Hey! My name's Joe and this is where I'll post my notes & work related to my A2 media studies over the next year or so.

Wednesday, 30 July 2014

Update on Unsigned Artists

I am still looking to finalise an artist that I can work with for this project. From the original shortlist every band has been contacted and I have had difficulty in getting an artist on board.

Call It Reckless - Although willing to participate, they will not have any material that I could work with until around December, which is too late for this project.
Hours - Contacted the band via E-Mail one month ago, and recieved no response.
The Afterparty - After originally having no response via E-mail, I sent the band a Direct Message via Twitter, where the band told me to forward it to their e-mail, and that they were meeting with their manager shortly which explained the silence, and I have not heard back since.
Hunter & The Bear - Unfortunately the band have such a busy schedule that it just couldn't fit - however, I am still in contact with Lily, their manager, who may be able to provide other artists, such as Rothwell.
Octavians / Headroom - No response. Headroom have just been on tour with Citizen, Octavians are working on a new album.
Empire Nights - I contacted the band, who said unfortunately they wouldn't have anything to work with for this project, and that the band were away. Shortly afterwards, my friend Stokely left the band.
Speaking in Shadows / All At Sea - E-Mail sent, no response. 

I have also contacted Abandoning Sunday and 5 & A Dime from the USA, but am yet to hear a response as of yet, just in case. However, I am confident that by working with Lily I will be able to secure an act in the near future, or I will be able to find alternative acts through my Twitter, such as The Oceans Above, Discovered, Till Tomorrow Ends, Giveittime, Skin Deep and Short Stories (USA).

Thursday, 10 July 2014

Music Video Parody // Rick Astley - Never Gonna Give You Up

Yes, that's right, you read that correctly. Enjoy our parody of Rick Astley's famous song and equally famous Dance moves in, "Never Gonna Give You Up".



Planned by: Cesco, Joe, Sean
Filmed by: Cesco, Cameron, Lee
Edited by: Ben, Cameron, Tom, Lee w/assistance from Cesco, Joe & Sean
Starring: Ben as Rick Astley, Tom and Cameron as Dancers, Cesco as Extra and Beth as Dancer.

Enjoy!

Sunday, 6 July 2014

Music Video Close Analysis: Deaf Havana // "Hunstanton Pier"

Deaf Havana // Hunstanton Pier

In this close analysis I will be looking at the opening two minutes of the music video to "Hunstanton Pier" by Norfolk band Deaf Havana. The video was directed by Duncan Rice and the single was taken from the band's album "Fools and Worthless Liars" (2011) which also featured the singles "I'm A Bore, Mostly",  "The Past Six Years", and  "I Will Try". The band have are renowned for their dedicated fanbase and have recently gained popularity and attention with the release of their 2013 album "Old Souls". The band come under arguably the broadest of genres at present, Rock, with their styles being likened to that of Mallory Knox, Lower Than Atlantis and Young Guns - bands that do not flaunt generic "rockstars" but instead, down-to-Earth individuals playing meaningful music. This is evident in the track "Hunstanton Pier", as it is sometimes known as "the most beautiful homage" to a hometown, in this case the coastal town of Hunstanton, Norfolk, where lead singer James grew up. Commonly, rock bands, particularly more punk bands, sing about leaving their hometown, and so a tribute as warming as "Hunstanton Pier" truly puts your hair on end. I will be discussing the significance of the videos opening minutes in relation to the visuals and lyrics, as well as other distinctive features of the music video.


The video begins with an establishing shot of a coastal region which, anyone familiar with the region, will recognise as the coastal resort of Hunstanton. Accompanied by the soft acoustic introduction, a series of panning shots follow to depict the region. The shots present pleasant scenery, with bright natural lighting and a variety of colours - the Union Jack allows for setting to be established and the low angle shot also immediately connotes patriotism and being proud of where you are from, a theme that is evident in the lyrics. The left to right panning shot on the beach [0:10] featuring the sunlight glinting off of the sea and the many seagulls flying away is a very picturesque shot that presents themes of warmth, and the general connotations of relaxation by the coast. This opening sequence of establishing shots allows the audience to get a feel for the location and perhaps what the song will be about, and also tells the audience that the video will be narrative based, further enhanced when a fade is used at 0:12 to indicate the beginning of the 'story'.

