Research: Audiences

AUDIENCE IDENTIFICATION

An audience is a group of people who identify themselves as listeners or watchers of a media product. In the music industry, artists have an audience who enjoy, discuss and anticipate their music. Members of the same audience are likely to feel comfortable with each other, whereas some audiences are against others - for example, 'Beliebers' (Justin Bieber fans) have rivalry with 'Selenators' (Selena Gomez fans) due to two artists' romantic relationship. An audience is not only there to make artists a profit, but believe they have the role to consider the artist as a person and keep updated with their life. 

This is a fan-made visual representation of the rivalry that goes on between fan bases. The opposition tends to happen via Twitter, as all fan bases flock to social media to follow their favourite artist.

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Before a product starts being produced, some research needs to be done on who it will be aimed at. Without a target audience, there is no point in trying to sell something as there would be no distinct group of people interested. Audiences can be categorised by their demographics, such as: 

• INCOME - the bourgeoisie are associated with 'true art' because they have the income to invest in more 'classy' media products of a higher standard. This applies to other forms of media such as theater performances. 

• AGE - certain themes, genres, contexts, implications and ideologies work best with certain age groups. For example, R&B has a large focus on love and sex, which is deemed inappropriate for a young child to listen to or watch being demonstrated.

• GENDER - gender stereotyped shape what types of music males and females flock to. Typically, girl-groups appeal to girls as they draw upon more sensitive, mild themes such as having fun and/or partying. However, boy-bands have also appealed greatly to young females for their good looks.

• RACE - different cultures produce different music. For example, Bollywood has a completely different array of conventions to Hollywood in the Western world. If a Western artist draws upon different cultures, they must be careful to not portray negative ideologies about it such as poverty in Africa. However, this can have positive intentions such as awareness. 

• LOCATION - this can also influence an audience. The grime genre tends to have videos shot on the streets of London, which appeal to regular Londoners who face issues that are raised in the lyrics. 

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AUDIENCE CATEGORIES BY POSITION IN SOCIETY

• Individuals that fall under social class A and B are more likely to listen to genres such as classic, jazz, opera. These genres are accepted as the highest standard of music, so a correlation forms; the higher a person's position in society is, the higher their standard of music taste.
• Likewise, individuals in social class E and D are more likely to listen to grime and rap. Artists of these genres often say that they grew up in rough areas or lifestyles, so express that in their music. This issue dominantly surrounds the working/under-class groups, so consumers in D and E are able to show better appreciation of these genres.  

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ADVANTAGES OF CATEGORIZING AUDIENCES

• clear target audience

• efficient research

• identification of elements

• yield percentage based on income

• convergence with companies

DISADVANTAGES

• individuals may not fit into certain categories; e.g. a teacher in class B may not be earning what typical class B candidates earn.

• this doesn't consider diversity; someone in a particular class of or a particular genre may have alternative interests.

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Different genres have different audiences. Some examples include:

• POP appeals to females, 11-15, who have parents earning a decent income in order to keep up with the rapidly changing charts for their child's satisfaction. As a large proportion of pop stars are of white ethnicity, their audience is likely to also be dominantly white.

• RAP themes are often too serious, sexual or influential for young children which makes its target audience male adults of 18-25. Many rappers are of black ethnicity and incorporate black culture into their music, appealing to a large part of the black community. Rap is, most of the time, about struggles in life that many working-class people can relate to from experience.

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AUDIENCE REACTIONS

There are different ways in which an audience receive media content. Some of these relate to the theories by Hebdige, Goodwin and Dyer.

AUDIENCE ENGAGEMENT - this describes how an audience interacts with a media text. Different people react in different ways to the same text. Hebdige's theory can be applied here in the context of consumers being active. We read media through an active process which allows for interpretation of one final product. 

AUDIENCE EXPECTATIONS -  these are what the audience thinks about an artist and their music, for example audiences expect certain aspects from different genres. This links to Goodwin's theory of 8 music video conventions, the first being genre characteristics. Depending on the genre, certain themes or ideas are portrayed time after time to keep to the tradition of the genre. 

AUDIENCE FOREKNOWLEDGE - This is what the audience knows about a music artist and their song/video. According to Goodwin, fans of niche artists are more loyal so this would be more prominent in non-mainstream music. However mainstream artists need to please a much larger group of people which may make it harder to choose what to represent. 

AUDIENCE IDENTIFICATION - This is how an audience relates to an artist. Dyer's star theory suggests that stars build a connection with their audience by withdrawing from the fame at time to display their 'real, 'normal' life, closer to those of the consumers. For example, the uproar about Rihanna's assault by Chris Brown reminded the world that she is a human being, causing her audience to be sympathetic and in anticipation of her next album which may draw upon the incident. 

