5 Video Clips from Brands Worldwide

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Everybody loves music but hates traditional advertising. For this reason, a new trend is emerging: brands are becoming music video directors. Clips are the new marketing stars for marketers because brands need to display their products in a way that the consumers will not reject. The Internet helps to spread the music videos as viral elements across a variety of platforms. These are my five favorite ad/music videos from around the world. See five video clips from Spain by Cande Sáchez Olmos here and five video clips from other countries in our ongoing videoclip series here.

Artist: Flatbush Zombies x Trash Talk (USA)
Track: 97.92
Brand: Converse

This music video is the result of a collaboration between Flatbush Zombies (Brooklyn), Trash Talk (California), Aplusfilmz, Pier Pictures, and Converse. The clip was created using a 360-degree HD camera. The spherical view looks crazy but it is really interesting to see the connection between music and images. Many ads have been made with a high level of complexity and ambiguity, and thus it’s becoming increasingly difficult to tell the difference between commercials and music videos.

Artist: Biting Elbows (Russia)
Track: Bad Motherfucker
Brand: NEFT

This music video was filmed from a first-person perspective with GoPro cameras. It is a controversial clip due to its violence and aggressiveness. It might actually be the weirdest commercial we've ever seen used to promote vodka. Ilya Naishuller, Biting Elbows front man, directed this shocking music video, which is reminiscent of «Smack My Bitch Up» (The Prodigy) directed by Jonas Arkelund.

Artist: David Bowie (UK/France)
Track: I'd Rather Be High
Brand: Louis Vuitton

Romain Gavras directed this music video with fashion model Arizona Muse. In the video, David Bowie plays a harpsichord version of «I'd Rather Be High», a song from his latest album The Nest Day (2013). The music video shows luxury, fashion, and fantasy from Paris to Venice. Though it could be real, it is only a dream.

Artist: Dre Skull (UK/Germany)
Track: First Time
Brand: Puma Fragrances

Video not available anymore.

Puma Dance Dictionary is a dance messaging platform that invites users to express sentences through dance moves and exceptional choreography. Great freestyle dancers translate messages from people into dance sequences timed to the song «First Time» by Dre Skull. The song was created especially for the campaign.

Artist: Walk Off The Earth (Canada)
Track: Gang Of Rhythm
Brand: Volkswagen Beatle

Gang of Rhythm became famous in 2012 due to its cover of Gotye’s «Somebody That I Used to Know», in which all five-band members play the song on one guitar. Volkswagen is well known for the use of music in their ad campaigns. They reached out to the band and the resulting collaboration is this commercial/music video. The clip runs for eleven minutes and presents three video versions of the song: playful, soulful and powerful. In other words, the video features three genres with different meanings in order to reach a larger audience. Music videos are a marketing strategy designed to engage viewers with brands by providing entertainment.

Biography

Cande Sánchez Olmos is a scholar writing a dissertation about brands and popular music. She worked as a cultural programmer in Fnac for seven years and now she teaches Media Semiotics and Cultural and Creative Industries at The University of Alicante (Spain). She also researches about transmedia in Spanish TV series. More about music and advertising in Musicidad. Follow her on Instagram and LinkedIn.

Published on January 27, 2016

Last updated on February 02, 2023

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From Democratic to Corporate

Short Essay

by Cande Sánchez Olmos

The ways in which music videos generate money have changed fundamentally since the days of MTV. The rise of YouTube came along with the hope for democratization, but in a context of media convergence this hope has been diluted due to corporatization of the platform. This could pose a threat to cultural diversity. From the Norient book Seismographic Sounds (see and order here).

Only one video out of the top thirty most-viewed YouTube videos is not a music video, thereby confirming music’s fundamental importance to online video culture and popular entertainment. We enjoy watching music videos because they help us to construct our identity and they provide visual pleasure that helps us to interpret the world around us. Moreover, music videos also have been used to make money in a variety of ways from television to the Internet era. In that case, we will see how clips have been monetized in this period of time.