This notion of narration is enhanced here when the shot introduces James, perched on the porch of a beach hut, looking at the camera- a typical 'storyteller' pose, he is addressing the audience, and the opening lyric, "It was 2004 if I'm not mistaken" creates a very reminiscent tone that James is recalling something from many years ago, but "I'm not mistaken" indicates it is something quite close to his heart. The close up shots of James depict him talking, whereas in the song he is singing, creating a clear contrast and helping to establish the narration in the music video. More shots of the area follow for the rest of this line before the shot returns to James for when he says, "I had friends back then and a PMA to match". This past tense and usage of the acronym PMA (Positive Mental Attitude) indicates how much times have changed since this story, and how much he has changed as a person- people have come and gone and his mentality has changed, which the audience assumes will be explained in the rest of the song. The lyric, "We were young and out of touch, with the things we'd grow to hate so much in time" is James' way of expressing how as you grow up your viewpoint of so many things changes, and things that you used to enjoy as a child are nothing but a distant memory. As he sings this lyric, he is standing on the beach with the other members of the band as they look around, reminiscent of the times they used to spend here.

This theme of memories continues into the next verse, which opens with "Back when my hair was long and Phil was still alive, we spent our days trying to speak to the girls who left us weak." The lyrics here link with the visuals of the video as James is shown walking through an open field filled with flowers, one of which he picks, perhaps a homage to his friend Phil who is remembering or to connote the despairing attempts of love indicated by "the girls who left us weak", as typically the male would give the female flowers as a sign of affection. As in the first verse, a series of close ups of James on the porch are used, which Goodwin's theories suggest are to create a "star image" of the performer, and also helps to portray James as humble. He continues to reflectively sing about how people leave, for one reason or another: "my friends been laid to rest", an intertextual reference to Phil from the previous line, and "the ones who let us in are pushing prams or raising twins" suggests a lot of the people that he used to know from his time in his hometown now have families and are raising children. The continued usage of the filters and other special effects enhance the warm atmosphere and location.

The song then progresses to the chilling pre-chorus, where James sings "to tell you the truth" - in the video, he is looking away from the camera, and this suggests that instead of just addressing the audience through looking at the camera, he is instead telling someone else - this usage of voyeurism is to perhaps show that James is actually addressing anybody and everybody with his monologue, and this shows how strongly he feels about what he is saying. The video then clearly links lyrics with visuals, as it cuts to a zoom out of a night time cityscape as he sings "I'd be lying if I said I didn't hate the city". To some, this expansive shot that captures the illuminations of a city, unknown to the audience but recognisable to most as London (1:24, St. Paul's Cathedral far right, Canary Wharf left), the capital of the country. James then sings, "I need the pier and the fresh sea air of the town that made me [who I am].", as the shot cuts back to images of the sea at Hunstanton. This poignant line indicates how appreciative James is of his hometown and how as he has grown, he has been forced to leave the region that he loved and move to the city which he 'grew to hate in time'. At 1:29, a shot is held in a location by the coast (along a Groyne) as a long period of the day is filmed and then sped up to create a montage effect- interestingly, I feel this image replicates the business of a city that James' says he does not like, but due to it being by the coast, the concept is entirely different, it is where he feels at home.

"To tell you the truth I'd be lying if I said I didn't hate the city, I need the pier and the fresh sea air of the town that made me who I am"

The final section I will be looking at is the renowned passionate chorus that has reduced many a crowd to tears. In the opening section, the chorus is sung over the acoustic backing that has been a constant throughout the opening few minutes, whereas later in the song it becomes an anthemic, powerful piece. The visuals return back to where James is telling his story, showing further usage of Goodwin's ideas about voyeurism and star image motifs, as he sings "In my heart and in my soul", which implies to the audience that he is undoubtedly certain that what he is saying is truthful. In a manner which is warming to the audience, James' soft voice sings "all the people that I've known, and the places I've called home" as the video captures different scenarios in the town and different people - two men enjoying themselves at a pub, a couple at a small stall, and a man smiling into the camera at the park- this creates an atmosphere of community, that everyone here in the town gets along and treats each other as family, and is happy where they are. They could be recollections of James' past, "the people that [he's] known" or it could be further showing the audience what it meant to be living in this community. The music picks up as the kick drum builds the emotion in the lyrics and drives the pace of the editing, as James shows his own emotions to leaving the place he called home, "there all just places that I left behind", showing how much he regrets leaving but perhaps had to, no matter how much he missed the town. This point is enhanced as he goes uses "reminders" to indicate how much things have changed. The last lyric of the chorus is tinted with regret, and yearning to relive the past, as James almost sorrowfully sings on the porch, "[reminders] of the changing times, and these ageing bones of mine". This continued theme of ageing has been observed throughout the opening, with him reflecting on when he was younger and how different things are now. The video goes on to further elaborate on the 'age' aspect, with the band reliving some childhood memories. After this last lyric, the instrumental kicks in, along with shots of stunning scenery and time lapse photography (to perhaps indicate how Hunstanton has always and will always be the same way to James) and concludes the "opening chapter" of Havana's tribute to their hometown.
In my head, and in my mind, they're all just the places that I left behind
Reminders of the changing times, and these ageing bones of mine.
I encourage you to watch the rest of the video, enjoy the amazing music of the band and even to pick up the album, but this concludes my close analysis of the opening two minutes of Deaf Havana's "Hunstanton Pier", a narrative based video that pays tribute to the band's town that shaped them into the individuals that they are today, and how although times change, and along with that people change, some things will always remain the same in people's hearts.

