Designing the Music Business by Guy Morrow

Author:Guy Morrow
Language: eng
Format: epub
ISBN: 9783030481148
Publisher: Springer International Publishing

It is positive for directors such as Jefferton to note here that managers and label owners such as Donavan envisage that the budgets for this type of music video package will increase. It is, however, potentially daunting for them to think of the workload that will accompany this type of video content package.

5.5 Conclusion

This chapter located an analysis of Jefferton James’s output of music videos over a six-year period within a growing body of literature that is addressing music video as a ‘hidden’ screen industry that has been neglected within creative and cultural industries research (Caston 2015; Caston and Smith 2017; Cave 2017; Fowler 2017; Grainge and Johnson 2015). Music video directors, the music video business and the sheer amount of creative labour that goes into helping musicians build design cultures around their music are—despite the fact that they involve the production of visual content—ironically invisible within the field of music business research. This is partly because the music business itself does not attribute a heroic role to design, like the company Apple does for example. With some exceptions, the designers, directors and producers behind the creation of music-related design cultures remain almost unknown (even when it is the musicians themselves).

A parallel can be drawn here between the contributions that these designers, directors and producers make to the music business and the contributions that session musicians and roadies make to the business. For example, the 2016 Fran Strine-directed documentary Hired gun (Strine 2016) drew attention to the role that session musicians have played in the music business. The promotional blurb for this documentary stated:Millions of fans have seen them and listened to them play the music of the famous stars who hired them. They are the ‘First Call, A-list’ musicians, just 20 feet from stardom, yet rarely receive credit for their work. The ‘Hired Gun’ community lives and breathes music, and for the first time ever, they share their experiences. (Strine 2016)

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