When making a music video it is essential to understand the rules and regulations in this industry. This has led me do various bits on research regarding the regulation which will apply to my music video.
Copyright Laws
Music Licensing:
Specially composed music-
Arguably the most cost-effective method is composing and recording a song for yourself, saving considerable time, money and red tape. For those working within the confines of a restricted budget, it’s possible to commission a piece of music from an unsigned artist or brand who will appreciate the exposure and may even hand you the license to the music for free. Nevertheless, a contract will still need to be written, informing the artist of how many times the track will be used and in what context.
For those wishing to feature commercial music in their production the licensing process is somewhat more expensive and complex than utilising library music – which we will discuss shortly. Commercial music is anything that’s aimed at the general public e.g. songs you hear on the radio and albums available to download via iTunes. In order to use commercial music, you will require permission from the writer of the song, known as a synchronisation licence. A dubbing or master licence will also be necessary and this can be obtained from the copyright holder of the recording.
Libraries exist with extensive back catalogues of music composed with commercials, television and film firmly in mind. Whether you’re looking for something exciting or emotive, or to create suspense, all you have to do is pay a fee to the library to use its music without the need for extensive licencing procedures.
How long does copyright last:
The typography of any musical score is protected for 25 years from the date it was first published. In the event it is republished in an original format this republication will be protected for 25 years from republication.
Ofcom
My music video must conform to the restraints of the Ofcom Broadcasting code, here are the parts of the code that may become relevent when shooting a music video from each section:
Section one: Protecting the under-eighteens (As our target audience is 16-25)
1.10 The use of illegal drugs, the abuse of drugs, smoking, solvent abuse and the misuse of alcohol: • must not be featured in programmes made primarily for children unless there is strong editorial justification; • must generally be avoided and in any case must not be condoned, encouraged or glamorised in other programmes broadcast before the watershed (in the case of television), when children are particularly likely to be listening (in the case of radio), or when content is likely to be accessed by children (in the case of BBC ODPS) unless there is editorial justification; • must not be condoned, encouraged or glamorised in other programmes likely to be widely seen, heard
1.11 Violence, its after-effects and descriptions of violence, whether verbal or physical, must be appropriately limited in programmes broadcast before the watershed (in the case of television), when children are particularly likely to be listening (in the case of radio) or when content is likely to be accessed by children (in the case of BBC ODPS) and must also be justified by the context.
1.12 Violence, whether verbal or physical, that is easily imitable by children in a manner that is harmful or dangerous: • must not be featured in programmes made primarily for children unless there is strong editorial justification; • must not be broadcast before the watershed (in the case of television), when children are particularly likely to be listening (in the case of radio), or when content is likely to be accessed by children (in the case of BBC ODPS), unless there is editorial justification.
1.13 Dangerous behaviour, or the portrayal of dangerous behaviour, that is likely to be easily imitable by children in a manner that is harmful: • must not be featured in programmes made primarily for children unless there is strong editorial justification; • must not be broadcast before the watershed (in the case of television), when children are particularly likely to be listening (in the case of radio), or when content is likely to be accessed by children (in the case of BBC ODPS), unless there is editorial justification.
1.18 ‘Adult sex material’ - material that contains images and/or language of a strong sexual nature which is broadcast for the primary purpose of sexual arousal or stimulation - must not be broadcast at any time other than between 2200 and 0530 on premium subscription services and pay per view/night services which operate with mandatory restricted access.
Section two: Harm and offence
2.3 In applying generally accepted standards broadcasters must ensure that material which may cause offence is justified by the context (see meaning of “context” below). Such material may include, but is not limited to, offensive language, violence, sex, sexual violence, humiliation, distress, violation of human dignity, discriminatory treatment or language (for example on the grounds of age, disability, gender reassignment, pregnancy and maternity, race, religion or belief, sex and sexual orientation, and marriage and civil partnership). Appropriate information should also be broadcast where it would assist in avoiding or minimising offence
Section
2.5 Methods of suicide and self-harm must not be included in programmes except where they are editorially justified and are also justified by the context. (See Rule 1.13 in Section One: Protecting the Under-Eighteens.)
