"When you drape your music in effects, it actually undercuts the music itself." - Bob Lefsetz (RM part 2)

The late 90s and 2000s gave us mainstream acts such as Britney Spears, Blink-182 and 50 cent. Although these acts belong to different musical genres they all reflect the state of the mainstream music industry during the past decade or so. For the past ten years music has been too polished and overproduced making a lot of acts seem repetitive and bland. As a result of this, certain music fans started searching for something else. The musicians they discovered were individuals who created music with very little means. These artists were demonstrating that you didn't need the newest instruments, proper equipment or state of the art recording facilities to make records. Their reason for being was to create records that were different from what was being played in the mainstream and the difference was their lo-fi sound. Lo-fi music has existed for awhile now but this genre is currently experiencing a resurgence. Bands such as Wavves, A Grave With No Name and The Bitters (to name a few) have been getting their first tastes of success. These lo-fi bands are at the forefront of the realness movement in the music industry.

As during most periods, there are a lot of overlapping elements between the fashion (which I mentioned in my previous entry) and music scenes of the late 90s and 2000s. In this case, both of these scenes were overly glamourous and polished. Musically, the pop artists from this era all created music that was layered in unnecessary effects. When it comes to their image, pop acts such as Britney Spears are made up of plastic dolls that do everything they are told, pop punk acts such as Blink-182 are promoting the "punk" way of life while touring in luxury buses and living in mansions and hip pop acts such as 50 cent are trying to play-up the "gangster" (sorry, "gangsta") image while spending too much time smoking weed, insulting rivals in safe interview settings and carrying guns for show. Unfortunately, the mainstream music industry hasn't stopped promoting slightly updated versions of the previously mentioned pop acts but at least this has motivated a new generation of musicians to create more authentic music.

Lo-fi music is defined as "the production or reproduction of audio characterised by an unpolished or rough sound quality." (merriam-webster) Bands searching to create a lo-fi sound pride themselves in making music with very limited tools at their disposal. Wavves started making music in his bedroom using Garageband. The members of A Grave with No Name record in friends' bedrooms if they can't record in theirs. They are making music out of love and are willing to sacrifice a lot to get their music out there. They'll tour endlessly in shitty vans, play in dive bars/clubs and sleep on couches. To a certain extent, it's become cool to do this. As Ben Cook from the Bitters explained to dazeddigital: "I guess even more so now people aren't paying attention to ANYTHING that sounds like it could be played on a radio station. The more shitty and obscure, the more elite and rad you feel, right?" But this doesn't mean that everybody and anybody can produce good lo-fi music. Ben continues by stating that "...the availability of low budget recordings only sets apart the true songwriters from the bored kids with a laptop." You still have to have talent to make lo-fi music.

The lo-fi sound is fuzzy, distorted and rough but underneath it all you will find good melodies and songwriting. That's why it's appealing. It still is good pop music but lo-fi musicians decide to record it in a minimal way. Take Wavves, for instance. So Bored and No Hope Kids are feel good tunes that are extremely catchy. They're simply dirtier and more abrasive pop songs. Lo-fi musicians, like Wavves, are stripping their music down. Keeping it simple. Taking away the extra layers of production. These bands make the best of the few tools they have. In a way, they are showing the world what the music making process used to be like. Lo-fi music is bringing it back to a time when music was raw, natural and organic. A time when the magic happened when you were physically playing your instrument. Not in post-production. In this sense, they are helping make "real" music again. It's for this reason that lo-fi music has reached a popularity level unseen since the days of Sebadoh and Pavement.

The musicians creating lo-fi music today are offering an alternative to young music goers who are fed up with the music promoted by the mainstream media. The fans and bands alike are indirectly rebelling against the mainstream music industry. They want to create and support music that isn't perfect. By stripping down the layers and keeping it raw and simple there's a certain energy to it that you don't often find in mainstream music today. It seems more personal, more honest and more believable. I know that I've used the word "real" a lot and you're probably getting sick of it by now but that's the simple word that fans need to associate with your band in order for you to be successful. And although it's a simple word, it's not a simple concept to grasp. There's no formula for it. It just happens. The best chance you have to be perceived as "real", is to be true to yourself. More specifically, let your music speak for itself because at the end of the day that's all it comes down to.

