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dj-jackie-j · 29 days

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RADIOHEAD RANT

Radiohead’s Iconic “Creep” Performance and Its Relation to Auslander’s Liveness Theory

Is it still true that the greatest way to enjoy music is to listen to it live, or have the tides reversed and streaming is now the norm? Music knows no age or generational barriers. Auslander's liveness theory encapsulates the idea that recorded content and live content exist because an audience only knows the difference when presented with or having prior knowledge that there is opposite content, in this instance, opposite recorded audio and video. The Oxford English Dictionary describes "liveness" as a "performance, heard or watched at the time of its occurrence, as distinguished from one recorded on film, tape, etc." "Live" is defined as what can be recorded. Shared experience here is not just about being in the same place at the same time; it is also about the changing conditions of social interactions brought on by developments in media and technology. Live events and mediatized events are becoming identical. Liveness versus pre- recorded tracks and events often battle with achieving intimacy and immediacy while still attempting to sound perfect.

Media shapes our experience; media is our experience. It is a part of our everyday experience; it is impossible to have a non-mediatized experience. Our society is in a major fall into media epistemology, the idea of perceiving reality through machines. Therefore, it makes sense that mediatization is embedded in live events; everything is filtered through media. We treat recorded music as the opposite of live performance, but in truth, they overlap. The overlap

between music and media illuminates that one is not better than the other. However, as a mediatized society, we are part of an audience that has been "raised on television," "raised on the internet," and even "raised on social media," each with their own cultural expectations and surroundings. As a media-consuming society, many people will go to considerable measures to gain media attention, such as the concept of "applause on cue," which furthers audience manipulation. The early studio audiences established a benchmark for audience conduct in the past. As an audience member, you are frequently persuaded to give the desired response.

This performance of Creep by Radiohead comes off as incredibly authentic. I will be solely looking at Thom Yorke, the lead singer's performance, and behavior. Compared to the studio version, Thom, the lead singer’s timing, pitch, and tone are off so many times, but it does not matter one bit. Thom is able to make the performance nonchalant while also deeply haunting and emotional. The emotion and passion draw me in, and that is a talent that cannot be learned or fixed by editing or autotune. This is unique and will never be replicated live, and rightly so, which speaks deeply to Auslander's liveness theory. People will find this video in 100 years and will hopefully realize the genius and masterpiece that this performance is. Even though this performance was recorded decades ago, it feels quite timeless. It is one of the rare tracks that can cross generational lines and not lose its meaning and tone. This aspect of the performance especially perpetuates Auslander's theory further.

Radiohead's "Creep" performance is a notable example of intimacy with a crowd being achieved despite the magnitude of the number of audience members or size of the arena. In this performance, Thom was able to create an environment where audience members were fed a deeply emotional and raw performance, with authenticity at an all-time high between Thom and the audience in the fact that they felt he was pouring his heart out to them, furthering the already

immense passion they felt for the artist and using liveness in a way to personify himself as an artist, but in a way that he was still untouchable. Nobody really knew how Thom felt in those moments or if he was even emotional about anything. There are several fans that speculate on Thom’s sobriety at the time of the performance. Many fans believe he was on drugs while performing. They claim you can see aspects of this in his body language and demeanor. This is something I do not think many fans would have been able to necessarily tell that he may have been under the influence. However, due to Auslander's liveness theory, of course the performance was filmed and is now posted for whoever wants to speculate on Thom’s mindset at the time. If I were a musician before the ease of access to online performances, I would be upset and feel attacked knowing that random fans can now speculate or comment on whatever they want. However, regardless of whether he was on anything or not, for a brief moment, he is able to appear to be singing to you and solely you, and he recognizes you. Speaking to liveness and the idea of being at a concert live and the perception of an artist based on how you consume their performances, Radiohead and you are in the same room at the same time. To many, that is enough to feel extremely close to the band.

As emotional and vulnerable as this performance may seem, there is no way to tell the validity of its authenticity. Thom sings as if the band is not there, the crowd is not there. As if he is singing into a mirror alone, this performance is quite a compelling case study for Auslander's liveness theory.

The term "mediatized," which refers to the immediacy of the contact between performers and spectators, is frequently used interchangeably with "digital." As a result, the seeming distinction between live and mediatized refers to media platforms that broadcast such interaction at various degrees of intensity. This contradiction frequently argues that what audience members

see and hear on stage is a more intimate presentation with no mediatization, but what they see and hear on screen are mediatized events with diluted connections between live performers and viewers. Given the widely stated opposition between digital and live performance, the first term, "digital," refers to a method of performance; the fundamental concern inherent in this supposed opposition is whether performers and viewers are present at the same time and space or not. This performance is a prime example of pre-recording a live moment to profit off the authenticity later. Even if this is not the artist's intention, it may be the label's intention. Therefore, the artist must comply and deliver authenticity, or at least fake authenticity.

When looking at this clip, many may note the lack of technology or digital objects. They may even assume that, since there are not thousands of phone camera flashes, that it was an entirely non-mediatized event. Even though it had digital elements, the concert was filmed. Many newer viewers of this performance may especially note the crowd. No phones, just enjoying music. The whole crowd just stopped, stood, and watched Radiohead. This speaks to the dynamic of the performance further. Pretty powerful.