2.6 Demonstrations of exorcism, the occult, the paranormal, divination, or practices related to any of these that purport to be real (as opposed to entertainment) must be treated with due objectivity.
Section three: Crime, disorder, hatred and abuse
3.1 Material likely to encourage or incite the commission of crime or to lead to disorder must not be included.
3.2 Material which contains hate speech must not be included
3.3 Material which contains abusive or derogatory treatment of individuals, groups, religions or communities, must not be included
3.4 Descriptions or demonstrations of criminal techniques which contain essential details which could enable the commission of crime must not be broadcast unless editorially justified.
3.5 No payment, promise of payment, or payment in kind, may be made to convicted or confessed criminals whether directly or indirectly for a programme contribution by the criminal (or any other person) relating to his/her crime/s. The only exception is where it is in the public interest.
3.6 While criminal proceedings are active, no payment or promise of payment may be made, directly or indirectly, to any witness or any person who may reasonably be expected to be called as a witness. Nor should any payment be suggested or made dependent on the outcome of the trial. Only actual expenditure or loss of earnings necessarily incurred during the making of a programme contribution may be reimbursed.
3.7 Where criminal proceedings are likely and foreseeable, payments should not be made to people who might reasonably be expected to be witnesses unless there is a clear public interest, such as investigating crime or serious wrongdoing, and the payment is necessary to elicit the information. Where such a payment is made it will be appropriate to disclose the payment to both defence and prosecution if the person becomes a witness in any subsequent trial.
3.8 Broadcasters must use their best endeavours so as not to broadcast material that could endanger lives or prejudice the success of attempts to deal with a hijack or kidnapping.
BPI
BPI represents the UK’s recorded music industry, which is one of the most exciting and thriving music sectors in the world. British artists account for one in eight albums purchased by fans around the globe.
The BPI have a parental guidnce scheme where stickers areb used to give warnings to the young when necessary. A copy of the guidance is available for download on their website.
Parental Advisory
In terms of industry an artist signed to Sony Music is more likely to avoid making parental advisory content. This is because less people will be able to see the video therefore this would be counter intuitive in terms of making money. The function of this label is to alert parents that their children may be watching explicit content.
If strong language or depictions of violence, sex or substance abuse are present in a recorded work, the PAL Mark is typically applied prominently to its packaging. The PAL Mark may also appear in connection with digital music products or services or in advertising for a sound recording
The Parental Advisory Label is owned by the RIAA.
The Recording Industry Association of America® (RIAA) is the trade organization that supports and promotes the creative and financial vitality of the major music companies. Its members comprise the most vibrant record industry in the world, investing in great artists to help them reach their potential and connect to their fans. Nearly 85% of all legitimate recorded music produced and sold in the United States is created, manufactured or distributed by RIAA members.
UK Drill Music
Around 2011, drill began to emerge in Chicago as a kind of offshoot to trap. There aren’t major musical differences between trap and drill.After Chicago drill gained international attention, London artists began to put their own spin on the genre with local slang. Early tracks which could be considered UK drill include 2013’s Man Down by Scribz, Dimzy and Stack, and It’s Cracking by Stickz and MDargg. In 2014, Scribz re-emerged as the masked rapper LD and released Live Corn – an influential track on the UK drill scene.In 2018, prominent acts from the UK and US scenes came together when north Brixton groupSkengdo & AM released the collaborative track Pitbulls with Chief Keef.