“I think fashion is a reflection of the times...” - Mr. Miljanic (RM part 1)

In the late 90s and early 2000s, the fashion industry was decadent, glamourous and sexual. It was during this period that modern day celebrity culture exploded. Metrosexuality became a significant trend. The whole rock fashion scene was diluted because of lame pop punk styles. Girls were imitating the dress of the "sexy" female pop stars. And the hip hop (or hip pop) culture emphasized a "baggy" clothing style. These looks were inauthentic. They were over-the-top, exaggerated and fake. In short, the fashion world completely lost touch with reality. Luckily, certain designers are helping to bring this disconnect from the real world to an end. The last few seasons have been dominated by looks that are both counter reactions to the previously described trends as well as reflections of the social, political and economic events that have taken place during the last ten years. The mixture of these factors allowed for the creation of raw, rugged and authentic fashion. Fashion that I deem part of the realness movement.

The first decade of the new millennium was a time of disruption and chaos. On a social level, the September 11 terrorist attacks in the United-States, the 2004 Madrid train bombings and the July 2005 London bombings, created an atmosphere of fear and uncertainty throughout the world. They also brought attention to the social injustice and disparities that exist in the international sphere. On a political level, the world had to endure George W. Bush's eight year term as the leader of the most powerful country on the globe. The Iraq war, carried out mainly in response to the terrorist attacks in New York City, became highly controversial and demonstrated that the US army wasn't as morally superior as its citizens first thought. Incidents such as the one that took place in Abu Ghraib, severely tarnished the USA's reputation and lead to many citizens questioning the American identity. Lastly, on an economic level, the financial crisis that started in 2007, but hit hard in 2009, further enhanced the sentiment of uncertainty due to companies going out of business, an increase in unemployment rates and an overall decline in wealth.

Considering the state of the world during this period, people gravitated towards two styles to express their thoughts and feelings. They either sought comfort and decided to go for an "americana" look or they sought rebellion and decided to go for a "dark punk" look. During uncertain times, we naturally want to go back to what we know, to what we feel comfortable with and to what has stood the test of time. Americans were not happy with the American identity portrayed to the world during the first decade of the 2000s. The United-States' foreign policy brought Americans a lot of criticism and, in certain instances, hate. In response to this general sentiment, certain designers decided to rediscover America's roots. They wanted to look back at the glorious past American identity, one that had strong values and morals. These designers wanted to reintroduce the good, honourable and hard-working American image. As the designer of Gilded Age accurately told the New York Observer: People "...seek things that are known and recognizable, that are part of their past. [Currently] There's something in the air that tells us to look at our values and consider what is truly American." Consumers need a boost in confidence during difficult times. They feel the need to take control, as America's founding fathers (who built the country and created the American dream) did a century before them. Men wanted to feel masculine again. They wanted to grow up. To escape their protected and domesticated lives and rediscover the USA's past work ethic. Labels such as Our Legacy, Engineered Garments and Albam are all examples of brands that are allowing the modern man to express these views by re-interpreting americana/workwear inspired classics.

Recently, heritage and heritage inspired brands have experienced a strong resurgence in popularity. They have lead the shift in the men's fashion market towards a rugged yet sophisticated look. Gone are the days of clean metrosexual outfits, fake pop punk styles and oversized hip hop gear. Men now want clothes that are more rugged, authentic and fitted. Most men own at least one plaid or checkered shirt, reminiscent of lumberjacks. Chambray and denim shirts are also making a comeback and reflect the blue-collar or working-class lifestyle. In addition, fashion connoisseurs are wearing Red Wing boots that were "...born of the necessity brought forth during the industrial revolution." (Inventory magazine) They are even going as far back as the pre-industrial period and wearing mocassins by brands such as Quoddy. This type of footwear was worn by the first settlers, therefore it reconnects the wearer with the USA's past. The United-States needs to experience a rebuilding process because the country's image has been damaged by eight years of the Bush administration. Designers and fashion conscious consumers are communicating this feeling along with their ideals through their choice in clothing.

