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The Gregory Brothers continue to create films pertaining to politics and current events on their YouTube channel Schmoyoho using Auto-Tune-like software, in a format much like their original Auto-Tune the News videos. After a hiatus in the series, these clips were rebranded in early 2012 under the title of Songify the News. 30 Onion News Network: Flow 281 Ethan Thompson 31 The Prisoner: Cult TV Remakes 290 Matt Hills 32 The Twilight Zone: Landmark Television 299 Derek Kompare V. TV Practices: Medium, Technology, and Everyday Life 33 Auto-Tune the News: Remix Video 311 David Gurney 34 Battlestar Galactica: Fans and Ancillary Content 320 Suzanne Scott.
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Contemporary Television
Television is dead; television is in a golden age. Can both statements be true? This course focuses on how the art and business of primetime television changed after the introduction of “new media,” from cable to the Internet. Readings will explore production, storytelling, identity and distribution of TV and web entertainment. Students will watch, analyze and have the option to pitch or produce television.
The goal of this course is to give students a deeper understanding of the complexity and ever-changing nature of a media business. Television is arguably the country’s most powerful medium, foundational to American culture and history in the post-WWII era. At first tightly regulated and controlled, television has fragmented, its networks folded into conglomerates and its programs spread across dozens of channels. Throughout the semester students are encouraged to question how changes in television production, regulation and distribution affects programming, culture and politics at large.
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WEEK 1: INTRODUCTION
Course overview: Syllabus
Introductory Lecture: How has television changed?
WEEK 2: NETWORK TO NETWORKED TELEVISION
Screening:
— Mary Tyler Moore, “The Good-Time News” (3:1, 1972) (CBS, Hulu)
— Sex and the City, “To Market, To Market” (6:1, 2006) (Amazon Prime, HBO)
— Broad City, (season 1, 2010) (YouTube)
— BKPI, (season 1:1, 2017) (SuperDeluxe)
Readings:
— Aymar Jean Christian, “Introduction: Independents Change the Channel,” Open TV: Innovation Beyond Hollywood and the Rise of Web Television
— Amanda Lotz, “Understanding Television at the Beginning of the Post-Network Era,” The Television Will Be Revolutionized, pp. 27-48, 2014
— Todd Gitlin, “The Problem of Knowning,” Inside Prime Time
Suggested Readings:
— Aymar Jean Christian, “Indie TV: Innovation in Series Development,” in Media Independence: working with freedom or working for free?, pp 159-181, 2014
— Bonnie Dow, “Hegemony, Feminist Criticism and The Mary Tyler Moore Show,” in Media Independence: working with freedom or working for free?, pp 159-181, 2014 — Eileen R. Meehan & Jackie Byars, “Telefeminism: How Lifetime Got Its Groove,” Television & New Media, 1:1, 2000, pp. 33-51
WEEK 3: TECHNOLOGY
Screening:
-- Epic Rap Battles of History (most recent episodes, YouTube)
-- Got 2B Real, “Got 2B Trill: The Untold Story” (YouTube)
-- High Maintenance, “Jamie” and “Rachel” (2012, 2014) (HBO)
-- High Maintenance, “Meth(od),” (1:1, 2016) (HBO)
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-- John Caldwell, “Trade Machines and Manufactured Identities” (online via NUCat), Production Culture: Industrial Reflexivity and Critical Practice in Film and Television, pp. 150-196, 2008
-- Aymar Jean Christian, “Developing Open TV: Innovation for the Open Network, 1995-2005,” Open TV Innovation Beyond Hollywood and the Rise of Web Television