I find it interesting how thousands of people are now experiencing this performance through YouTube. It is such a different experience, but audiences can still feel and see the emotions pouring out of lead singer Thom. This speaks to the economy of repetition as well as the dynamic of performance. Despite the huge crowd, Thom seems to be in a different headspace, as if he is just singing by himself. It is hard to fathom that Radiohead hates this song. as it is so deeply rooted in their pop culture identity. It is as if David Bowie hated Ziggy Stardust. Thom appears to have put everything into this performance. You can see him wipe away a tear. This show highlights his immense talent and the rawness that Radiohead brought to the music world.

This raises the issue of evanescence versus repetition. In our society, live events hold cultural value. Being able to say you were there is a "flex" many love to share. I am sure that many of the audience members from this crowd still hold this experience as a memorable or once in a lifetime moment, and even as a means to justify who they are to Radiohead or even just Thom Yorke as an artist. This muddy para-social relationship that musicians and artists are entangled in with their fans is fascinating to me. Again, this perpetuates the idea of performance dynamic, contributing to Auslander’s liveness theory.

The third opposing term, "recorded," is primarily concerned with how performance is created; the idea is that for a performance to be recorded, it must first take place in a studio or on stage. The concept of "secondhand," which often refers to the process of consumption, is synonymous with the concept of "recorded." It is based on the premise that recorded performance is infinitely reproducible and thus not the original as it was presented live on stage or in the studio at the time of recording. As a result, what viewers and listeners get from a recorded performance is something that has already been fed.We treat recorded music as the opposite of live performance, but in truth, they overlap with one another.

One could argue that live performance incubates a fuller sensory experience. Or that live performance builds community; this is common consumption, representing the structure of society. Liveness is not needed to build or experience community; community is not a function of liveness. The live-to-mediatized pipeline is becoming faster moving than ever, almost impossible to keep up with, instilling competitive opposition. A live performance can only exist in the present, but a recorded performance is nothing more than a re-enactment of a former live performance. The idea of a performance being "immediate" is reflective of the liveness theory. Concerts, due to this expectation, have become merely a restaging of a live reenactment, for

example, music videos as concerts, because of the strict audience expectation. It is based on the premise that recorded performance is infinitely reproducible and thus not the original as it was presented live on stage or in the studio at the time of recording. As a result, what viewers or listeners get from a recorded performance is something that has already been consumed.

I believe Auslander would be deeply interested in this performance and the validity of Thom's emotions and their effects on liveness. I think he would be very intrigued but not surprised with how liveness was potentially a facade for an inauthentic performance merely to bring in more money, fans, or as I mentioned above, to meet their record label requirements. The growth of technology over the last 20 years has instilled a new, more comfortable lean towards the mediatized aspects of liveness. Digital performance assumes that some aspects are not present at the same time and space as the audience. Why do audiences still want live performances? That is a product of mediatization. Why do artists still want to perform live? Again, a product of mediatization entangled with the Para social relationships of fans and unreasonable expectations due to mediatization.

Video: “Radiohead - Creep (Best Live Performance).” YouTube, YouTube, 20 Aug. 2021 Radiohead - Creep (Best live performance)

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dj-jackie-j · 2 months

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"I Want My MTV"

I Want My MTV Using Music Videos To Gauge Public Opinion in 1980’s America Department of Communication & Media Arts, Marymount Manhattan College COMM 450: Capstone in Communication & Media Arts

Jackie Kearney Dec 21, 2023

Abstract

Since their introduction in the 1980s, music videos have transformed the relationship between live and recorded performances and have grown to be a major source of entertainment. To better understand the social and cultural dynamics of the American public in the 1980s. This study will use music videos as sources of data. Music videos not only showcase the artistic expression of musicians but also serve as a reflection of societal trends and values during that period. Additionally, studying music videos can provide a unique perspective on how popular culture influences and shapes society's perceptions and behaviors. The research will utilize a cultural analysis methodology by analyzing the political and cultural contexts of the 1980s, such as The War on Drugs and its impact on American society, and the AIDS epidemic, this study aims to understand how music videos were influenced by and responded to these larger socio-political dynamics. The results will be able to be used to understand the social mores and standards prevalent at the time, as well as how popular culture both reflected and perpetuated them.

Keywords

MTV, AIDS EPIDEMIC, WAR ON DRUGS

Introduction

If the video killed the radio star, what killed the video star? Traditional music videos lost their hegemony with the rise of social media and streaming services, and artists started experimenting with different visual techniques to draw in their fan base. Despite their looming death, understanding the impact of music videos on societal attitudes can also shed light on the power of storytelling through images and its ability to shape collective consciousness. This being said, how can we use music videos to gauge public opinion in 1980s America?

Examining music videos can teach us more about how musicians see and reflect the world around them, as well as how viewers engage with these representations. This study improves our knowledge of American culture by emphasizing the relevance of music videos as a form of cultural expression. The interplay between media and culture is essential to understanding the impact of music videos on popular culture and therefore the influence of technology on culture.

This analysis can shed light on how music videos both reflect and shape cultural norms, serving as a powerful tool for social commentary and cultural expression. Additionally, exploring the role of technology in the production and dissemination of music videos provides valuable

insights into the ways in which media consumption has become an integral part of contemporary culture.

