Youtube Music Videos Free
Vita Strait
NOTE: Most common asked question: "How do I add videos to this channel? A: Most important thing is to make sure your video is enabled to be added to channels and collections. Then add me as a contact and share a link.
Or if you prefer videomilitia.com is now Tumblr integrated so go there and follow the submit link. I look at every email but don't feel bad if your video isn't added or given a response, email volume is rather high. If the production value is good then I probably didn't like the song. Yes song is a factor.
LASTLY: No cardboard robot videos. EVER.
A music video is a video that integrates a song or an album with imagery that is produced for promotional or musical artistic purposes. Modern music videos are primarily made and used as a music marketing device intended to promote the sale of music recordings. These videos are typically shown on music television and on streaming video sites like YouTube, or more rarely shown theatrically. They can be commercially issued on home video, either as video albums or video singles. The format has been described by various terms including "illustrated song", "filmed insert", "promotional (promo) film", "promotional clip", "promotional video", "song video", "song clip", "film clip", "video clip", or simply "video".
While musical short films were popular as soon as recorded sound was introduced to theatrical film screenings in the 1920s, the music video rose to prominence in the 1980s when American pay-TV channel MTV based its format around the medium.
Music videos use a wide range of styles and contemporary video-making techniques, including animation, live-action, documentary, and non-narrative approaches such as abstract film. Combining these styles and techniques has become more popular due to the variety for the audience. Many music videos interpret images and scenes from the song's lyrics, while others take a more thematic approach. Other music videos may not have any concept, being only a filmed version of the song's live concert performance.[1]
In 1894, sheet music publishers Edward B. Marks and Joe Stern hired electrician George Thomas and various artists to promote sales of their song "The Little Lost Child".[2] Using a magic lantern, Thomas projected a series of still images on a screen simultaneous to live performances. This would become a popular form of entertainment known as the illustrated song, the first step toward music video.[2]
With the arrival of "talkies" many musical short films were produced. Vitaphone shorts (produced by Warner Bros.) featured many bands, vocalists, and dancers. Animation artist Max Fleischer introduced a series of sing-along short cartoons called Screen Songs, which invited audiences to sing along to popular songs by "following the bouncing ball", which is similar to a modern karaoke machine. Early cartoons featured popular musicians performing their hit songs on camera in live-action segments during the cartoons. John Logie Baird created Phonovision discs featuring Betty Bolton and other singers from the 1930s. The early animated films by Walt Disney, such as the Silly Symphonies shorts and especially Fantasia, which featured several interpretations of classical pieces, were built around music. The Warner Bros. cartoons, even today billed as Looney Tunes and Merrie Melodies, were initially fashioned around specific songs from upcoming Warner Bros. musical films. Live-action musical shorts, featuring such popular artists as Cab Calloway, were also distributed to theaters.
Blues singer Bessie Smith appeared in a two-reel short film called St. Louis Blues featuring a dramatized performance of the hit song. Numerous other musicians appeared in short musical subjects during this period.
Musician Louis Jordan made short films for his songs, some of which were spliced together into a feature film, Lookout Sister. These films were, according to music historian Donald Clarke, the "ancestors" of music video.[3]
In his autobiography, Tony Bennett claims to have created "...the first music video" when he was filmed walking along the Serpentine in Hyde Park, London, with the resulting clip being set to his recording of the song "Stranger in Paradise".[7] The clip was sent to UK and US television stations and aired on shows including Dick Clark's American Bandstand.[8]
The oldest example of a promotional music video with similarities to more abstract, modern videos seems to be the Czechoslovakia "Dme si do bytu" ("Well put in the apartment") created and directed by Ladislav Rychman.[9][10]
In the late 1950s[11] the Scopitone, a visual jukebox, was introduced in France and short films were produced by many French artists, such as Serge Gainsbourg, Franoise Hardy, Jacques Dutronc, and the Belgian Jacques Brel to accompany their songs. Its use spread to other countries, and similar machines such as the Cinebox in Italy and Color-sonic in the U.S. were patented.[11] In 1961, for the Canadian-produced show Singalong Jubilee, Manny Pittson began pre-recording the music audio, went on-location and taped various visuals with the musicians lip-synching, then edited the audio and video together. Most music numbers were taped in-studio on stage, and the location shoot "videos" were to add variety.[12] In 1964, Kenneth Anger's experimental short film, Scorpio Rising used popular songs instead of dialogue.[13]
