How effective is the combination of your main product and ancillary texts?

1. 2. HOW EFFECTIVE IS THE
COMBINATION OF YOUR MAIN
PRODUCT AND ANCILLARY
TEXTS?

4. From Lacey’s view, concepts of synergy and convergence
are crucial to modern media. Hence, we employed media
convergence by using a combination of old and new media,
such as social media on print texts. Media convergence is
used throughout the marketing industry as it has become
necessary for any modern campaign.
In this case, to ensure our campaign was successful a web
link was included in the digipak and multiple social
networking website are visible on the magazine advert.
Also, we featured the artist’s social media account which is
attached to the print texts. This links to the longevity of
the artist’s prominence in the industry as consumers can
and want to be updated on new releases of an album.
However, we could have used methods of QR codes as this
is conventional for the form, but this may have been
inappropriate for our media platform, because it is likely to
disrupt the appearance of the poster and digipak. As they
are typically used on billboards.
MEDIA CONVERGENCE

5. We put J.Cole’s label on our ancillary texts, Dreamville
Records. This was done as the reputation of the label
benefits our campaign as people will recognise the brand
immediately. The label has also been used as a part of
merchandising. This includes clothing, such as T-shirts.
However, some artists such as Chance the Rapper, are
reliant on synergy as they are not signed to a record label.
Therefore, they are dependent on, for example
merchandising, as way to promote their brand image and
profit. Therefore, we used media convergence as a way for
the audience to buy into our brand and star. This links
closely to Richard Dyer’s star theory, in that star images
are constructed to produce profit through related
merchandising. Therefore, record labels are likely to
construct a similar star image, as these patterns and tends
are certain to generate sales.
MEDIA CONVERGENCE

6. We uploaded the music video to YouTube, as this is the most
accessible channel to distribute the video to a wide audience.
If this was the official release of the music video, then the
video could have been broadcasted on music television such
as MTV.
Along with growing technological convergence, as Plunkett
argued that there is a “new generation of UK media power
player” that is now rejecting traditional gatekeepers. I agree
with this, as audiences are now encouraged via the web to
view media content. Therefore, featuring the YouTube logo
on the digipak and using YouTube as the distributer, means
that any audience can access the video.
This would be beneficial for our psychographics. Particularly,
those within the LifeMatrix segments who are tribe wired.
This is, those who are motived by products that digital. As
well as, being creative and free-spitted young individuals.
Hence, applying media convergence would meet their needs
as a consumer.
MEDIA CONVERGENCE

7. Understanding the importance of star image is central to the meaning of rap music and
synergy. In real life incidences, some musicians have found themselves trapped within
particular characterisations. But, in our case, the construction of the star image was closely
linked to the theme of poverty, as well as emphasising the material prosperous lifestyle. As
result of this, we created the ‘rags to riches’ storyline.
This star image could be appreciated by the C2DE demographic, who may be able to
identify with the rapper and his lifestyle. Therefore, keeping these theme constant across
the products means that audiences can immerse themselves within the star image, in ways
that are suggested by Blumler and Katz’s gratification theory.
To achieve synergy in the star image, across the three texts the model used similar body
language and facial expressions. For example, in the image behind the digipak track listing,
the model uses a stern expression, which is similar to the main image on the magazine ad
and the performance in the music video. This reinforces the message of the artist dreaming
for a better life both morally and economically.
STAR IMAGE

8. The theme of religion and nature was prominent among all the media
platforms. Through mise-en-scene we used subtle themes of nature,
involving birds and flowers. And through prop and iconography we
implemented themes of religion, particularly christianity. This interlinks with
the moral message of the lack of a positive role model. Within the video, the
rapper can be seen behind a church, which has connotation of purity and
morality. This done to show the rapper is in search for religious role model.
Also, the rapper can be seen in a less conventional location of the forest.
Although, nature is often presented romantically, we decide to use this
location suggest the fragility and innocence of the artist, which not a
traditional portrayal of a rap artist.
The reason for the consistent use of these thematic ideas was because we
wanted to reinforce the artist’s background. From an audience perspective,
these themes can be associated with the artist and the music. Thus, each
product will be recognisable and familiar for the consumers, as this plays on
a conventional ideas. As many rappers overtime have looked for a ‘way out of
the ghetto’ and to improve their position. In a real life case, 50 Cent had this
similar experience. He was later praised by a judge for rising out of his
traumatic circumstances through “sheer hard work and determination”. And
as a part of his star image, he wears a massive crucifix around his neck,
which is evident across his products.
BRAND IDENTITY