Wednesday, 2 July 2014

Anna Calvi - Desire // Group Analysis

Cesco, Joe, Tom
Anna Calvi – Desire // Music Video Analysis
0:48-1:36

At the start of this section, there is a shot that has been well balanced to depict equilibrium through use of symmetry. This is a continued theme in the video. There is a skeletal mask central to the shot, with candles symmetrically placed around it, providing a soft eerie lighting, that results in the partial obscuring of the rest of the shot. The skull and candles combined create a religious theme, and relating to the lyrics, death through this deadly Desire (Goodwin).
During the pre-chorus, the editing is in time with the movements and flickering of both the light and the action of objects in frame such as the spoons and holy water, again connoting religious themes. This relates to Goodwins ideas about the visuals matching the sound. Throughout this extract, the colour Red is increasingly prominent, with it being noticeable in almost all shots. It is used in a number of ways to develop different themes, for example, on Calvi’s lips; the Red creates a sexual undertone of desire, whereas with it being used as a lighting technique (1:14), it connotes fear and danger. In each shot, no more than one person is present at any one time, however from the shots the notion of voyeurism is more enhanced, as we as the audience feel that there is another entity present. This contrast between the repetition of “Desire” in the lyrics and the isolation in the shots could link to the contrasts between sex and intimacy, and what religion deems as correct or what is seen as conventional; religion is demonstrated to be very significant and morally correct through mise-en-scene (crucifixes, etc.) and how the temptation is corrupting this.

Tuesday, 1 July 2014

Secondary Shortlist of Unsigned Artists

Having done some further research I've come across a few other bands to add to the previous shortlist. The original shortlist remains priority and all of them will be contacted soon.

The Original Shortlist is:
Call It Reckless - [In Contact]
Hours - [Contacted]
The Afterparty - [Contacted]
Hunter & The Bear - [In Contact]
Octavians
Headroom
Empire Nights - [Contacted]

Other UK Bands that I have come across that are perhaps on a smaller scale that could be considered are:

Speaking In Shadows - [Contacted]

Genre: Rock // Contact: Twitter: @officialSIS // Location: Nuneaton // Similar To: Deaf Havana, Rise Against, Mallory Knox
Speaking In Shadows are a 5-piece Alternative Rock band from Nuneaton in the Midlands. With their EP coming out in July, and with a well done music video for "Technicolour Trainwreck", and a following of around 7,000 on Twitter, the band are going places.

The Oceans Above

Genre: Rock // Contact: @TheOceansAbove, Bandcamp // Location: Coventry // Similar To: I Divide, Deaf Havana, Lower Than Atlantis
The Oceans Above are a 4-piece rock band from Nuneaton, in the Midlands, and have a slightly larger following than Speaking in Shadows with 9,000 on Twitter. Their single, "I'm Gone", is now available on iTunes and the accompanying music video is well done too.

All At Sea - [Contacted]

Genre: Rock. // Contact: Twitter: @allatseauk // Location: Essex // Similar To: I Divide, Rise Against
A 5-piece rock band from Essex, All At Sea are quite popular amongst their fanbase - with a Twitter following of 13k, their own Big Cartel site and their debut EP on iTunes, the band are making good progress. However, no music video has been found on YouTube.

Small Scale, low quality, but potential:
Give It Time
Genre: Pop Punk // Contact: Twitter: @Wearegiveittime // Location: Midlands, UK // Similar To: Neck Deep, Man Overboard.

