“you Just got Covered”
125
of parody or J Sharnie’s video tutorial titled “How to Make/Record Cover
Songs for YouTube” are examples of videos that aim to communicate a set
of acceptable standards in terms of video production and audio production.
J Sharnie introduces three levels of YouTube cover song production: Basic,
Intermediate, and Advanced. A key musical element of many bedroom music
videos that somewhat establishes a closer rapport between the viewers and
the performer is that the musicians sing and play an instrument live while
a web camera records them (a basic form of a YouTube cover song according
to J Sharnie); in this case performers do not lip-synch to their pre-recorded
version of the cover or sing to a backing track (elements which are usually
met by intermediate and advanced YouTube users).
Sunn St. Claire’s cover video of “Titanium” (published in 2011) is an
example that shares the “basic” characteristics of YouTube covers. Sunn
introduces herself at the beginning of the video and informs the viewers
that this is the first time she will play the guitar instead of the keyboard as
in her previous videos. In the description of the video, she notes that this
attempt is part of a learning experience and confesses that she sang the
wrong lyrics adding a “haha” as a cute way to apologize. Her introduction and
the medium-to-close-up framing reflect settings associated with vlogging,
“a form whose persistent direct address to the viewer inherently invites
feedback.” 45 Sunn’s endearing direct address also echoes the “sweetness” and
intimacy which Vernallis nostalgically associates with early professional
music videos of the 1980s. 46 Sunn closes her performance with what seems
to be a spontaneous shy face that may suggest vulnerability, as she is not
in a position to receive an immediate response from her potential online
viewers, as she would be in the case of performing live for an audience.
Intimacy, vulnerability, and sweetness are key characteristics of many
cover song videos uploaded on YouTube. Burgess and Green note that many
user-made music videos “adopt a conversational mode, as artists preface
their work with a discussion of the motivations or context of the piece they
have written or will perform, respond to suggestions and feedback, often
drawing the audience into the intimacy afforded by direct address.” 47 Timid
introductory comments prior to a performance, the silences before and
after unedited performances, which include the process of pressing the
record button, casual appearance, quick glances at the lyrics sheet, and
the framing of homely surroundings, are all elements that do not visually
45 Burgess and Green, YouTube,54.
46 Vernallis, Unruly Media.
47 Burgess and Green, YouTube, 54.
125
of parody or J Sharnie’s video tutorial titled “How to Make/Record Cover
Songs for YouTube” are examples of videos that aim to communicate a set
of acceptable standards in terms of video production and audio production.
J Sharnie introduces three levels of YouTube cover song production: Basic,
Intermediate, and Advanced. A key musical element of many bedroom music
videos that somewhat establishes a closer rapport between the viewers and
the performer is that the musicians sing and play an instrument live while
a web camera records them (a basic form of a YouTube cover song according
to J Sharnie); in this case performers do not lip-synch to their pre-recorded
version of the cover or sing to a backing track (elements which are usually
met by intermediate and advanced YouTube users).
Sunn St. Claire’s cover video of “Titanium” (published in 2011) is an
example that shares the “basic” characteristics of YouTube covers. Sunn
introduces herself at the beginning of the video and informs the viewers
that this is the first time she will play the guitar instead of the keyboard as
in her previous videos. In the description of the video, she notes that this
attempt is part of a learning experience and confesses that she sang the
wrong lyrics adding a “haha” as a cute way to apologize. Her introduction and
the medium-to-close-up framing reflect settings associated with vlogging,
“a form whose persistent direct address to the viewer inherently invites
feedback.” 45 Sunn’s endearing direct address also echoes the “sweetness” and
intimacy which Vernallis nostalgically associates with early professional
music videos of the 1980s. 46 Sunn closes her performance with what seems
to be a spontaneous shy face that may suggest vulnerability, as she is not
in a position to receive an immediate response from her potential online
viewers, as she would be in the case of performing live for an audience.
Intimacy, vulnerability, and sweetness are key characteristics of many
cover song videos uploaded on YouTube. Burgess and Green note that many
user-made music videos “adopt a conversational mode, as artists preface
their work with a discussion of the motivations or context of the piece they
have written or will perform, respond to suggestions and feedback, often
drawing the audience into the intimacy afforded by direct address.” 47 Timid
introductory comments prior to a performance, the silences before and
after unedited performances, which include the process of pressing the
record button, casual appearance, quick glances at the lyrics sheet, and
the framing of homely surroundings, are all elements that do not visually
45 Burgess and Green, YouTube,54.
46 Vernallis, Unruly Media.
47 Burgess and Green, YouTube, 54.