During the MTV era, revenue generated by music videos was primarily reserved for the major labels (which saw increases in record sales), television channels (whose audiences represented advertising revenue), and commercial brands (for whom music videos provided excellent platforms on which to advertise their products). Since the music business essentially depended on record sales, multinationals invested large sums of money in producing music videos that functioned as advertisements for bands. Music videos then represented an indirect source of revenue for record companies, as they did not control the advertising revenue the videos generated. Through YouTube, in contrast, music videos exist independently of television channels and, consequently, multinationals, independent record labels and musicians without a recording contract have opened their own channels on YouTube in order to obtain direct profits through online advertisements inserted in their videos, such as banners, commercials and displays.

The Democratic Face of YouTube

The emancipation of music videos from MTV represented a hope for democratization. In the MTV era, unknown bands and minority music genres encountered great difficulty in getting their music videos shown on television. By contrast, YouTube has marked a turning point in the evolution of the music video because it has initiated a process of democratization in the creation and dissemination of videos clips. A paradigmatic example is the independent rock band OK Go and their music video «Here It Goes Again». This homemade and creative video won the Grammy Award in 2007 and also put an unknown band on the music charts in various countries. OK Go showed that musicians no longer depended on record labels or TV networks to disseminate their music.

OK Go may illustrate the democratic face of YouTube, but if we review the list of the top one hundred most-viewed videos on YouTube, compiled by researcher Jon E. Illescas in February 2015, we can see that none of these videos belongs to independent musicians. Therefore, a greater proportion of YouTube viewers are watching material from the major labels. One example is Vevo, a video hosting service aimed at monetizing its artists’ music videos. Vevo is owned by Google, Abu Dhabi Media, Sony Music and Universal Music. According to Social Blade, Vevo is the most-viewed channel on YouTube, with over ten billion views. This multi-channel network exclusively hosts its own artists’ channels. Other musicians can neither access Vevo nor benefit from the advantages the channel offers such as audience traffic, which translates into advertising revenue, or the network’s own promotional strategies. Although YouTube has indeed represented a process of democratization for unknown musicians, the fact remains that the most-viewed channels still belong to a multinational conglomerate. This process of the corporatization of YouTube also affects musicians without a recording contract.

Increasing Corporatization

Unknown bands have two ways to make money on YouTube. On the one hand, any musician can open a channel and obtain advertising revenue through Google AdSense, an application that allows owners to monetize their channel. In this case, there is a direct relationship between the musician and YouTube. On the other hand, groups can seek a partner to act as an intermediary with YouTube. The partner's responsibility is to promote and optimize the channel in exchange for a percentage of the revenue generated from the videos. One of YouTube’s most important partners is Fullscreen, an American network owned by a multinational company. Fullscreen retains thirty percent of the revenue generated by musicians’ YouTube channels via AdSense, direct agreements with YouTube or other advertisers. Fullscreen is similar to Vevo, but is aimed at musicians without a recording contract. Since the partner is a stakeholder in channel profitability, musicians obtain more benefits through an intermediary than with YouTube. Therefore, the growing professionalization of YouTube is leading musicians to sign with a partner who maximizes profits.

This case illustrates the increasing corporatization of YouTube, a platform that started as a showcase for amateur videos, but which is now gradually excluding from business the independent artists who initially gave meaning to this participatory platform in its early stages. Consequently, musicians are being forced to relinquish their independence and to share revenue with large companies, as happened before with the big record labels. For example, the channel of Spanish singer Xandra Garsem, with more than one hundred and forty thousand subscribers and almost twenty-six million views, received from Fullscreen only four hundred dollars for advertising in December 2014, the month with the heaviest commercial traffic.

Lastly, the corporatization of YouTube could pose a threat to cultural diversity. If the value of music videos is only measured in terms of quantitative parameters (views, subscriptions and so on), minority music genres could be disadvantaged and we might lose the nuances of different cultures. A solution could be to regulate YouTube to ensure that it protects independent musicians, minority music genres and cultural content, even if these only attract a small number of views, in order to guarantee musical diversity. Through YouTube, music videos achieved emancipation from MTV enabling unknown musicians such as OK Go to achieve success. However, networks like Vevo and Fullscreen illustrate the corporatization of the platform. Music videos matter because they articulate meanings and social imaginaries that facilitate enjoyment and social interaction – they are one of the most fertile aesthetic experiences in popular culture. If music videos are only created to generate money, then our culture is in danger of becoming increasingly impoverished.