Populations Served

The study provides valuable insights for professionals in the music industry, such as producers and directors, who can use this knowledge to create visually stunning and emotionally impactful music videos that resonate with viewers. It is also relevant for music enthusiasts, scholars, and researchers. To understand the impact of music videos on popular culture in the 1980s, a qualitative analysis of music videos and historical events is necessary.

This research explores the intricate relationships between music, culture, and society, making it relevant to music enthusiasts who can gain a deeper appreciation for the universal impact of music in shaping our collective experiences. Music can serve as a form of expression and communication, transcending language barriers and connecting people from different backgrounds.

The research is also significant for music researchers and scholars as it examines how music impacts societal values and shapes cultural identities. It provides insights into the ways in which music can serve as a tool for social change and activism, challenging and transforming existing norms and beliefs. By examining the various ways in which music has been used throughout history to express political and social messages, researchers can better understand its role in shaping societal movements and fostering collective action. Furthermore, this research aims to bridge the gap between academia and industry by providing practical applications.

Preliminary Definition of Terms

Prior to delving into the research methodologies, contextual background, and conclusions, let me clarify the terms mentioned in the abstract and their precise meanings in relation to the goals of this study.

AIDS: In the context of 1980’s America AIDS was devastating. The culture was most definitely being reflected in the music of the time. According to the CDC, “ The term "AIDS" refers to Acquired Immunodeficiency Syndrome, a persistent and potentially fatal illness brought on by the HIV virus. Due to immune system deterioration, people are more vulnerable to infections and illnesses.”(CDC, 2022)

However, to keep 1980’s context present I will include the public information from the 1980’s regarding AIDS: “In 1981, the CDC published an article about five cases of rare lung infections in young, healthy gay men in Los Angeles. This event marked the beginning of the AIDS Crisis, which alarmed the medical community due to the trend of young, healthy individuals succumbing to opportunistic infections.” (CDC, 1981)As a result, increased research and awareness efforts were initiated to address the issue. The outbreak of AIDS brought attention to the importance of safe sex practices and the need for further research into the disease.

The War on Drugs: Even though the War on Drugs was well underway by the mid 1980s there were some significant changes in the direction of policy by the late 1980s. In a Department of Justice piece “The War on Drugs popularized aggressive law enforcement tactics

and punitive sanctions aimed at low-level drug offenders, affecting Americans of all races." ( Mitchel, 2009) These changes included a focus on low-level drug offenders and a stronger emphasis on punitive measures like mandatory minimum sentences. These modifications led to the disproportionate incarceration rates that are observed today and had important ramifications for marginalized communities.

Much of the congressional debate in the months before the Anti-Drug Abuse Act of 1986, which is “The Anti-Drug Abuse Act of 1986 provided for increased penalties for violations of the Controlled Substances Act. Due to this conviction, severe penalties and mandatory minimum sentences for drug offenses were implemented, which disproportionately affected communities of color. “ It is perhaps most notable for establishing minimum sentences for possession of crack cocaine at a much higher level than possession of powder cocaine.” (Intlekofer, 2018)

MTV: formerly known as Music Television, is an American cable channel that officially launched on August 1, 1981. In a scholarly article the evolution of MTV is outlined. The article states that “MTV had an immediate impact on popular music, visual style, and culture, making it a powerful cultural force.”(Jones, 2005)

MTV was the first to explore and introduce new trends, MTV quickly became an iconic presence in popular culture, inspiring not only visual media culture. It revolutionized the way music was consumed and promoted, shaping the entire music industry. Jones, the author of the scholarly article, went as far as saying that "MTV's evolution and development over several generations of youth has proven more interesting than its immediate impacts on popular music, visual style, and culture. Unfortunately, there has been too little scholarly focus on the

longer-term consequences of MTV."(Jones, 2005) 12:01 AM on August 1, 1981, the moment when "pictures came and broke your heart."

Purpose Statement

The purpose of this study is to gain a deeper understanding of the relationship between media and culture. This is crucial in comprehending the impact of music videos on popular culture and the influence of technology on culture. By examining this relationship, the study aims to shed light on how music videos shape and reflect societal norms, values, and trends. Additionally, it seeks to explore how advancements in technology have revolutionized the way culture is consumed and shared, particularly through the widespread accessibility of music videos online.

The study aims to assess the impact of music videos on culture and society. It will also examine the social and cultural consequences of the media's creation and consumption of this content. Furthermore, the study will improve our understanding of how the media shapes public opinion and fosters social change.

In the 1980s, several issues were prevalent, including police brutality, gender inequality, sexism, racism, and the Cold War. The AIDS epidemic and related issues brought about an urgency and activism in the art world. By addressing these pressing social issues through their videos, artists raised awareness of the struggles faced by marginalized communities and sparked important conversations about justice and equality.

Literature Review

In order to gain insight into how music videos were used to gauge public opinion in 1980s America, I consulted several texts. One of the most informative was "Creative License: The Law and Culture of Digital Sampling" (2011) by Kembrew McLeod and Peter DiCola. McLeod and DiCola (2011) provides a deeper understanding of the music industry and the development of sample-based music that was popular in 1980s America. The authors offer a comprehensive analysis of the cultural and legal implications of digital sampling, highlighting the complex relationship between creativity and copyright law.