Skin Deep


Genre: Pop Punk //Contact: Bandcamp or @skinderp // Location: Shrewsbury // Similar To: Decade.

American Acts
Abandoning Sunday


Genre: Pop Rock, Acoustic // Contact: Twitter: @abandonsunday // Location: Florida, USA.
Abandoning Sunday was started in 2008 by Michael Thomas, who describes the project's goal as "to write simple lyrics that people can relate to at some point in their lives".
Singles: Patience, Example A, Miles and States, Words.
Albums/EPs: Forget, Reflect, Forgive, Rest.
Similar To: Jimmy Eat World, The Icarus Account, Yellowcard
Thomas is a gem of an artist- with a small following of about 2k on Twitter and such talent in his songwriting abilities, it is hard to comprehend why he is not bigger. The second full band album is expected this summer.

5 & A Dime


Genre: EDM // Contact: Email, @fiveandadime // Location: Philadelphia
Albums: As Mash-Up Artist: The Other White Meat, Ear Candy, #BASSMOB Trilogy
Singles: Quest, Swell.
Remixes: Talk Dirty, Details, Bass Cannon, Dancing In The Moonlight, The Recipe, Let the Bass Kick In, Damage Control, Intergalactic.
Music Videos: #BASSMOB
Similar To: 3LAU, The White Panda, Steve Aoki
Having been a member of 5 & A Dime's "#BASSMOB" fanbase for many years, I've followed Greg and his work. With support from many EDM heavyweights, the former Mash-Up Artist is now taking to producing.

Short Stories


Genre: Pop Punk // Location: San Diego // Contact: Bandcamp, Twitter @ShortStoriesSD
Singles: Here's To Hoping
EP: When Love Is Lost
Similar To: Blink-182, Man Overboard, Real Friends
Short Stories are a small 5-piece "Emotional Pop Punk" band hailing from San Diego. Their strong vocal lead makes them unique and with a small following, they are are a typical pop punk band.

Old Again

Genre: Pop Punk // Location: USA // Contact: Bandcamp.

I hope you enjoy this selection, this secondary shortlist gives me much more potential should artists from the original shortlist be unavailable.

Tuesday, 24 June 2014

Shortlist of Unsigned Artists

Here is a shortlist of Unsigned artists that I could consider working with for producing a Promotional Package.

Call It Reckless
Similar to: Paramore, We Are The In Crowd, Tonight Alive
Call It Reckless are a 5-piece female-fronted Pop Punk band from Norwich.
Vocals: Rachael Holland. Guitar: James Harpham, Tom Griffiths. Bass: James Bussey. Drums: Marc Allum.
Singles/Music Videos: Worry About You, I Know Better
EPs: None [Exc. Demo EP on Bandcamp and iTunes Singles)
Contact: Twitter: @CallItReckless_

I've seen Call It Reckless perform live twice, firstly at Norwich Arts Centre where they supported pop punk band Neck Deep, and then again at Epic Studios, Norwich, where they were supporting Natives. At the Natives gig, I met the band afterwards, and so already have links upon which I can begin contacting them. At the time of writing this, I have emailed the band enquiring as to whether they would be willing to work with the project. Also, as they are from Norwich, I could easily contact/liase with them.

As the pictures above illustrate, this band could be a very strong candidate!

Hours
Similar to: Lower Than Atlantis, Deaf Havana, Decade
Hours are a 5-piece pop rock band from Norwich.
Vocals: Ian Badle. Guitar: Ashley Hannan, Keiran Livingstone. Bass: Rob Aiano. Drums: Ryan Nutter.
Contact: Twitter: @HoursUK
Singles: Crossfire, Casino Lights (Bandcamp)
Hours also supported Natives at Epic Studios, and despite technical difficulties, the band performed very well and impressed. They recently released the video for "Crossfire" but are still quite small. Also, being from Norwich, they are very close and so could easily be contacted.

The Afterparty
Similar to: I Divide, All Time Low, Natives
The Afterparty are a 5 piece Rock band hailing from London, who released their mini-album "Distances" in 2014. Despite having a growing fan base, of around 25K followers on Twitter, the band remain unsigned.
Vocals: Nic Matthews. Guitar: Matt Semmens, Joe Roshier. Bass: Dave Sheard. Drums: Matt Russell.
Singles: Open Road, Liar Liar
EPs: Distances
Contact: Twitter: @AfterpartyUK
Upon hearing "Open Road", I became a very big fan of this band- however, the video is very well constructed, and the band may be slightly too big already to work with, but they are still unsigned.