AUDIENCE PLACEMENT -  this is how the media producers target a particular audience and make them feel that the music video is specially 'for them'. In niche genres, this ensures long-term loyalty of audiences. An example is through George Michael targeting the gay community by expressing gay rights in his music.  

AUDIENCE RESEARCH -  measuring an audience is important to all media institutions. Research is done at all stages of production and once produced, the audience will be continuously monitored. 

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CONCLUSION: At the moment my target audience is very vague, I aim to direct my music video toward those who like a particular niche genre, although because niche genres are so 'different', it's difficult to define the demographics of who exactly consumes the products. There needs to be a heavy emphasis on audience research, audience placement and audience expectations. I don't think audience engagement in terms of diverse people is very important, as I am not aiming to work with a mainstream genre, thus very specific individuals will be reading into it. 

 

Research: Subcultures

HEBDIGE'S SUBCULTURES

A subculture is a group of individuals who are united through common value systems and tastes. They are positioned outside of mainstream culture. Generally they do now like conformity and rebel against common values and systems, by constructing their lifestyle around their own beliefs. Subcultures do not follow capitalism by refusing to consume - although consumerism is present in terms of what is relevant to their lifestyle. Socially, subcultures typically do not like to mix and have rivalry with other groups or communities. Essentially subcultures exist in the interest of individualism. They don't take up neophyte ideas, but rather stick to the traditions of that niche culture. Therefore, it doesn't evolve, which is arguably similar to mainstream culture. The three main theorists on subcultures are McCraken, Hebdige and Dyer. 

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Some examples of subcultures include:

punks

• leather clothing, mohawks, studs, piercings
• dominantly white, older males
• own morals beliefs
• no rivalry with other groups
• music taste: punk, rock

bikers

• gang-orientated; home-made merchandise
• white older males, beer belly, big beards, denim and/or leather
• motor sports e.g. low-riding bikes
• care-free; socially mobile
• racism
• rebellion
• heavy consumers of beer/rum
• music taste: rock, metal

skinheads

• bald, denim jeans, polo shirts
• nationalist ideas
• racial preference of whites over ethnic minorities
• christianity
• violent, rivalry with ethnic minorities
• dominantly male
• music taste: reggae

teddy-boys

• young, white working-class males
• formal attire, slicked back hair
• harsh, violent rivalry with groups such as working-class
• supportive of bourgeoisie ideology 
• dominantly boys
• 50s/60s
• music taste: classical, opera

football hooligans

• young, white males
• passionate about football
• violent rivalry with other supporters
• football merchandise; e.g. Arsenal shirts, gloves

The definition of subcultures is blurred in its' accuracy. For example, punks have no rivalry and keep to themselves which sets them aside from the general behavior of subcultures. Football hooligans would s indistinguishable from other people on the street, due to wearing normal clothes, which also sets them aside from the expectation that subcultures reject common clothing. 

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McCracken - The Birmingham School

On the theory of how subcultures are created, Grant McCracken, anthropologist and author, criticized  the Birmingham School. He argues that it assumes all subcultures come from one culture; the mainstream. He disagrees that subcultures are merely a rejection in response to mainstream culture. 

Instead, he claims that the postmodernism world is full of diversity, dynamism and creativity. All subcultures cannot come from one culture because they grow at different times, places, via different people. For example, teddy-boys no longer exist, bikers are still a subculture in their own right as of today. 

People do not become diverse or creative, in recognition of the mainstream. They already are, which means that not everybody initially fits into mainstream in the first place.

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Hebdige on subcultures: The meaning of style

Dick Hebdige, media theorist and sociologist, counters McCracken in his theory. He argues that subcultures do form under the intention to resist mainstream culture.

Because of this, subcultures are all doing the same thing despite differences in attributes such as dress sense. Subcultures are otherwise 'little cultures', as they are all resisting the main culture. 

We are all active consumers, Hebdige says, so use an active process when reading into media. One product can be interpreted in various ways depending on the person. 

Different reading can be heavily influenced by what social background a person is from. 

This allows for resistance thus forms a subculture.

Hebdige on pop music and youth culture

Subculture music started post-war (50s/60s) due to social cohesion. Some examples of subculture music include:

• Green Day
• Pink Flloyd
• Red Hot Chilli Peppers
• The Clash
• ACDC
• Garbage

All of these acts fit into the broad rock genre. Rock as a whole is very mainstream, however these are different sub-genres within rock such as death metal. These smaller genres are more niche than standard rock, which serves as an analogy of how culture works: subcultures stem out from mainstream culture. 

Are stars still being created? - Yes, reality TV shows such as The X Factor explicitly portray the process of constructing an ordinary person into a superstar. It works in present time so caters to consumers wanting what is 'cool' or 'in', by usually focusing on young, good-looking acts.