They examine how sample-based music not only influenced the music scene of the 1980s but also modern music production and artistic expression. The book also delves into the challenges faced by artists and producers in navigating the intricate legal landscape surrounding sampling, shedding light on the ongoing debates over copyright infringement and fair use. With the help of this text, I was able to gain immense background knowledge of the music industry during "the golden era of sampling," which, interestingly, was right at the inception of music videos. This begs the question: did samples allow music videos to shine? The text analyzes how the rise of sample-based music paved the way for innovative music videos that incorporated visual sampling techniques, further enhancing the overall artistic experience for audiences.

Artists were able to approach a project with a preconceived notion of the song and album by using samples. There was less pressure. This improved the impact of music videos as a visual depiction of the sampled songs by fostering a closer relationship between the performer and the viewer. In addition to influencing the creative process, the use of samples had a big impact on the era's cultural and artistic climate.

The immense impact music videos have had on contemporary art cannot be stressed enough. Music videos have revolutionized the way artists express themselves visually, blurring the boundaries between music, film, and visual art. They have become a powerful medium for storytelling and self-expression, captivating audiences with their innovative visuals and narratives, Prato (2021) offers a comprehensive analysis of the avant-garde filmmakers, musicians, and cultural movements that transformed the music industry and propelled MTV to global fame. Prato's analysis delves into the experimental techniques used by these artists, highlighting their influence on visual storytelling and pushing the boundaries of artistic expression. Additionally, the book explores how music videos have become a powerful medium for social commentary, reflecting the cultural and political climate of their time.

To comprehend the cultural impact of MTV Klein (2021) examines the history of music videos and provides insight into a better understanding of them. With the addition of music to television and television programming, as well as the effects of the decline of music videos on MTV, the text examines how reality television has changed audience preferences and the network as a whole, shedding light on the cultural and technological factors that have influenced this change. Klein's analysis delves into the evolution of music videos as a medium of artistic expression and their role in shaping popular culture.Furthermore, the examination of reality

television's rise in popularity offers valuable insights into the shifting dynamics of audience consumption and the subsequent transformation of MTV's programming strategies.

An extremely important text in my study is the book Millennials Killed the Video Star: MTV's Transition to Reality Programming (2021) by Amanda Ann Klein. With this text I was able to learn more about the history of music videos from this text and gain a better understanding of them. The addition of music to television and television programming, as well as the effects of the decline of music videos on MTV. I was also able to examine how reality television has changed audience preferences and the network as a whole, shedding light on the cultural and technological factors that have influenced this change.

Theoretical Framework

In the context of my theoretical framework I employ Auslander's liveness theory, which states that “the experience of live performance is fundamentally different from recorded or mediated forms of art. This theory challenges traditional notions of authenticity and raises questions about the role of technology in shaping our understanding of live performance.” (Auslander, 2008)

In the 1980s, the popularity and accessibility of music videos brought about a shift in the way live performances were presented. With the emergence of MTV and other music video channels, artists were able to showcase their performances to a wider audience, creating a sense of immediacy that was previously only possible through attending a live concert. This shift not only impacted the way artists connected with their fans but also influenced the expectations and

demands of the audience. This challenges traditional notions of authenticity and raises questions about the impact of technology on our perception of art.

Following the framework of Auslander's liveness theory, “liveness refers to the sense of immediacy and presence that is created in a performance or recording.” (Auslander, 2008) In music videos, this can be achieved through techniques such as live concert footage, interactive elements, or even virtual reality experiences. By exploring the concept of liveness in music videos, we can gain a deeper understanding of how technology has transformed the way we experience and engage with art in the digital age. Additionally, analyzing the use of liveness in music videos allows us to examine the power dynamics between artists, and audiences.

The introduction of music videos has revolutionized the way artists interact with their fans, enabling them to reach a wider audience and establish a more personal connection. However, it is still a matter of debate whether music videos can create more devoted listeners or if they simply satisfy the need to see the acts live because you have already seen all their videos. While music videos provide a sense of immediacy, they cannot fully replace the experience of attending a live concert. However, some may argue that a music video provides more visual and artistic elements that enhance the overall listening experience. Additionally, music videos have the advantage of being easily accessible and shareable, allowing fans to discover new artists and songs more easily. Ultimately, whether music videos can truly replace the thrill of a live concert remains subjective and depends on individual preferences and experiences.

As the 1980s progressed and MTV became a cultural phenomenon, music videos not only became a powerful marketing tool for artists but also shaped popular culture and fashion trends. The visual storytelling and creative visuals showcased in music videos became an integral part of

an artist's brand and identity, further solidifying their connection with fans. Music videos would hold this dominant spot in pop culture for the next four decades, before dwindling into obscurity as the video star was swiftly replaced by the social media star. The rise of social media platforms such as Instagram, TikTok, and YouTube allowed individuals to create and share their own content, shifting the focus away from professionally produced music videos.

This shift in consumer behavior marked a significant change in the way artists connected with their audience, as they now had to adapt to the fast-paced and ever-changing landscape of social media to maintain relevance. However, it is important to acknowledge the lasting impact that music videos had on popular culture and their role in shaping the music industry for Filmmakers, academics, researchers, music lovers, and music industry professionals all gain from this study.