The other design trend created by certain fashion designers didn't look as far back in time for inspiration and was much less constructive. These designers were directly influenced by the punk and hardcore punk movements of the 70s and 80s as well as the goth subculture from the 80s. This trend is harsher, more aggressive and more rebellious. Fashion connoisseurs who adopt this darker look see it as a way to say "Fuck You!" to George Bush and the evil multi-national corporations that caused the current economic crisis. It's a way for them to rebel against the system. The punk movement of the mid-70s and the hardcore punk movement that followed in the 80s, were all about that. They fought for individual freedom and had anti-establishment views. True punks (we're not talking about the pop punk fans here) were largely anti-capitalists and non-conformists. They expressed this by wearing ripped clothing attached together with safety pins or by wearing t-shirts with slogans written in marker or paint. Punks were preoccupied with political conflicts, social injustice and economic disparity. Issues that are once again at the forefront in today's global environment. Goths may not be as rebellious on a political level, but they do attach a lot of importance to mood in their aesthetic. The dark colour palettes that are used by certain designers, can be seen as a reflection of the dark times we are living in. The last ten years have been a sombre époque and certain fashion brands are reflecting the overall mood of this period through their choices of colour. Whether or not brands such as Gareth Pugh, Julius or Odyn Vovk openly admit to these movements having influenced their work, they have created an edgier, darker and more authentic look in the fashion world. Studded leather jackets, gothic jewelry, doc martens and ripped black basics have all become more popular. This look makes a statement about the first decade of the 2000s. It's a visual sign of rebellion and critique.

Fashion has always been a tool for self-expression. Some people decide not to utilize it but others see it as an opportunity for social commentary. Before these two trends were pushed forward by creative directors searching for more realistic design in fashion, there were no labels truly reflecting the present times. Mainstream culture was promoting an overtly sexual look. Designers of the realness movement responded to this by going for a more rugged and/or edgy look. Whether consumers chose to adopt the "americana" look or the "dark punk" look, they were choosing not to have a sexy image. Although both of these fashion trends expressed different feelings they shared the same message, one of discontent with the past fashion trends as well as with the social, political and economic conditions of the first decade of the new millennium. Some say that these two trends are coming to an end, which has to happen for fashion to evolve, but let's just hope that no matter what the next trend is, that it remains authentic and real.

"The reality of his situation slowly dawned on him" (RM introduction)

In the last few years there has been a movement developing that champions a return towards portraying things in a real, raw and natural way. A return towards reality, if you will. This movement has finally reached the mainstream market but before it dies out I would like to take the time to showcase how this movement has manifested itself in different industries. I have decided to call this movement "the realness movement". In the past, consumers were over-saturated with images that were pure fantasy and unrealistic. Portraying dream worlds in the media doesn't appeal to the general public anymore since we can't relate to it. Consumers don't aspire to live unattainable lifestyles because they are, well, unattainable. I believe that a significant group of people in our society reacted to these false depictions of everyday life by deciding to portray things in a more realistic manner. None of this glamourous, fake, tacky nonsense. Fantasy is dead, now back to reality.

The realness movement was a direct result of the unrealism that permeated the arts and media in our society. Fashion was too glamourous, music was overproduced, photography was too impersonal, models were too god-like and porn stars were too fake. Certain creatives in these industries decided to challenge the norms. They took it upon themselves to initiate a shift in the market by producing work in such a way as to reflect more realistic lifestyles. The strategy they adopted was simple: back to basics. They decided to strip things down and rediscover the beauty of simplicity. This trend can be found in the fashion, music, photography, modeling and adult entertainment industries. In each subsequent entry, I will attempt to analyze the manifestations of "the realness movement" in these five industries.

"Seems like we created a logo" - So-Me

According to the online free dictionary a cross is "An upright post with a transverse piece near the top, on which condemned persons were executed in ancient times." However, it is most often associated with the word "crucifix" which is the "representation of the cross on which Jesus died." The cross has been around for thousands of years and although it's been used for different purposes no one has ever thought of re-appropriating it. It's a sacred and ancient symbol, so who would ever dare to use it as the logo for their band? Well, apparently, two french guys from Paris didn't see any problem with this and they've turned it into one of the most recognizable images in the electronic music scene.

Now, some of you are probably wondering how Justice came up with the idea to adopt such a universal symbol as their band's logo. Gaspard explained to Mojo that: "It came from a very simple idea [they] had when [they] did Waters of Nazareth, which was to compare the energy you can have in a church, the kind of mystical vibe of it, and the energy you can find in a club. Everybody is gathering together and focusing at the same point." Indeed, the concert hall can be seen as the young generation's church. Since the vast majority of teenagers don't believe in God and don't go to church, they found another holy sanctuary in the music venue. Similarly to a church, it's a place where we gather to experience and share a spiritual moment (in this case: loud distorted music mixed with blood, sweat and tears) with our religious leaders (in this case: Xavier de Rosnay and Gaspard Augé). In other words, concert halls are where modern day teenagers go to "pray".