In recent years, the UK media has been reporting rising violent crime rates in England and Wales. The increase in mainstream media coverage and public awareness about violent crime seems to have coincided with the Metropolitan police and media paying closer attention to the UK drill scene. Over 100 UK drill music videos have been removed by YouTube due to requests from the Metropolitan police. The police have also imposed injunctions on musicians to prevent them making drill music or censor their lyrical content. West London group 1011 were ordered to restrict violent lyricism and were ordered to notify the police about forthcoming videos and live performances. Uk drill has received a bad press or the graphic violence in the music and glorification of violence in many vidoes.
At the beginning of 2019, Skengdo & AM were given two year suspended sentences for breaking an injunction by performing the track Attempted 1.0 at a London concert.The subject of UK drill’s censorship has divided opinion. The police have claimed that UK drill music can cause serious violence, and therefore procedures to prevent artists from releasing it are necessary to increase safety in London. Some media outlets have also presented the argument that UK drill is a direct cause and catalyst for violence.
Sexualisation in Music Videos
The sexualisation of women in music videos is a two-tailed argument that can be fought with ferocity on either end of its spectrum. In our modern society, the music industry thrives and feeds off of the sale of the female body. This is both lyrically but especially visually through the medium of music videos. ‘Sex Sells’ is a phrase that I had never been so familiar with until now, as I have deeply researched the diverse range of views that our global population hold on this issue. However, to what extent can the display of these girls’ bodies be deemed as empowering and feminist in nature? When does it become exploitation or border on pornography?
One argument on this issue is that our freedom of expression in society means we should be able to sing and showcase the elements of ourselves that define who we are through our artistry, including our sexuality. ‘Music videos both accompany and push the message of a song, so if that is about sex, the artist is just visually communicating what they are saying through the video, it has a purpose.’- a young, male musician’s thoughts on music video content. To an extent, I agree with this. I think that we are fortunate to have the ability to speak about our views on sex as both males and females, without its historic stigma of shame and humiliation, which is why if an artist sings about sex, it could be reasonable for that to therefore also become the subject of the video, as long as it holds integrity and is not just for commercial motivation.
Another area of my research into the sexualisation of women in music videos shows that this is a debate that has negative implications for parenting in our modern society. Dr Justin Coulson, Parenting Researcher and Parent of six, wrote an article in ‘The Daily Telegraph’ in September 2014, detailing the damaging and derogatory nature of popular music videos and its harmful effect on the development of growing girls. He states ‘My daughters and your daughters are taught to conform to this narrow sexualised, unhealthy norm.”
Monetisation
In order to increase profit most labels ensure that their artists adhere to regulations and try to keep the age rating on youtube as low as possible. For instance, I wish to keep my music video as a 15 rated or lower. Keeping lower ratings increases the reach of the product.
The first thing that I noticed was that his website consisted of very bright colours and had a clear colour scheme of lime green, blue and grey. The website has a lot of visual content for instance videos and pics of Khalid which is a convention of a website. As soon as you enter the homepage the 1st thing that you can see is a his latest music video with clickable what now button, this is another convention of an artist's website as websites are often used to promote the latest single. At the top of each page there is a navigation bar, this allows the user to easily navigate between pages, this clearly is a convention of a website. Khalid's website has a section where it says "follow" and has Facebook, Twitter, Instagram, YouTube, Spotify and apple music icons all these icons are hyperlinked to his social media accounts. This shows convergence between his media products. Something, that is missing from Khalid's website is a sense of community. For instance, there is a section where the user can sign up to a newsletter but there's only a join button there are no hashtags and there's no call to action for example "become a free spirit." This is an area which I would to improve on in comparison to Khalid's website. In terms of industry, the website refers to Sony Music as the record label. As the footer of each page there is the RCA logo, which is a subsidiary of Sony Music, there is a sentence saying " Sony Music Entertainment. All Rights Reserved." Under this there is are hyperlinks to the Sony Music website. The website itself is one single page where the navigation bar takes the user to different places on the same page, this helps minimise the time being used to navigate the website. The website is very eye-catching and visually appealing. The majority of strips have different colours or different images this keeps the user interested.
Shawty's like a melody in my head