Using AIDS to Illustrate the Correlation of Music Videos and Culture

To accurately depict a significant cultural phenomenon that occurred among various racial and socioeconomic groups in the 1980s, researchers can gain valuable insights by examining music videos that make references to AIDS, whether overt or covert. The chosen example videos powerfully reflect the societal attitudes towards AIDS prevalent at that time, shedding light on the cultural norms and stigmas surrounding the disease.These music videos not only provide insight into attitudes towards AIDS but also reveal the extent to which societal norms influenced the portrayal of LGBTQ individuals during that era.

It is also important to keep in mind the cultural climate of 1980s America, specifically regarding LQBTQ individuals. During this time, there was a lack of understanding and fear surrounding AIDS, leading to stigmatization and marginalization of the LGBTQ community. This context is crucial in comprehending the challenges faced by LGBTQ individuals in terms of acceptance, healthcare, and social support during the 1980s. According to The History Channel, “In the late 1970s and early 1980s, a virus that had previously appeared sporadically around the world began to spread throughout the United States. Originally identified as a “gay disease” because gay men were one of the primary groups afflicted, HIV and the syndrome it causes acquired immunodeficiency syndrome, were unknown in 1981 but had become household terms and the number one threat to public health by the late 1980s.”(MARKOWITZ/SYGMA, 2021)

The HIV/AIDS epidemic had a devastating impact on the LGBTQ community during the 1980s. Not only did they face discrimination and stigma due to the association of the virus with homosexuality, but they also struggled to access adequate healthcare and social support. The lack of acceptance and understanding further exacerbated the challenges faced by LGBTQ individuals affected by HIV/AIDS.

In a CDC report from the middle of the decade, the future seems dismal. “January 16: The U.S. Center for Disease Control (CDC) reports that more people were diagnosed with AIDS in 1985 than in all earlier years combined. The 1985 figures show an 89% increase in new AIDS cases compared with 1984. Of all AIDS cases to date, 51% of adults and 59% of children have died. The new report shows that, on average, AIDS patients die about 15 months after the disease is diagnosed. Public health experts predict twice as many new AIDS cases in 1986." (HIV, 1986)

It's safe to say the public was fearful and began blaming the gay community, pushing their fear-turned anger toward the community. This blame and anger towards the gay community led to increased discrimination and stigmatization, further exacerbating the challenges faced by individuals living with AIDS. The lack of understanding and compassion hindered efforts to effectively address the epidemic and provide support to those affected.

Music Video Examples

To understand how we can use music videos to gauge society's opinions in the 1980s by examining Coil's cover of "Tainted Love" and Prince's "Sign O' The Times," researchers are provided with visual commentary on the AIDS crisis of the 1980s. However, both artists employ different strategies to convey the message.

“Tainted Love”- Coil (1985) “Tainted Love” first recorded by Gloria Jones and British duo Soft Cell, was covered again in 1985 by the band Coil, a British experimental group. Coil’s version accompanies a distressing music video that follows a man’s hospital stay and, near the end of the song, shows the man receiving flowers on his grave. “The lyrics and images combine to tell a powerful story about the HIV/AIDS crisis, pushing viewers to grapple with the graveness of the disease.”(Burgess, 2023)

Coil's rendition of Tainted Love not only introduced a unique experimental twist to the song but also brought attention to the devastating impact of the HIV/AIDS crisis. The haunting music video, coupled with the poignant lyrics, served as a powerful reminder of the gravity and

urgency surrounding this epidemic. In the same history channel article “September 24 1982 – The CDC uses the term “AIDS” for the first time. It defines Acquired Immune Deficiency Syndrome as “A disease at least moderately predictive of a defect in cell-mediated immunity, occurring in a person with no known cause for diminished resistance to that disease.”(MARKOWITZ/SYGMA, 2021)

In 1985, the double single "Tainted Love/Panic" was released, which marked a significant moment in musical history. At that time, AIDS was a highly taboo disease, and there was little awareness or support for those affected by it. Keep in context the CDC just identified it as a disease three years prior.

The release of "Tainted Love/Panic" coincided with a crucial period in the fight against AIDS, as it helped to raise awareness and challenge the stigma surrounding the disease. This musical milestone served as a catalyst for conversations about HIV/AIDS, ultimately paving the way for greater understanding and support for those impacted by it. “Coil, released a cover of "Tainted Love," decided to donate all the earnings from the record to the Terrence Higgins Trust, an AIDS charity. This was the first time in music history that profits were donated to an AIDS-related charity, and it demonstrated a powerful commitment to making a positive impact on the fight against AIDS.”(The Paths Less Traveled, 2013)

“Sign ‘O’ the Times”-Prince (1987) Prince, a cultural icon, was known for his unique style, innovative music, and captivating performances. His flamboyant fashion choices and unapologetic expression of sexuality challenged societal norms and inspired countless artists to embrace their individuality. “Sign ‘O’ the Times” was Prince highlighting the fact that there was

a negative aspect of Ronald Reagan's America at a time when these issues were all in the news in the United States.