9. COLOUR SCHEME AND FONT
Among the ancillary texts a similar colour scheme was used. This involved
using a colour scheme of red, white and black. We made use of these colours
as through the questionnaire feedback, the target audience suggested that
they associate these colour with the rap genre. Also, the font remained
consistent across the ancillary texts. In this, I used britannic bold font for
the album title and the artist name. As well, I used my own handwritten
‘featuring no role modelz’ font on both of the print text. This then means
that audiences can associate these fonts style with the artist’s brand
identity.
However, the music video subverted the colours used in the ancillary texts.
More neon colours were used for the main video, along with natural colours
of the settings. This perhaps makes the music video a slightly more unique
media product. However, not to the extent of it being a product that could
be placed by itself, due other micro-elements that match styles of the print
texts. We decided to use more neon colours to make the video most
conventional for the era. From a maximalist approach, this is where
elements, such as lighting, are being emphasised and put to the extreme.
This creates a unique brand image for the product, as fluorescent colours
can be associated with funkiness and youthfulness. This has become more
of a tend across modern rap music videos.

10. Furthermore, building from the last slide, the use of neon colouration is unique to the
music video, in comparison to more conventional colour schemes used in the other two
texts. However all texts use the concept of nature which is blended with street culture.
As well the colours of black, red and grey are a prominent theme that allows for brand
recognition. Although, the use of flowers is more subtle in the music magazine advert,
as this was used to give texture to the grey background and draw in the audience more
effectively. Whereas it is more explicit in the music video with the use of the forest
setting that is juxtaposed with the inner city. This emphasises the extent to which the
rapper is searching for a role model.
Moreover, the use of the bold replicated roses on the digipak subliminally connotes a
more positive message to the audience, whilst implying to the receiver that our star has
searched everywhere for a role model, but is frustrated not to find any decent examples,
in any place, which is illustrated in the video as the artist ends in place he started (a
curricular narrative).
COLOUR SCHEME AND ICONOGRAPHY

11. We used the same location to shoot the music video
and to obtain graffiti shots for the digipak. Although,
the main image on the magazine poster is not graffiti,
rather it is a photo of the performer, I was able to
make the image appear as though it was graffiti on a
wall, through editing and manipulation. This arguable
maintained the themes of art and street culture. This
artistic appearance of the media product is perhaps
essential to matching modern day conventions of rap
genre. As rap products use artistic styles across their
products to convey the street culture. For example,
CD covers created for Azizi Gibson and Goldlink are
artistic and match their music video and persona (the
top two images).
THE STREET CULTURE

12. Additionally, through mise-en-scene particularly costume, we were able
to connote the street culture and youth. The star was wearing layers of
gold jewellery, as well as brands and fashionable shirts and hoodies. This
type of clothing is typically associated with street culture. For instance,
in J.Cole’s She Knows video, there is a depiction of the street culture
through clothing and props (the third image from the top two images).
Therefore, depicting street culture across all three texts means that we
have created a recognisable and conventional brand.
This would can be appreciated by the C2DE audiences, especially those
from larger cities. In which, they can relate to the artwork more because
we are providing our audience with familiarity, as it can be assumed that
our consumers are are a part of fan bases of artists, such as J.Cole and
Tupac, who also portray working class images in their videos. Also, it
was important have a positive implicit message underneath the
iconography. This is because arguably our rapper acts as a role model for
some receivers, therefore by providing a positive light on the artist we
are allowing for this specific audience to create a positive identification
with the rapper.
THE STREET CULTURE

13. Overall, I think the combination of the main product and
the ancillary texts are effective, as we have created a
dominant star image, through the use of consistent house
styles across our three products, involving uses of colour
schemes, iconography and fonts. Media convergence and
conventions are utilised to ensure the target market is
receptive to the style of artwork we have produced, and
know how to use new media to receive the product and
relate to it. There is a clear and strong synergy and brand
identity created. However, each of the products is
distinctly unique in the use of imagery, and through the
manipulation of this imagery, for example, the use of
roses, nature and colouration which I have discussed.