The text was published first in the second Norient book Seismographic Sounds.

Biography

Cande Sánchez Olmos is a scholar writing a dissertation about brands and popular music. She worked as a cultural programmer in Fnac for seven years and now she teaches Media Semiotics and Cultural and Creative Industries at The University of Alicante (Spain). She also researches about transmedia in Spanish TV series. More about music and advertising in Musicidad. Follow her on Instagram and LinkedIn.

Published on July 05, 2018

Last updated on April 11, 2024

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Filmstill: Bonnie Banane & Waltaa (Music), Helmi (Video): «Champs-Élysées» (France 2014)

Fresh and Ironic

Commentary

by Cande Sánchez Olmos

«In this country, you gotta make the money first. Then when you get the money, you get the power. Then when you get the power, then you get the women.» That's how the video clip «Champs-Élysées» by Bonnie Banane and Walter Mecca (Waltaa) begins, a quote by Tony Montana from the gangsta movie Scarface. As our author states, this video mimics today's trivial lifestyles and challenges at the same time the misconception of women by parodying their seeming frivolity. From the Norient book Seismographic Sounds (see and order here).

«Champs-Élysées» is a provocative music video that uses parody to spread awareness about a superficial society that only worries about brands and money. The video’s audiovisual discourse is powerful because it is delivered by Bonnie Banane, a fresh French female rapper whose appearance contrasts with the stereotypically oversexualized image of her mainstream counterparts. The critique of a materialistic society starts with the video’s title. The Champs-Élysées of Paris is used as the symbol of consumerism and the concentration of top luxury brands that have converted materialism into a myth. People do not consume brands because they need to meet certain needs, but because they want to reach a social status and recognition and reflect a certain identity. In this video, material objects and brands rain down in an imaginary scenario, while money is shown to be the passport to a materialistic and shallow life that is made easier by the effects of drugs.

To parody today’s trivial lifestyles, Bonnie Banane uses the conventions of rap, a once minority and revolutionary genre that has been co-opted by capitalism. Some brands have found in hip hop a community willing to consume symbols of distinction and rebellion. Bonnie Banane and Waltaa offer a context that gives rap its subversive origins back. This argument becomes more significant when a woman delivers it because nowadays female rappers who criticize superficial lifestyles obsessed with beauty and money are a minority. Advertising and successful music videos performed by rappers such as Niki Minaj reinforce the stereotypical image of women as artificial with surgically-enhanced bodies. Bonnie Banane, with a nod to 1990s fashion and brilliant audiovisuals, challenges this misconception of women by parodying their seeming frivolity.

Two examples include the beginning of the video when she quotes Scarface or her desexualized performance – in contradistinction to Minaj – and confident attitude. Based on this video, it can be argued that she offers an alternative representation of a female rapper. Finally, it is important to note that the song is free to download on weirdata.net, a label founded by Waltaa. Bonnie Banane’s decision to make it available there strengthens the anti-capitalist message of her clip.

Cool, hot, dope, sharp, easy, nice, real and tight are keywords that describe «Champs-Élysées». This sparkling music video shows, via a female and «fresh» voice, the dark aspects of a materialistic lifestyle in which only money matters.

This video is part of the Norient exhibition «Seismographic Sounds» and this commentary was published first in the correspondent Norient book.

Biography

Cande Sánchez Olmos is a scholar writing a dissertation about brands and popular music. She worked as a cultural programmer in Fnac for seven years and now she teaches Media Semiotics and Cultural and Creative Industries at The University of Alicante (Spain). She also researches about transmedia in Spanish TV series. More about music and advertising in Musicidad. Follow her on Instagram and LinkedIn.

Published on October 30, 2015

Last updated on April 30, 2024

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Gender

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Parody

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Seismographic Sounds

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