The song and music video act as a wake-up call, imploring listeners to address these problems head-on and make changes that will benefit society. With "Sign ‘O' The Times," Prince aimed to stimulate thought and motivate action in the direction of building a better society for everybody. The gloomy tone was established by his opening lines, "In France, a skinny man/Died of a disease with a little name."(Prince, 1987)

Research Question

How can we use music videos to gauge public opinion about major events in 1980’s America? Said best in the first music video ever, the video killed the radio star, 1980’s America was a pivotal decade and music videos allow the public, past and present a unique lens into the norms and attitudes at the time. Music videos have not only entertained audiences, but have also served as an effective medium for artists to express their opinions on significant historical events. We can learn about the collective feelings and responses of the American public to events throughout the decade like the war on drugs, or the AIDS epidemic.I am seeking a comprehensive understanding of how music videos influenced American popular culture in the 1980s.

Methods

To investigate the research question, my initial approach will be to analyze music videos released in the 1980s that either directly addressed or referenced significant American events. This analysis could involve examining the themes, lyrics, and visuals in these videos to understand how they represented and influenced public opinion at the time. Additionally, gathering information through interviews or examining old media reports could provide insights into how the public perceived these music videos and how they contributed to the formation of social opinions.

To collect data for the study, I searched for "1980s music videos" and "major 1980s events" on Google Scholar to access scholarly journals and academic papers that discussed the impact of music videos on society during the 1980s. This comprehensive approach allowed me to gather a diverse range of perspectives and sources for my research, ensuring a well-rounded analysis of the topic.

Once I was able to correlate a song, a music video, and a historical event, I then sourced the song and video on Spotify and YouTube, both digital platforms. Using digital platforms like Spotify and YouTube allowed me to access music videos easily and analyze their content and impact. Additionally, I also looked for scholarly articles and books that discussed the cultural significance of these music videos during the 1980s, which provided a more comprehensive understanding of their influence on public opinion.

I also sought out physical copies of both pieces of music to further examine the impact visual storytelling has on a narrative that often scares society and challenges societal norms. I purchased CDs for both songs on the online selling platform eBay. By analyzing physical copies of the music, I was able to delve deeper into the artistic choices made by the creators through album covers and inserts to provide an understanding of how visual elements contributed to the overall message conveyed in the videos. This multidimensional approach allowed me to gain a holistic perspective on the cultural significance and impact of these music videos during the 1980s.

Criteria for sampling

Using footage from music videos broadcast on MTV in America between 1980 and 1989 the study aims to provide valuable knowledge about the cultural and social context of the time. These videos represented the beliefs, goals, and concerns of the general public, as well as capturing the era's technological innovations, fashion trends, and musical tastes. Therefore, studying these videos can offer a unique perspective on the general attitude and social dynamics of the 1980s.

The purpose of collecting data based on specific criteria is to gain a comprehensive understanding of the cultural and social climate of the 1980s. By including music videos and historical news footage, scholars can learn more about the social tensions and historical events that influenced the period's real-life events, as well as the artistic expression of the time. This

multifaceted approach ensures a thorough examination of the 1980s, encompassing both the popular music trends and the historical context in which they occurred.

In this research study, more than twenty hours of music video snippets, along with background information and public and media pushback, were used to understand how we can use music videos to gauge public opinion in 1980’s America. This comprehensive examination contributes to a vivid picture of how music in the 1980s both reflected and responded to the social changes that were taking place.

To meet the data collection criteria, two music video samples are required, in this particular aspect of my research each video needed to include a callback to the AIDS epidemic of the 1980’s. The data collected from music videos which were primarily broadcast on MTV in America between 1980 and 1989, can be a valuable source of knowledge about the cultural and social context of the time. These videos represented the beliefs, goals, and concerns of the general public, in addition to capturing the era's technological innovations, and musical tastes. Therefore, studying these videos provides a unique perspective on the general attitude and social dynamics of the 1980s.

Method of Recording Data

I began my research by thoroughly scanning through YouTube, which became the leading influential factor in formulating my research questions. To access YouTube, I downloaded the

social media platform's application through the App Store on my personal iPhone and created a

free account. This made the process of searching and saving videos simpler. After creating my account, I took time to scroll through the app in search of AIDS related music videos.

While YouTube was the only platform I used to retrieve video-based data, the remaining texts were print-media based. The data in my study includes not only the content of the music videos themselves but also the popularity and reception of specific songs and artists during that time period.

The data in this study includes not only the content of the music videos themselves but also the popularity and reception of specific songs and artists during that time period. To record the data, I researched historical events from the 1980s and placed them on a timeline. This timeline is a physical piece of paper that I continuously added to using different colors for different aspects of the research.

On the timeline I had 1980-1990 labeled. I then after researching impactful events of the 1980’s began to mark the events on the timeline with the corresponding year. Once the historical event was marked I sourced a music video pertaining in some way to the event. Then, I searched for music videos from the 1980s on YouTube that related to the specific events I was highlighting. By connecting the music videos to historical events, I was able to identify patterns and correlations between the cultural context and the artistic expression of that era. This approach allowed me to gain a comprehensive understanding of how music videos served as a reflection of the societal climate in the 1980s. The physical timeline was helpful in illustrating just how impactful media was on the culture in America during the 1980’s.

Analysis

In my research, I used open coding to identify recurring themes in the online presence of MTV and music videos, including on YouTube, social media platforms, and music streaming services. This helped me gain insights into the evolving trends in music consumption and the impact of visual storytelling on audience engagement.