-- Wendy Chun, “Big Data as Drama,” ELH, 83(2), 363-382
-- David Gurney, “Auto-Tune the News: Remix Video,” in Thompson and Mittell
Suggested Readings:
-- Max Dawson, “Television’s Aesthetic of Efficiency: Convergence Television and the Digital Short,” Television as digital media, 204-229, 2011
-- Louisa Stein, “Gossip Girl: Transmedia Technologies,” in Thompson and Mittell
-- Chuck Tryon, “TV Got Better: Netflix’s Original Programming Strategies and Binge Viewing,” Media Industries 2(2): 104-116, 2015
WEEK 4: AUDIENCES
Screening:
-- Looking, “Looking for Now,” (1:1, HBO)
-- Empire, “Pilot,” (1:1, FOX)
-- Gay Of Thrones, (6:1-3, Funny Or Die)
-- Kyle Humphrey & Graydon Sheppard, “Shit Girls Say” (YouTube)
-- Franchesca Ramsey, “Shit White Girls Say…to Black Girls” (YouTube)
Readings:
-- Henry Jenkins, “Introduction: Why Media Spreads,” Spreadable Media: creating value and meaning in a networked culture, pp. 1-46, 2013
-- Suzanne Scott, “Battlestar Galactica: Fans and Ancillary Content,” in Thompson and Mittell
-- Gayle Wald, “The Black Community and the Affective Compact,” It’s Been Beautiful: Soul! and Black Power Television, pp. 70-103, 2015
-- Kristen Warner, “’I’m glad no one was hung up on the race thing:’ Grey’s Anatomy and the Innovation of Blindcasting in a Post-Racial Era,” The Cultural Politics of Colorblind Casting, pp. 62-94, 2015
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Suggested readings:
-- Mark Andrejevic, “Watching Television Without Pity: The Productivity of Online Fans,” Television & New Media 9 (24), pp. 24-46, 2008
-- Eve Ng, “Reading the Romance of Fan Cultural Production: Music Videos of a Television Lesbian Couple,” in Gender, Race, and Class in Media: A Critical Reader, eds. Gail Dines, Jean M. Humez, pp. 553-562
WEEK 5: FINANCING
Screening:
-- Breaking Bad, 'Box Cutter,' (4:1, 2011) (Netflix)
-- Whatever this is, 'Reality,' (1:1, 2013) (Vimeo)
-- RuPaul's Drag Race (2:7, 2010) (Logo)
Readings:
-- Amanda Lotz, “The New Economics of Television,” Television Will Be Revolutionized, pp. 167-206, 2014
-- Ted Magder, “Television 2.0: the Business of American Television in Transition,” Reality TV: Remaking Television Culture, pp. 141-164, 2009
-- Kevin Sandler, “Modern Family: Product Placement,” in Thompson and Mittell
Suggested readings:
-- Aymar Jean Christian, “Web TV Networks Challenge Linear Business Models,” Media Industries Project, http://www.carseywolf.ucsb.edu/mip/article/web-tv-networks-challenge-linear-business-models, 2014
-- Amanda Lotz, “How to spend $9.3 billion in three days: examining the upfront buying process in the production of US television culture,” Media Culture Society 29, 549-567, 2007
-- Chad Raphael, “The Political Economic Origins of Reali-TV,” in Reality TV: Remaking Television Culture, pp. 123-140, 2009
WEEK 6: DISTRIBUTION
Screenings:
-- Insecure, “Hella Blows,” (2:6, 2017) (HBO)
-- Maude, 'Maude's Dilemma,' (1:9-10, 1972, CBS)
-- Brujos (season 1:1-4, 2016-17) (Open TV)
-- Kids React (YouTube)
-- Ratchetpiece Theatre, “Rasheeda (Love and Hip Hop: Atlanta)” (YouTube)
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-- Stuart Cunningham, David Craig, & Jon Silver, “YouTube, multichannel networks, and the accelerated evolution of the new screen ecology,” Convergence, 22(4): 376-391, 2016
-- Aymar Jean Christian, “Open TV Distribution: Struggling for an Independent Market,” Open TV: Innovation Beyond Hollywood and the Rise of Web Television
-- Aymar Jean Christian, “Scaling Open TV: The Challenges of Big Data Television,” Open TV: Innovation Beyond Hollywood and the Rise of Web Television”