Hunter & The Bear
Similar To: Mumford & Sons, Passenger, City & Colour


Hunter & The Bear are a folk band from London that had great recognition with their single "Forest on the Hill", but still have a relatively small following of about 1k on Twitter. However, the band have recently been confirmed for a slot at this year's T in the Park festival on a smaller stage. The band have an infinitely uplifting vibe and are incredibly catchy.
Contact: Website and at @HunterTheBear on Twitter.

Octavians
Similar to: Drenge, The Maccabees, The Neighbourhood
Octavians are a small indie rock band from Cardiff. I've given the band promotion before on my 8tracks after talking to them on Twitter, but they have already released an EP, "From One Minute to Another", and have a new EP scheduled for release soon.
Contact: Twitter: @weareoctavians
Vocals: Sam Baker. Guitar: Iuean Lewis. Bass: Zac Read. Drums: Alex Tabero.

Headroom
Similar To: Citizen, Seahaven, Basement

Headroom are a 4-piece Alternative/Indie/Emo band from Manchester. The band are touring with Pop Punk heavyweights Citizen on their UK tour, but have only released one EP and have a homemade music video for "Slung". 
Vocals/Bass: Ben. Guitar: Paolo & Roger. Drums: Ross.
Contact: Twitter: @headroomuk

Empire Nights
Similar To: The Black Keys, Ed Sheeran, Modern Baseball
Empire Nights, formerly You Are The Empire, are a 4 piece Indie Rock band from my hometown, Taverham. They have participated in a similar project before as You Are The Empire.
Vocals: Daniel Holmes. Guitar: Stokely Howard. Bass: Ed Richardson. Drums: Sam Jenkins.
Contact: Twitter: @Empire_Nights
I'm good friends with Stokely from the band, and being a local band they could be very easy to work with.

I also have a few American bands that were originally shortlisted, such as Abandoning Sunday, The Boys After, Short Stories and Old Again, but the criteria states that bands have to be British.

Music Video Analysis: Modern Baseball // "Your Graduation"

For this essay I have chosen to analyse a track called "Your Graduation" by pop punk band Modern Baseball from Philadeplhia. The track is taken from their latest album, "You're Gonna Miss It All", released on Run For Cover Records in 2014, and the music video was directed by Kyle Thrash.

Modern Baseball come under the broad genre of pop punk, but tend more towards an 'indie rock' side with the style of their other tracks- "Your Graduation" happens to be their most 'in-your-face' track, with other songs such as '@chlo3k' and 'Tears Over Beers' being a lot calmer and more indie, similar to other bands such as The Front Bottoms. The genre of pop punk, however, has general characteristics of youth angst, heartache, loneliness and bad times in the past whilst looking on to better things, and music videos are often performance based. "Your Graduation" is the "stand out track" on the album, with high-speed instrumentals and more "hardcore" vocals, potentially widening the audience for the band, at Brendan Lukens discusses uncertainity, regret and his unfortunate luck in love.

Relationship between lyrics and visuals
"It's been three whole years of me, thinking 'bout you everyday"
After looking closely into the video, meaning between the video and lyrics does become more apparent, as different representations could be drawn. Brendan, the singer who we are first introduced to, sings in an almost lazy, careless manner, which links to the hopeless undertones of the lyrics. The first lyric, "It's been three whole years of me thinking 'bout you everyday, sometimes for hours sometimes in passing", is reflected by the video as he is shown with 8 different girls throughout the course of the video, and yet in all of them he has a completely blank expression on his face and is not looking at the girl(s). Zoom outs are utilised here to show that this mentality is a result of his surroundings. The lyric is illustrated through this as it shows how he has been unlucky in love and nothing is right unless he is with the person he has been thinking about for so long. Another potent lyric is when the narration-based lyrics spot Brendan's ex, the girl who he has been thinking about, on the stairs at a party "too drunk to stand" and wonders whether he will stay with the new man forever. At the end of the video, the scenario switches, and the girl is left looking blankly into the camera at her Graduation, an intertextual link, and Brendan walks away, as the band sing, "Go ahead and walk away." 