I then used axial coding to identify the precise relationships between these themes and my research on community building and persuasion. By examining the connections between these themes and my research, I was able to uncover how MTV and music videos contribute to the formation of online communities and influence audience behavior.

My analysis revealed that music videos are not just for entertainment, but also serve as a catalyst for social engagement and influence. Understanding the persuasive techniques employed in music videos can provide valuable insights for marketers and advertisers looking to effectively engage with online communities and shape consumer behavior. Furthermore, my study revealed that music videos not only influenced individual behavior but also played a significant role in shaping collective identities and cultural movements. By tapping into the emotions and aspirations of viewers, music videos were able to create a shared experience that resonated with diverse audiences, ultimately influencing their attitudes and beliefs on a larger scale.

Music videos have continued to evolve and adapt to the digital age, with platforms like YouTube and Vevo providing a global stage for artists to reach their audience. Additionally, the rise of social media has allowed for even greater engagement and interaction between artists and fans, further solidifying the role of music videos as a powerful tool for cultural expression and influence.

Results

The 1980s music video era can be considered a catalyst for social change because it offered a visual medium that attracted a large audience and provoked discussions about important topics. Furthermore, these videos' artistic and creative qualities gave the messages they were delivering a deeper level of meaning, which increased their power to influence public opinion.

Music videos are now a common way for artists to reflect societal trends and convey their artistic vision. They frequently include components that are important to American culture, such as dance, fashion, and storytelling. Music videos can effectively shape and influence cultural norms and values due to their broad audience reach. Moreover, music videos frequently showcase varied portrayals of people from various backgrounds, emphasizing the diversity and multiculturalism that characterize American society highlighting a variety of viewpoints and experiences, which adds to the continuous conversation about inclusivity and identity in American culture.

To reach this conclusion, a range of music videos from different genres were analyzed for their themes, settings, and characters. According to this analysis, music videos reflect the social and cultural context of the artists' era as well as providing a platform for artistic expression. Music videos offer a visual depiction of the problems and worries that audiences find compelling by experimenting with various themes and environments. This helps to shape popular culture and impact social trends. The study also discovered that musicians' personas and images are frequently greatly influenced by their music videos. Artists are able to forge a distinct identity

and establish a more meaningful connection with their audience by means of their visual storytelling. Furthermore, the analysis showed that because music videos can create buzz and boost album sales, they are now a crucial component of marketing plans in the music business.

The 1980s music video era can be considered a catalyst for social change because it offered a visual medium that attracted a large audience and provoked discussions about important topics. Furthermore, these videos' artistic and creative qualities gave the messages they were delivering a deeper meaning, which increased their power to influence public opinion and question social norms.

Summary of results/ Analysis

How can we use music videos to gauge public opinion in 1980’s America? Music videos have become a crucial component of marketing plans in the music industry. They create buzz and boost album sales. Additionally, music videos have evolved into a platform for artists to explore new creative directions and visually stunning ways to present their artistic vision. This allows them to explore various themes and narratives that may not be achievable through the audio component of their music alone, and it also helps them stand out in a crowded industry.

Overall, music videos have proven to be an effective tool for artists to make a lasting impression on both their fan base and the music industry at large. To identify recurring themes in MTV and music videos' online presence, including on YouTube, and in a range of articles, I used open coding. I then employed axial coding to pinpoint the texts' precise relationships to my

research on community building and persuasion. By using axial coding, I was able to find relationships and patterns among the themes discovered during the open coding stage.

Through my research, I gained insight into the influence of music videos on political and cultural discourse in the 1980s. I analyzed the persuasive strategies used in music videos and the sense of community they created. This thorough examination highlights the importance of music videos in shaping societal attitudes and beliefs, while also shedding light on their larger impact on society.

Discussion

After conducting extensive research, I have concluded that music videos can serve as a reliable indicator of American culture. To arrive at this conclusion, I analyzed the themes, settings, and characters portrayed in a variety of music videos from different genres and pivotal moments in American history. Music videos provide a unique perspective on societal trends, cultural values, and even political issues that are significant to American society due to their visual storytelling element.

I specifically looked at the AIDS epidemic of the 1980s while using the theoretical framework of Auslander's liveness theory to argue that music videos in the 1980s presented an inverse to live performance but for some that was even more wanted, as it allowed for a controlled and stylized representation of reality. This can be seen in music videos such as Michael Jackson's "Thriller" and Madonna's "Like a Prayer," which used provocative imagery and narrative storytelling to address controversial topics like religion and race.

By examining the evolution of music videos over time, it becomes clear that they have become an integral part of American culture, shaping our perceptions and reflecting the social

climate of each era. The music videos of Coils' "Tainted Love" and Prince's "Sign O’ the Times" provide contrasting portrayals of AIDS, highlighting the diverse approaches taken by artists to address this issue. While "Tainted Love" directly confronts the topic with an eerie and explicit representation, Prince's video offers a broader critique of America during that period, encompassing AIDS as one of its many concerns.

The controversial nature of these videos stemmed from the societal stigma surrounding AIDS at the time, the fear held by society regarding the unknown and deadly nature of the disease often silenced discussions and marginalized those affected by the disease. By daring to bring this issue to the forefront, these artists challenged societal norms and sparked important conversations about HIV/AIDS prevention, education, and empathy. Their bravery in addressing such a taboo subject publicly ultimately paved the way for greater awareness and understanding of the epidemic.