On 1 January 1964, Johnnie Stewart and Stanley Dorfman created the British chart music television series Top of the Pops, which they produced in tandem and directed in weekly rotation until the 1970s.[14] The show's format created a demand for frequent studio appearances by renowned British and US artists at short notice, as the charts came out on Tuesday mornings and the show was taped live on Thursdays. Coupled with the artists busy touring schedules and subsequent requests from broadcasters in Europe and America to showcase popular British acts, ultimately prompted the production of pre-recorded or filmed inserts referred to as "promotional videos." These videos served as substitutes for live performances by the artists and played a pivotal role in the development of the music video genre.[15][16][17] During the early stages of the show's introduction in 1964, when alternative footage was unavailable, Dorfman and Stewart resorted to capturing footage of the enthusiastic audience dancing. However, a significant change took place in October 1964 when a decision was made to occasionally introduce a dance troupe with choreographed routines for specific tracks. This addition brought a new dynamic to the show, enhancing its visual appeal and diversifying the entertainment value for viewers.[18] One notable example was the video for Roy Orbison's song 'Oh Pretty Woman', which Dorfman filmed and directed in the rooftop garden of London's Kensington-based Derry and Toms department store on 19 October 1964 as a visual accompaniment to the song. It subsequently aired on Top of the Pops on 22 October, 29, as well as 12 November and 19."[19][20] By the 1970s, Top of the Pops had an average weekly viewership of 12,500,000 people, had solidified its status as the premier international platform for artists launching new records at the time,[21] had firmly established the significance of promotional film clips as a crucial tool for promoting the careers of emerging artists and generating buzz for new releases by established acts, and was significant in developing and popularising what would later become the music video genre across the globe.[16][17]
In 1964, The Moody Blues producer Alex Murray wanted to promote his version of "Go Now". The short film clip he produced and directed to promote the single has a striking visual style that predates Queen's similar "Bohemian Rhapsody" video by a full decade[citation needed]. It also predates what the Beatles did with promotional films of their single "Paperback Writer" and B-Side "Rain", both released in 1966.[citation needed]
The monochrome 1965 clip for Bob Dylan's "Subterranean Homesick Blues" filmed by D. A. Pennebaker was featured in Pennebaker's Dylan film documentary Dont Look Back. Eschewing any attempt to simulate performance or present a narrative, the clip shows Dylan standing in a city back alley, silently shuffling a series of large cue cards (bearing key words from the song's lyrics).
Besides the Beatles, many other British artists made "filmed inserts" so they could be screened on TV when the bands were not available to appear live. The Who featured in several promotional clips, beginning with their 1965 clip for "I Can't Explain". Their plot clip for "Happy Jack" (1966) shows the band acting like a gang of thieves. The promo film to "Call Me Lightning" (1968) tells a story of how drummer Keith Moon came to join the group: The other three band members are having tea inside what looks like an abandoned hangar when suddenly a "bleeding box" arrives, out of which jumps a fast-running, time lapse, Moon that the other members subsequently try to get a hold of in a sped-up slapstick chasing sequence to wind him down. Pink Floyd produced promotional films for their songs, including "San Francisco: Film", directed by Anthony Stern, "Scarecrow", "Arnold Layne" and "Interstellar Overdrive", the latter directed by Peter Whitehead, who also made several pioneering clips for The Rolling Stones between 1966 and 1968. The Kinks made one of the first "plot" promotional clips for a song. For their single "Dead End Street" (1966) a miniature comic movie was made. The BBC reportedly refused to air the clip because it was considered to be in "poor taste".[26]
Country music also picked up on the trend of promotional film clips to publicize songs. Sam Lovullo, the producer of the television series Hee Haw, explained his show presented "what were, in reality, the first musical videos",[32] while JMI Records made the same claim with Don Williams' 1973 song "The Shelter of Your Eyes".[33] Country music historian Bob Millard wrote that JMI had pioneered the country music video concept by "producing a 3-minute film" to go along with Williams' song.[33] Lovullo said his videos were conceptualized by having the show's staff go to nearby rural areas and film animals and farmers, before editing the footage to fit the storyline of a particular song. "The video material was a very workable production item for the show," he wrote. "It provided picture stories for songs. However, some of our guests felt the videos took attention away from their live performances, which they hoped would promote record sales. If they had a hit song, they didn't want to play it under comic barnyard footage." The concept's mixed reaction eventually spelled an end to the "video" concept on Hee Haw.[32] Promotional films of country music songs, however, continued to be produced.
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