordings in physical formats such as vinyl records, cassettes, CDs, etc. The winners, it would seem, are those at the extreme ends of the distribution chain: consumers or users at the bottom, and the large-scale aggregators and distributors of media content - such as the Apple iTunes store, Google (through youtube), etc - at the top. What I’m going to do for the next few minutes is to think about the implications of some of these changes and how we can conceptualise them.

 

One of the central features of this transformation in the music industry is the effective de-commodification of music. In the 19th century, with the development of a market for sheet music, and the spread of public concerts, music became something which could be bought and sold for profit. This situation was obviously given a huge boost by the invention of sound recording at the end of the nineteenth century and the consequent growth of a world market for musical recordings. One of the key effects of the technological changes which I have already mentioned has been severely to weaken the commodity status of these recordings. A commodity always depends for its status and its value on its relative scarcity; once the reproduction and distribution of that commodity become effectively free, then it necessarily loses that value and that status. This is great news for consumers of music, but for producers, it means, quite simply, that they suddenly have nothing of value to sell. I think the question which then emerges for 21st century societies is: if we want to have professional musicians at all (and of course there are those who say we don’t need them), then how are we going to pay for them? How will their work be compensated, if not through selling their wares in an open marketplace?

 

Now, before coming back to this particular issue, I want to elucidate some of the conceptual issues raised by these questions. Firstly, I want to make a distinction between the two sets of ‘losers’ from this process whom I have already mentioned: musicians, and traditional record companies. In the terms that I’ve described them, both of these sets of actors are trying, ultimately, to sell musical commodities at a relative profit. However, there is a fundamental difference between them in terms of what the aimof generating those profits is. In the case of musicians, apart from a handful of very greedy and ambitious individuals, the aim is generally to generate enough income for a decent standard of living which will enable them to keep making their music. We might say the same about those independent record companies which have never generated large profits above those which are reinvested in support for new music. In the case of large record companies, however, the aim is not simply the generation of acceptable income for their employees, but the long-term, uninhibited, and unlimited accumulation of capital. The difference I am positing here, is therefore a fundamental, but surprisingly unusual one: between commerce on the one hand, and capitalism on the other.

 

This text was taken from a talk given at the Berlin Music Week.