Overall Hebdige claims that mass culture doesn't exist, due to the possibility of different individuals liking one media product for different reasons.  However, this contradicts his former argument that all subcultures are resisting mass culture, if it supposedly doesn't exist. 

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In relation to Dyer's star theory...

• stars represent shared cultural values, attitudes and promote certain ideologies

• fans who agree with what is being encouraged will continue to encourage it in honour of the star

• they may imitate the star to feel closer to them, through the clothes they wear, hair and/or makeup, people they form relationships with, etc.

An example of imitation.This girl is a part of the 'grunge' Tumblr community. Through the internet, teenagers have redefined what grunge means; turning it into a fashion statement. Wearing Nirvana is a strong representation of this - the band has been branded as a fashion statement. In 2014, Nirvana shirts and crop tops could be seen in Topshop.

• this is seen in the current expectation of women's bodies. around social media, such as Instagram, 'curvy girls' are praised for their figure due to big stars such as Nicki Minaj and Iggy Azalea promoting their own curves.

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Conclusion: I'm targeting my music video toward consumers of niche/alternative music. I think this is a subculture because often individuals who like 'different' music have radically coloured hair, piercings and/or tattoos, alternative clothing such as creeper shoes.

Research: Dyer’s ‘Star Theory’

RICHARD DYER'S 'STAR THEORY'

Richard Dyer  isa film critic currently professor in the department of film at King's College. He expands on the concept of Goodwin's star image by defining it in a more articulate way, identifying what makes someone a star and how these features are achieved. He also highlights the difference between a 'performer' and a 'star'. The need for star image in the music industry is expressed through paradoxical reasons. In greater depth, Dyer explains the four aspects of star image and links it to Adorno's pop culture triangle.

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"Star refers to the set of meanings constructed around singers in order to sell their music to a mainstream or loyal audience, but mainly mainstream."

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What makes someone a star?

• the 'double/triple threat', multiple talents including singing, dancing and acting.
• their appearance, the more attractive they are, the more attention they get.
• or to contrast, alternative appearances gain attention too due to their uniqueness. for example, Lady Gaga in a meat dress
• being mainstream. sold out albums, merchandise, concerts and other products is proof of fame and fortune
• being a role model or an idol. for example, despite Justin Bieber being a heavily criticized artist, he is an inspiration to his massive fanbase. 

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'Performer' vs 'Star':

• A performer essentially performs their music. They typically aren't a 'triple threat' but may be a 'double'. Performers provide entertainment and typically do not mark iconic moments in the music industry.
• Stars are much bigger and arguably better than performers. They earn more money, because their audience is wider - due to the extra things they provide. For example, a connection with fans through merchandise. 
• Or, appearances in Hollywood films that extend their audience even further. 
• Stars are idolized for the way they look, act and the things they say. Every star has had iconic moments, such as Britney Spears wearing her nude bodysuit in the 'Toxic' music video.

small concert - performer

big concert - star

One Direction merchandise

However, stars are at a greater risk than performers because of the brighter spotlight on them. They are human too, and when mistakes occur or changes in their lifestyles happen, the press portray it in a negative light which challenges the loyalty of such wide audiences. For example, Britney Spears going through her breakdown which was the beginning of her fall in the music industry. 

Britney's downfall

Some former performers have become stars in their own right, such as Ed Sheeran. He entered the music industry as a down-to-Earth vocalist/guitarist with not much money. Now, he is collaborating with more artists and is known all around the world.

Ed Sheeran has built his way up to these massive audiences

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According to Dyer, for star image to work it must contain some elements that apply both to the artist and the consumer.  

"Star image is incoherent, that is, incomplete and open"

• If a star such as Miley Cyrus were to remain the same innocent figure of Hannah Montana for her whole career, she wouldn't have reached the level of fame and success she has today. Like many stars, she 'grew up' and changed her image and style to appeal to older audiences. Critics regard her as 'reckless' and 'inappropriate', which people want to see, regardless of being a fan or not - her actions are unpredictable and people want proof. This grants her success. Star image constantly needs to change in order to maintain anticipation, hype and a strong reaction from consumers.

Miley cyrus before and after

"The star must be simultaneously ordinary and extraordinary for the consumer"

• Stars build a connection with their audience by withdrawing from the fame at time to display their 'real, 'normal' life, closer to those of the consumers. For example, the uproar about Rihanna's assault by Chris Brown reminded the world that she is a human being, causing her audience to be sympathetic and in anticipation of her next album which may draw upon the incident. Though at the same time, stars need to shine through skills and attributes that their fans don't have; such as the talent, the looks and the style. In essence, stars are seen as regular people who by chance have a lot more to offer than the regular person. A true pop-star has lasting significance and broad awareness among a wider market over a period of time.

