pastabagel uses the internet. This is less about GoT than about authenticity, and if you like GoT (as I do) don’t take this as a personal offense, look at it as a series of insights yoiu aren’t going to get anywhere else.
Also, note that these aren’t edited posts, these are copy/paste of his emails to me, all I’ve done is fix the typos, nothing else.
—-BEGIN DRIVE HOME FROM BANANASTOWN—-
This is a song in the books that this woman sang and recorded. What I like about this is (a) it mentions bathing, which confirms its from GoT, and (b) all the professional grade equipment she needs to record a song she didn’t write on top of music she didn’t compose.
Number one with a bullet, here’s Karliene with “Are my boobs still in the shot?”
I’m sending you this song in particular because Martin said he liked it on his facebook page.
There are a few things going on here that bear highlighting.
First the video suffers from something I call “semiotic collision.” This happens a lot on purpose in Youtube videos, but almost never on purpose in professional or studio video, TV, or film productions. Semiotic collision is where the major symbolic component of on part of the audiovisual presentation not just contrasts, but conflicts with with the symbolic component of another part.
Here, she’s singing a song set in the Middle Ages set to music that sounds very generically traditionally Celtic. The symbolism there is obvious: Celtic, feudal, traditional, etc. But her appearance, the attire she deliberately selected for the video, and the framing of the shots is very much the opposite. The off-the-shoulder sweater that appears in nearly every one of her photos, the ultra short denim skirt, tight tank top with the bra strap showing, and gyrating movements are all symbolic of overtly sexual pop music, as if she was covering Kesha or Nikki Minaj. This is what happens when hacks don’t have management.
An example of this music being recorded in the studio correctly is Enya:
Although she’s wearing modern clothes, the tone of the video is consistent with the tone set my the music, so that when we later see Enya’s album covers, or see in her in a produced music video or in concert, the traditional Celtic attire she will wear will appear less like a costume and more like an authentic historical presentation. It probably isn’t, but that’s what it will appear to be, and its managing this consistency across all media that allows someone in a niche genre like Enya is to break through to massive popularity.
With Karliene, her intentional collision of traditional music with sexy pop style communicates that what is really important to her is not the music or the period but that she get attention, and that this choice of music is simply a vehicle to grab attention. If this were 4 years ago, she’d be recording songs about Twilight and vampires. A few years before that, and it would be Harry Potter, she and her bare shoulder will be wherever the audience is. There’s nothing wrong with this, I suppose, a lot of people are doing this and she seems to have garnered a following. But these things I point out are cues that what she is producing is content, not art.
The second thing to notice is how overboard she went on the equipment. Sennheiser headphones, giant microphone, a mic screen (really?), pro studio recording software, etc. There are a lot of amateur musicians on Youtube, but only the singers go out of their way to show you the equipment they use. The guitarists, pianists, and violinists use whatever instruments they have an no one cares. But for singers, showing the mics and the headphones clearly in the frame is an essential element of the amateur video.
They do this so you know that the person who made the video is a singer, i.e. that’s their primary identity. It signals they are serious about it, it’s not a hobby. You can see a lot of this if you just search youtube for “(cover) female” and look at videos with view counts under one million (to filter out professionals signed to labels).
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