One just has to look at the pictures from Justice's live shows to understand how such a comparison can be made. These photographs usually comprise the band's signature bright white cross on a stage with thousands of music fans directing their hands towards it, as if they were experiencing some sort of divine moment. An image like this could easily be captured during a church service. Followers often raise their hands towards the heavens, or the crucifix, to praise the Lord. When you subtract the music from the equation, Justice's live show seems more like a religious meet than a music concert. Justice feels that the visual concept is just as important as the music and it's for this reason that they have put so much effort into adopting the † as their logo.

Justice has completely re-appropriated the cross by incorporating this symbol, and other religious references, into almost all of their music and imagery. When the band's name is written on albums and other promotional material it is often written using a font that is, in my opinion, reminiscent of stained glass windows found in churches. Whether you agree with this comparison or not it is definitely a religion inspired font. In addition, The "t" in "Justice" is transformed into a cross that is bigger than the other letters and it is right in the middle of the band's name, making it even more noticeable. During their live sets, the duo are somewhat hidden atop a white cross that flashes on and off with marshall amps stacked up on either side, making the cross the focal point of their live performances. Instead of the devil horn hand sign that is common at most rock concerts, Justice has created its own cross arm sign (if you've been to one of their concerts, you know what I'm talking about). The cross is associated with them to such an extent that, one day, when I was wearing a cross necklace, a friend at school asked if I had bought it at one of their concerts. Due to the consistent use of this religious imagery, Justice's † logo has become as recognizable as Nike's swoosh logo, in the electronic music world.

Religious themes can also be found throughout the band's debut album. First off, the album packaging doesn't have a name written anywhere on it, it simply has a 3-D drawing of the † logo (although, obviously, most people called it the Cross album). The cd itself is all black with a small black † on the edge of the actual disc. When fans open up the special edition † cd, it unfolds into a cross shape. The two opening track titles on the album are Genesis (which refers to the book of Genesis, the first book of the Torah) and Let there be light (which is taken from the opening lines of the book of Genesis). There's another track on the album, which was also their debut single, called Waters of Nazareth (referencing Jesus' childhood home). Musically, this track includes organ samples, which is an instrument predominantly used during church services. To ensure that this association is not missed, the artwork on the cover of the single cd for this track depicts a giant sized organ with Justice's name written in their signature "religious" font over top. These references make the † symbol almost inescapable and further solidify its place as the band's defining logo.

They continued using the religious theme in their documentary A Cross the Universe. The opening quote of the DVD is taken from the book of Genesis: "In the beginning God created the heaven and the earth, and the earth was without form and void, and darkness was upon the face of the deep, and the spirit of God moved upon the face of the waters, and God said "Let there be light!" and there was light." The documentary then immediately cuts to an image of the Justice cross lighting up the entire venue during their live show, as if they were our generation's musical saviours. This further reinforces the link between the energy at their live shows and the energy that can be found during a church service.

The band members themselves play up the religious theme. Gaspard kind of looks like Jesus with his long hair and handlebar moustache. Xavier said in an interview that they considered putting a picture of him on the inside of the cross shaped fold out packaging that can be found in the special edition cd. Gaspard also wears a big silver cross around his neck. This cross is kissed by both band members, at the same time, before every concert. Xavier usually has a smaller cross necklace around his neck too and in an interview with Pitchfork he said that the last great book he read was the bible. In addition, both band members have cross tattoos on their bodies which is something that many of their music disciples have decided to imitate. The fact that fans are willing to permanently ink themselves with Justice's cross shows how powerful this logo has become. Justice (along with their followers) eat, sleep and breathe the cross.