Suggested readings:
-- Jennifer Fuller, “Branding blackness on cable,” Media, Culture and Society 32(2): pp. 285-305, 2010
-- Melanie Kohnen, “Cultural Diversity as Brand Management in Cable Television,” Media Industries, 2(2)
-- Patrick Vonderau, “The video bubble: multichannel networks and the transformation of YouTube,” Convergence, 22(4): 361-375, 2016
WEEK 7: PRODUCTION
Screening:
-- All in the Family, “Cousin Maude’s Visit,” (2:12, 1971) (YouTube)
-- UnREAL, “Relapse” – (1:2, 2015) (Hulu+, Amazon, iTunes)
-- The Lizzie Bennett Diaries (1:1-3, 2012, YouTube)
-- Joanne the Scammer (Instagram) https://www.instagram.com/joannethescammer
-- Joanne the Scammer (SuperDeluxe, 1:2+7, 2017)
Reading:
-- Aymar Jean Christian, “Open TV Production: Revaluing Creative Labor,’” Open TV: Innovation Beyond Hollywood and the Rise of Web Television
-- Miranda J. Banks, “I Love Lucy: The Writer-Producer,” in Thompson and Mittell
-- Amanda Lotz, “Making Television: Changes in the Practices of Creating Television,” The television will be revolutionized, pp. 81-118, 2007 (online via NUCat)
-- Beejoli Shah, “In the White Room With Black Writers: Hollywood’s ‘Diversity Hires,’” Defamer, December 20, 2013, http://defamer.gawker.com/in-the-white-room-with-black-writers-hollywoods-dive-1486789620
Suggested readings:
-- Joseph Adalian & Maria Elena Fernandez, “The Business of Too Much TV,” Vulture, May, 2016, http://www.vulture.com/2016/05/peak-tv-business-c-v-r.html
-- John Caldwell, “Industrial Auteur Theory (Above the Line/Creative),” Production Culture: Industrial Reflexivity and Critical Practice in Film and Television, pp. 197-231, 2008 (online via NUCat)
-- Louisa Stein, “Collective Authorship and the Culture of Feels,” Millennial Fandom: Television Audiences in the Transmedia Age, 154-170
-- John Vanderhoef, “Guilds Struggle to Organize Reality TV,” Carsey-Wolf Center: Media Industries Project, December 2, 2013, http://www.carseywolf.ucsb.edu/mip/article/guilds-struggle-organize-reality-tv-labor
WEEK 8: REPRESENTATION
Screening:
-- Brown Girls (1:1-2, 2017) (Open TV)
-- Transparent, “Man on the Land,” (2:9, 2015) (Amazon)
-- Her Story (1:1-6, 2016) (YouTube)
-- The Misadventures of Awkward Black Girl (1:1-2, 2011) (YouTube)
-- White Fetish (1:1-4, 2014) (YouTube)
Readings:
-- Aymar Jean Christian, “Open TV: Representation: Reforming Cultural Politics,” Open TV: Innovation Beyond Hollywood and the Rise of Web Television
-- Herman Gray, “The Politics of Representation in Network Television,” Watching Race: Television and the Struggle for Blackness, pp. 70-92, 2004
-- Susan Stryker, “Biopolitics,” Transgender Studies Quarterly, pp. 38-42, 2014
-- Rebecca Wanzo, “Precarious-Girl Comedy: Issa Rae, Lena Dunham, and Abjection Aesthetics,” Camera Obscura, 31(2) pp. 27-59, 2010
Suggested readings:
-- Phillip Maciak, “Kill the Leading Man: Two Histories of 21st Century Television,” Los Angeles Review of Books, August 13, 2013, http://lareviewofbooks.org/review/kill-the-leading-man-two-histories-of-21st-century-television
-- C. Riley Snorton, “Referential Sights and Slights,” Palimpsest, 2(2) pp. 175-186, 2013
-- June Thomas, “Why Did Maura Pfefferman and Her Daughters Go to a Trans-Exclusionary Wimmin’s Festival?,” Slate, December 14, 2015, http://www.slate.com/blogs/outward/2015/12/14/writer_ali_liebegott_on_transparent_s_women_s_festival_episode.html
-- Kristen Warner, 'Girls: HBO and Insecure's Risky Racial Politics,' Los Angeles Review of Books, https://lareviewofbooks.org/article/home-girls-insecure-and-hbos-risky-racial-politics
WEEK 9: NARRATIVE