However, it took society quite a long time to come around, and artists like Freddie Mercury passing away from AIDS brought more compassion to the forefront of the fight. Despite the progress made by these music videos, there was still a long way to go in terms of eradicating the fear and prejudice associated with AIDS. The fight for compassion and understanding continued, with artists using their influence to advocate for better education, access to healthcare, and support for those affected by the disease. I have concluded that we can use music videos to gauge public opinion in 1980’s America.

Relationship between the Theoretical Framework and the Results

It is still debatable whether music videos can bring more devoted listeners or if they suffice the need to see the acts live because the public already got their fix from the video. As the 1980s progressed and MTV became a cultural phenomenon, music videos not only became a powerful marketing tool for artists but also shaped popular culture and fashion trends. The visual storytelling and creative visuals showcased in music videos became an integral part of an artist's brand and identity, further solidifying their connection with fans.

However, as time continues on the rise of social media platforms such as Instagram, TikTok, and YouTube has shifted the focus away from professionally produced music videos. This change in consumer behavior marked a significant change in the way artists connected with their audience, as they now had to adapt to the fast-paced and ever-changing landscape of social media to maintain relevance. Despite this shift, it is important to acknowledge the lasting impact that music videos had on popular culture and their role in shaping the music industry.

In the context of my theoretical framework of Auslander's liveness theory, music videos challenge traditional notions of authenticity by blurring the boundaries between live performance and recorded media. Following the framework of Auslander's liveness theory, liveness refers to the sense of immediacy and presence that is created in a performance or recording. In music videos, this can be achieved through techniques such as live concert footage, interactive elements, or even virtual reality experiences. By exploring the concept of liveness in music videos, we can gain a deeper understanding of how technology has transformed the way we experience and engage with art in the digital age.

Additionally, analyzing the use of liveness in music videos allows us to examine the power dynamics between artists and audiences. While music videos provide a sense of immediacy, one cannot fully replace the experience of attending a live concert. The thrill and energy of seeing an artist perform in person is a unique and irreplaceable aspect of the live music experience that cannot be replicated through videos alone.

Limitations

One of the biggest challenges faced during my research was the inability to view music videos in decent quality, due to the time passed and lack of popularity some important videos now appear to be scrubbed from the internet or are unrecognizably altered which made it difficult to understand how they affect popular culture and a larger audience. This also made it hard to evaluate the effectiveness of visual storytelling strategies developed for mobile devices and how they have influenced contemporary music video production.

The study was limited to a specific time frame and did not consider the preferences and behaviors of different demographic groups, which could have provided a more comprehensive understanding of how visual storytelling techniques affect the consumption of mobile music videos. Additionally, the lack of qualitative data collection techniques such as surveys and interviews limited the extent of knowledge regarding the public's perception of smaller screen music videos

The abundance of content provided by digital media news outlets made print media obsolete. The majority of the articles found were older, indicating that this is a relatively stale topic for non-musicians. However, there were some useful bits of information, and not many academic research articles were applicable to the content. The dearth of recent academic research publications may indicate a lack of interest among academics in investigating the effects of older music videos. This suggests that additional research and analysis are necessary to fully comprehend the current dynamics and publications.

Opportunities for Future Research

As I delve deeper into my research on the relationship between culture and music videos, I anticipate the opportunity to coordinate my findings. As a member of Gen Z, I believe it is crucial to understand history, especially in the context of our current society. This study provides a foundation for future research that could explore how different cultural backgrounds influence the interpretation and reception of music videos. I am eager to continue the research study including more videos and covering more topics, for example Reagan's America and "Fucked

Up Ronnie" - D.O.A. (1984) or ) "My Brain is Hanging Upside Down (Bonzo Goes To Bitburg)" - The Clash (1985)

Conclusion

Music videos provide a unique perspective on societal trends, cultural values, and even political issues that are significant to American society due to their visual storytelling element. To delve deeper into this research question, one could examine music videos from the 1980s that either directly addressed or alluded to important American events. By analyzing the themes, lyrics, and images in these videos, we can gain insight into how they reflected and influenced the prevailing public opinion at the time.

Additionally, conducting interviews or looking through archived media reports can help us understand how the public perceived these music videos and how they influenced the formation of social opinions. Comparing and contrasting music videos from various genres and artists could offer a thorough grasp of the various perspectives that were taken on American events. This study may deepen our understanding of how music videos shaped political and cultural discourse in the 1980s and ultimately demonstrate their impact on society as a whole.

I specifically looked at the AIDS epidemic of the 1980s while using the theoretical framework of Auslander's liveness theory to argue that music videos in the 1980s presented an inverse to live performance but for some that was even more wanted, as it allowed for a controlled and stylized representation of reality. By examining the evolution of music videos over time, it becomes clear that they have become an integral part of American culture, shaping our perceptions and reflecting the social climate of each era.

In conclusion, music videos can be used to gauge public opinion in 1980s America. They provide a unique perspective on societal trends, cultural values, and political issues, and can offer insight into how they reflected and influenced the prevailing public opinion at the time. By examining music videos from various genres and artists, we can gain a thorough understanding of the diverse perspectives taken on American events and how they shaped political and cultural discourse in the 1980s.

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