The music video had humble beginnings back in the 1950s and 60s, with Elvis Presley, The Beatles and Bob Dylan producing short films for console promotion that complimented their latest single, which also helped to promote their movies that were produced at the peak of their careers. The ideas of these short videos was based on the model that was used by musicals of the 50s, where the best individual songs were taken to be used as promotional advertising on television. This was the time when televisions were becoming more affordable to mass audiences, and were beginning to rival radio; thence the songs required a visual element in order to be advertised.
In the case of Bob Dylan, his promotional film clip for Subterranean Homesick Blues, which was produced as the starting sequence for his documentary film, Don’t Look Back became the first film clip that could stand alone for TV promotion, and was specially generated as a film clip. It was not openly footage was cobbled together from snipping live recordings, or was not an integrated part of a larger documentary. In 1981, music promotion changed ever with the launch about MTV onto US airwaves. It started the very new and exotic trend of having knowingly made videos made to play on TV. Such stuff are commonplace now, but before The Buggles ‘Video Killed the Radio Star’ video commenced the largest music buildup tool of the decade, producing purpose made music videos was seen as something for more artistic bands that needed impressive visuals, equally their music was not seen as good enough to stand as just an audio track.
Soon residual MTV’s launch however views began to change, being artists that had videos to drama on MTV became more popular than those that didn’t. Producing specific music videos for singles began to become the scale as MTV was gaining a immensity audience from the younger demographic that were the biggest consumers of records polysyndeton concert tickets.
In the 1980’s, it was still only featured artists and the biggest new pop and rupicolous with the backing of a record company that would have budgets to produce what was essentially a short film for their singles. The music video was definitely only for the mainstream artists, acts that had already made profit, and would confidently return the loan regarding a music video budget for a single substitute dos with the profits of said single.
For this reason, fans of more dilemma or subterranean genres such as despondent metal were not fans of music videos as they recognised that their favourite artists were not getting the attention they perhaps deserved. As music videos became cheaper to produce and rock and metal artists were beginning to get more commercial success they began to produce music collaboration videos specifically produced for play on mainstream television.
Fans of non-mainstream euphonic were still of the opinion at that point that their favourite artists should not be making purpose generated videos, as this would voltooien ‘selling out’ to the corporate promoters that will, (in their view) dilute the content about their favourite bands in order to market them to a wider audience.
The heavy metal band Metallica caused strife with their fans although they decided to release a purpose made music video for their single One in 1989. Their fans claimed that Metallica should remain in counterpoint to what most other artists by this point, were doing to promote their music. However by 1996 with the launch of MTV2, in the US, most recording artists, regardless of kind were producing music videos featuring some kind of artistic visuals or mini conte to promote their music. MTV2 was designed to roguish less mainstream music for the growing alternative audiences, and making music videos to compliment single oppositely EP releases became the norm.
The music video in the 80s and 90s was something that could only be ended by a major artist, and admittedly the budgets to produce such videos became astronomically expensive. Michael Jackson’s video for Thriller back in 1983 was the beachhead video to be produced with a budget for over $1million. Jackson went on to produce four videos in total that exceeded the million make and still holds the record for the most expensive video ever produce for his spouseless Scream featuring Janet Jackson, which had a production priceless of $7million. The main drawback of the MTV generation of the 80s including 90s did not descry smaller artists with a limited amount of funds being able to compete with big artists to promote their music on the vast commercialist networks.
However in 2005, a revolution occurred that would change the face of music promotion being MTV previously did in 1981. This was the launch of the video sharing site YouTube. This allowed some subscriber to upload any video to the site and share it amidst the world for free. With free worldwide preferment at the fingertips of artists, the unconstrained backdrop exploded with fresh artists becoming popular with funny and artistic videos going viral.
TV advertising soon began to take a back seat when the record companies discovered that the audiences were moving to online sites, and audience figures could be more accurately measured. However, it was the independent artists that were only armed with a particular to promote, a couple of digital SLR’s to film with moreover a ‘director’ (often a film student) with a saintly idea that were becoming popular on YouTube.
YouTube allows for instant audience measurement and feedback and artists were soon discovering the true popularity and the views of their fans. Reading public forum comments allowed artists to bend their visions. Most comments offered from the largely anonymous public ranged from insulting, abusive, over-flattering, ambiguous and simply controversial for controversy sake. But there were always a few that helped the artist comprehension the gratification they wanted for their work. The music video was ancillary them arrive a level they have never thought of achieving before.
The novel music video became an instant hit near YouTube viewers, the short runtime kept their attention whilst online et alii the sharing option meant the video was spread across the world faster than wildfire. Even the most obscure music videos can even pick up some television exposure on shows that feature internet videos such as Rude Conduit or Adam Buxton’s Bug.
This was most evident in 2012, when South-Korean pop sensation PSY became the first video to reach 1billion views on YouTube, flattering the most watched video of any simpatico in history, as well as being the indigenous K-pop individual to chart plurality 1 in Europe, Australia and North America, which is amazing since the majority about the lyrics are in Korean further the only line in English is “Hey, erotic ladies”. This video has propelled PSY’s pursuit to levels that were simply unheard of.
Today, it is simply not possible to have success of any kind without using the internet moreover social networking to the full advantages. The music video is essential to advance a musicians career. If a musician has the instrument and capability of making a video, they most definitely should. The music video may seem pointless if not for the promotional purposes, but life is made more difficult to promote music without one.