Screenings:
-- Arrested Development, “SOBs,” (3:9, 2006) (FOX)
-- Louie, “Daddy’s Girlfriend, Part 2” (3:5, 2012) (FX)
-- Bojack Horseman, “Fish Out of Water” (3:4, 2016) (Netflix)
Readings:
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-- Bambi Higgins, “Homicide: Realism,” in Thompson and Mittell
-- Jason Mittell, “Complexity in Context,” Complex TV: the poetics of contemporary television storytelling, 2015, pp. 17-54
-- Jeffrey Sconce, “Tim and Eric’s Awesome Show, Great Job!: Metacomedy,” in Thompson and Mittell
Suggested readings:
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— Aymar Jean Christian, “Netflix’s Arrested Development Will Not Change TV. Web TV Already Did,” Televisual, January 11, 2013, http://tvisual.org/2013/01/11/netflixs-arrested-development-will-not-change-tv-web-tv-already-did.
— Richard Butsch, “Ralph, Fred, Archie, Homer, and the King of Queens: Why Television Keeps Re-Creating the Male Working-Class Buffoon,” in Gender, Race, and Class in Media: A Critical Reader, eds. Gail Dines, Jean M. Humez, pp. 101-110
— Michael Kackman, “Quality Television, Melodrama, and Cultural Complexity,” Flow, October 2008, http://flowtv.org/2008/10/quality-television-melodrama-and-cultural-complexity%C2%A0michael-kackman%C2%A0%C2%A0university-of-texas-austin%C2%A0%C2%A0
-- Eric Thurm, “How BoJack Horseman Created the Boldest Cartoon Episode in Decades,” Esquire, July 27, 2016, http://www.esquire.com/entertainment/tv/a47069/bojack-horseman-season-three-silent-episode
(CNN) -- This is the summer of Auto-Tune.
The Gregory Brothers have become a viral hit with their 'Auto-Tune the News' videos.
No matter how hard some people -- notably Jay-Z --have tried to kill the trend of musicians using computers to make their voices sound like whiny robots, Auto-Tune technology continues to ride a cultural high.
Now the voice-altering effects are migrating from recording studios to YouTube and mobile phones.
An iPhone app called 'I Am T-Pain' lets people manipulate their voices to sound like the popular rapper and Auto-Tune advocate.
The Gregory Brothers, a sibling band out of Brooklyn, New York, has become a hit on YouTube with a series of videos that Auto-Tune cable newscasts and political speeches.
The group, which also tours as a low-fi soul band, started its series of videos called 'Auto-Tune the News' during the 2008 presidential debates and has gained millions of fans in recent months.
CNN spoke with Andrew Gregory, a 27-year-old member of the band, about the popularity of Auto-Tune -- the trademarked name for the popular pitch-correction software -- and the role of technology in music and society.
The following is an edited transcript of our conversation:
Why do you think your videos have taken off like they have?
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I think with any sort of viral video there's a little bit of luck involved. So we're counting our lucky stars that we've been lucky enough to have it take off like that.
At the same time I think the novelty of seeing people like Katie Couric and Newt Gingrich sing has really captured peoples' attention.
How do you make the videos? What actually goes into it?
Michael likes to joke that there's a huge Auto-Tune lever that he hooks up to his computer and whenever he sees video footage he just pulls the lever, and anything that strikes his fancy is automatically Auto-Tuned.
But there's a lot of technical stuff that goes into it. . We scour a lot of footage to see what's going to work and what's not going to work. We try to find what people are going to tune well and what people won't tune well. .