Relationship between music and visuals
The relationship between the music and the visuals is also quite apparent. The scenes cut to the beat and after each lyric, further enhanced when the drums kick in to keep the pace up, giving the piece more rhythm. In instrumental sections, the band is depicted playing in the street in front of a crowd of enthusiastic, typical fans of the genre, [2:11]. Notable areas where the pace of the visuals change are at the first chorus, at around 1:03, where cuts are regular after every few beats, and certain images such as a rainy night are shown, connoting the angst further, and at the end of the track where the drums become more aggressive, and the visuals reflect this with a series of fast-paced cuts to show different situations in the same room, possibly further depicting the turbulent relationship. Other notable cuts are at 1:14, where the screen goes black in time with a cymbal before the next line of the chorus. During the performance based sections, birds eye views are used where the drummer is looking up to the camera whilst singing or performing, and the audience looks down on the crowd in the street for the most part, which could signal how the singers are looking up for hope with regards to their unrequited love (1:39: "Remember all those countless nights where I told you I loved you.. oh just forget it!") Pans and other movements are used during the performance sections to represent how everyone gets into the song at around this section as it where it picks up, and cuts are much faster and more frequent than in the pre-chorus. Interestingly though, during the main instrumental at the end, at 2:17, slow-motion shots are used, to show the crowd and the skateboarder (stereotypically a characteristic of the genre) which could represent how people are lost in the music and are focused on having a good time and forgetting their troubles.

"Oh just forget it!"
Does the video make use of close-ups of the Artist and Star Image Motifs?
Close-ups are used continuously throughout the video, both to detail the narrative and to create the star image motif- Modern Baseball are a relatively small band with a niche fanbase, and hence would look to expand on that by including performance based scenes in their video. By including scenes with the crowd passionately singing along, crowd surfing in the street and grabbing the artist, they increase the demand for the artist as it makes them seem more popular, but still keeps to the image the band wants to portray of themselves, such as the angst and meaningful lyrics. However the close-ups of Brendan are also used to detail the narrative and construct meaning, as he seems lost and blank in the repeated zoom-out motifs that are featured in the video. By contrast, Jake (the drummer) is portrayed more through the close-ups, as although like Brendan he is the only one that looks at the camera and connecting to the audience, he actually interacts by singing along during his sections, as he is not featured in the narrative side as such.


References to the Notion of Looking?
The references to looking in the video are not in a sexual manner as such, and the artist is not being highlighted prominently, but there is evidence of sexual display, for instance at the party, Brendan is shows centrally whilst everyone around him is enjoying the party, and notably there is a couple on his left kissing on the sofa. The main references to "looking" would be where Brendan looks into the camera and not around him, whilst the females are all looking/talking at him, and he does not see this as he is so fixated by the grudge-like resentment of his ex that is being portrayed.

Intertextual References?
There are a few intertextual references within this music video. The video could be compared to Modern Baseball's video for earlier single, "The Weekend", which has a very similar structure, especially at the start where Brendan is centralised looking into the camera singing, which is likened to the sections where he looks blankly at the camera in Your Graduation. There is also a repeated image of the crowd enjoying themselves and having a good time whilst the band performs, drinking and such. The other intertextual reference would be the name of the song itself and how it is represented through the video- "Your Graduation" is not mentioned once in the song itself, leaving the audience to interpret why the song is titled this, from the video I have interpreted it to be the stage when the girl walks away from the narrator, as the video seems to regress backwards through the narrative to go back to the start- at the end, good times are shown in a quick montage before the roles are reversed and the girl, presumably the ex, is left looking into the camera, and is then left. The "Graduation" could be literal, or could represent finally finishing and moving on life. The beginning of the video is left unanswered as to meaning, but it features scenes that are displayed throughout the video, such as the swings, the skate park and the party.
"Go ahead and walk away."

Is the Music Video performance, narrative, or concept based?
Videos of this genre are generally performance based with a very minimal narrative, however "Your Graduation" incorporates a much deeper narrative and a more varied performance based video. Instead of the band performing at a concert or tour like in other pop punk videos, the band are performing to a crowd in the street, quite intimately but also aggressively. The narrative allows for more meaning to the lyrics to be constructed and allows the audience to feel more of a connection with the artist, which could possibly lead to the development of sales and popularity increase.

To conclude, "Your Graduation" is a narrative and performance based video that portrays a turbulent end to a relationship and the issues that followed in its aftermath, and how it effected the narrator, but also how people can relate to and enjoy the music of the band.