Rihanna facing realism, beat by former boyfriend Chris Brown

"The star must be simultaneously present and absent for the consumer"

• Because stars do have regular lives like us, they may need to take a break from working. The music and other products that they offer needs to be engaging and receive viral reactions in order to ensure the repetition of consumption of the same content. Their inactive periods of time generate a hype around their next, new and upcoming style. Presence and absence become one when music has not yet be released, but promotion has started directly to fans through social media.

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STAR THEORY APPLIED: BEYONCE

Beyonce started off in girl group Destiny's Child. Even though the concept of a group is to combine talents, Beyonce was clearly the star out of all the members. She had the strongest voice, most memorable looks and indirect fame from husband Jay Z.

She then went solo and became a true superstar - she has a bigger name than any of the other Destiny Child members. Although Kelly Rowland, a former member, also went solo, she is not as influential and globalized as Beyonce is.

Beyonce has been shaped into a brand; consumers can buy into her in alternate ways than her music. For example, she has multiple perfumes released in her name, including 'Heat' and 'Heat Fever'. These extra media platforms are used to enhance her fame and fortune, as well as reach out to her audience.

Through Beyonce we can identify the elements that make a true star. She is incoherent; her music videos have ranged from feminist perspectives in 'If I Were A Boy', futuristic in 'Sweet Dreams', and vintage in 'Why Don't You Love Me'. 

She is portrayed as ordinary through her healthy marriage with Jay Z and young child, things we generally aspire for in life. Furthermore, in a documentary she exploits the hard work that goes into her performances, as well as her strong faiths within the Church. However, those performances are big, exhilarating and not achievable by the average person which makes her extraordinary.  

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STAR THEORY APPLIED: X FACTOR

Programmes such as The X Factor show us the supposed  process of constructing a star. An ordinary person is groomed, styled and coached into fulfilling a set of record company and market expectations. 

X Factor is questioned in the sense that some people believe it is scripted - for example, some acts are told what to sing and editing processes portray them in a bad light to ruin their potential. Zoe Alexander, a 2012 contestant, went 'crazy' after negative feedback. 

In the comments, an attempt has been made to uncover the truth about this:

"Someone posted the full script. Apperantly when she said "You told me to sing Pink", she continued saying that the producers back stage told her so, she kept looking backstage to hope to get the producer on stage, but they cut that out, to make her look even crazier. Also when her dad went on stage, the dad gave a speech about how the producers told her to sing pink, but the judges then just said that they are not responsible for what song is played, they're only here to judge the audition. Basically they told her that they don't give a sh**, and that's when the girl started swearing. Again, this entire part was cut out to make her look even crazier. Reality TV at it finest! Editing until it looks like you have a crazy person on stage."

This supports the idea of star image, or no star image, being a construction. Superstars are controlled by people in power; the 'bourgeoisie' or social elites. This is known as hegemony, and links to Adorno's theory of popular culture.

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The four main aspects of star image are industry and audience, ideology and culture, character and personality & star theory with pop culture.

INDUSTRY AND AUDIENCE 

• stars are manufactured to make money
• pop stars, whatever their nature, are evidently the product of their record company and must be sold
• record companies produce what sells and use a factory process to sell it; no difference between old and new albums
• stars have long-lasting appeal which caters to audiences for decades.

IDEOLOGY AND CULTURE

• stars represent cultural values, attitudes, and promote certain ideologies.
• audience interest in these portrayals enhance star quality and create star persona - such as a role model.
• social network gives pop stars the opportunity to establish their own ideas on a more personal level than through mainstream music.

CHARACTER AND PERSONALITY

• stars are constructs, though those constructs have a foundation of realism.
• many stars draw upon issues that most people can relate to, like romance.
• stars promote a focus for expectations on how to be, which contrasts with their realism. 

STAR THEORY & POP CULTURE

• In-between the division between classes are individuals of hegemony. These are the popstars that form the masses’ false consciousness of the world by presenting ‘dumbed down’ ideologies.

• These individuals can be regarded as puppets of the Bourgeoisie, for what they exhibit is controlled by those social elites. 

• Therefore, an artist's star image is dependent upon what they are told to do.

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This theory is important because it highlights every aspect of an artist; not just their talents. How they become stars is broken down into the four steps. It also explains what being a star means for the record label and for the consumers. In my music video, star image theory will not apply in large amounts because the focus will not be on the star. I intend to go down a niche route of music genre, and as Dyer highlights, niche artists are performers rather than stars. I have chosen this option because I want to demonstrate the creativity than can go into making a music video, which star image may steal the spotlight from. I would like my artist to have personality traits such as mysterious or lost - because I don't think music that everyone can understand is worth the consumption. Music is art, therefore it should not be made easy. I would like to show this through my artist by creating uncertainty around who she really is.