Really, by the time the video gets made I'd say it's eight or 10 days of work that goes into one of these videos, between the four of us.
What makes someone a good candidate for Auto-Tuning?
An example of a great candidate for Auto-Tuning would be either Katie Couric or Joe Biden. Both Katie Couric and Joe Biden have just continued to astonish us with their unbelievable, almost hidden melodies in their speaking voices.
A lot of it has to do with how they project their voice in terms of their soft palate. But it also has to do with how much of an oratorical fashion they speak. Joe Biden, in a lot of his speeches, is delivering them in a preacher sort of fashion that tunes really well.
While someone who ended up tuning really poorly -- we thought he would tune really well! -- was Sean Hannity. We thought he'd tune really well just because Sean Hannity is always talking really loud. But it turns out that despite the fact that he was talking really loud, it was a nasal talking and it was a harsh and abrasive loud voice, so it ended up not tuning well at all.
Does President Obama make for a good Auto-Tune?
You know, what was great from Obama was the campaign speeches. His campaign speeches were excellent, because he was sort of using that almost gospel-preacher rhetorical style.
Since he's been president, he's been so relaxed and sort of so laid back and cerebral and sort of intellectual. He's not been quite as excellent for Auto-Tuning because there's a lot more of a mumbly tone about him. A lot less of the 'Yes we can!' and a lot more of the 'Weeeeell, as we see .'
Auto-tune The News 6
Has 'Auto-Tune the News' helped your other musical efforts or do you think it's pulling you away?
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It's certainly making us focus a lot more on 'Auto-Tune the News.' As the videos have sort of grown in scope and become more popular, we can't help but continue to work on them as our fans clamor for more. G force auto tuning system.
Do you ever use Auto-Tune in the other performances, like in your band?
We've never used it live. We're no Ashlee Simpson. But I think we've used it a little bit on our record.
Right now it's a huge fad to Auto-Tune the crap out of people so that they sound like robots. But on pretty much any record you listen to these days there's some level of Auto-Tune on it, even if it's a very, very small amount.
If there's just one small note that's just a little bit flat, why wouldn't you Auto-Tune it to make it sound OK?
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Do you think it's hurting music at all that people expect a singer's pitch to be perfect?
It means that people who can't sing as well are becoming famous singers. But I don't know, that's why I love going to see live music, because that really sorts out the real singers from the not-so-real singers.
If you could invent any technology or pick a technology that you would like to see invented, what would it be?
Oh, wow. I'd probably go for a teleportation machine myself. . Like the one they used in 'Star Trek,' hopefully, right? Where you can jump in the teleportation machine and get to your gigs without having to carry all your amps and drive eight hours in your van. I mean, I play music for free. It's carrying my amps and driving places in my van that I have to charge people for. That'd be the real revolution for the music industry.
Do you have the T-Pain iPhone app?
Dev c++ codes for atm. Yeah, we were beta testers for that app.
Do you use the app in day-to-day life?
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We've been joking around and showing it to friends who didn't have it yet. But we're playing our first concert in a while tonight [September 11]. I'm in North Carolina. And we're going to try to hook our iPhones up to the sound system and we're going to try to T-Pain our voices live. So we'll see if it works.
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Do you have a favorite iPhone app just in general?
I'm not much of an app guy, but when I really need to kill some time I go for PapiJump. It's like the simplest, dumbest game possible on the iPhone. Other than that, the New York Times app is nice.
What have you learned about the Internet in watching your videos go viral?
I think a lot of people are using the Internet for just a sort of quick laugh fix. Whether you're bored at work or looking for something fun to do at home, people sort of live serious enough lives. I think everyone loves to laugh. And if you can get five minutes of the day at work . to get a couple yucks in, I think you'd rather do that than watch your latest YouTube conspiracy movie or something.
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All AboutJay-Z • Sean Hannity • Katie Couric • Barack Obama