By re-appropriating the cross as their logo, Justice has switched the context in which this symbol can be found, from a religious one to a musical one. They were the first to have the idea to use this symbol in a new way. No one ever thought of associating this ancient and sacred symbol with an electronic music band. It was probably seen by many to be untouchable and that's what makes this re-appropriation so brilliant. The Justice cross and the Christian cross have the same meaning, one of communion. They are being used in different contexts but the overall message remains the same and can be universally understood. This made it easier for Justice to adopt the cross as their logo, since music fans didn't have to figure out a new meaning for this symbol. The underlying message of the cross makes just as much sense in a concert hall as it does in a church. It's this clarity and simplicity that allowed for the re-appropriation of the cross to be so easily accepted. One could say that Justice successfully created a new religious movement. And I say "Amen" to that.

"Absence equals presence" - Patrick Scallon

In the celebrity obsessed world that we live in, with its instant digital photography, twitter, facebook, and countless other social media tools, it has become hard for musicians to escape stardom. In fact, many music analysts believe that artists have to be more accessible than ever before in order to launch successful music careers in the present (chaotic) music industry. They say that bands should use these tools to connect with fans, that it allows them to create a more personal relationship with their followers and that it's by adopting this strategy that they will be able to sell records. This may be true for certain musicians, however, since the majority of artists are following this tactic, others can benefit by going against the grain. After all, being an artist isn't about following the rules and doing what the marketing representatives at your record label tell you to do. On the contrary, it's about doing whatever the fuck you want. Something that Daft Punk knows too well.

When signing their first record deal in 1996 with Virgin, Daft Punk made sure that they maintained control over every aspect of their music. Thomas Bangalter had this to say about their "partnership" with Virgin: "Many record companies offered us deals. They came from everywhere, but we decided to wait--partly because we didn't want to lose control of what we had created. We turned down many record companies. We weren't interested in the money, so we turned down labels that were looking for more control than we were willing to give up. In reality, we're more like partners with Virgin." (Yahoo) Although this decision obviously allowed them to create the music that they wanted to create, without any compromises, I want to focus on the advantages that this decision brought to Daft Punk when it comes to managing their interaction (or in this case, lack of interaction) with the general public.

Daft Punk quickly rose to fame with the release of Da Funk in 1995, however it wasn't until the release of Around the World and their album, Homework, in 1997 that they really became international superstars. This record was regarded as one of the most influential dance albums of the decade. The success of their debut album brought them a lot of (unwanted) attention. So, instead of constantly promoting their music through interviews, videos etc... they decided to shun the limelight, retract themselves from the public eye and let the music speak for itself. Indeed, anonymity and invisibility have played an important role in Daft Punk's music career. Unfortunately for them this strategy may have had the adverse effect and brought them even more attention than they already had. As Agenda Inc. would say Daft Punk created a sort of "Cult of Impersonality" marketing strategy, where their invisibility became part of their appeal.

From the very beginning, Thomas Bangalter and Guy-Manuel de Homem-Christo, adopted tactics to prevent, what they deemed to be, unnecessary exposure. They often covered their faces during interviews (which they rarely give) and photoshoots (that they would prefer to do without). When promoting Homework they blurred their faces in press kits and wore different disguises when speaking to the media. It wasn't until the release of Discovery that they introduced their now famous robot outfits to the world. These suits allowed them to continue to conceal their identity and play-up the whole mystery factor surrounding the band. Daft Punk are so keen on preserving their relative invisibility that when doing an interview in 2006 about their feature film, Electroma, they put black cloths over their heads. Thomas Bangalter explained to MixMag that part of the reason why they don't want to be seen is because they don't want fans to stop them on the street and ask for autographs. They don't want to be idolized. Daft Punk want to distance themselves from their fans, something that's unheard of in today's music industry, but this, of course, only makes fans want to worship these robot gods even more.

Daft Punk doesn't appear in their music videos either. In the music video for Da Funk the viewer follows a boombox carrying dog walking around a New York City neighbourhood. In Around the World there are robots, on top of the athletes, skeletons, synchronized swimmers and mummies that appear in the video, but Thomas and Guy-Manuel aren't among them. The music videos created for the singles off of Daft Punk's Discovery album are all short animated scenes created by Leiji Matsumoto. Daft Punk wants to use this medium to explore visual components besides promoting their band's image. They see music videos as an art form that adds something new to their music, not as an opportunity to boost their egos. By implementing this philosophy, Daft Punk is further reinforcing the secrecy surrounding them and this, in turn, heightens the fans' intrigue and curiosity.

The members of Daft Punk also rarely do live DJ sets, preferring to save their public appearances for their live tours. Fans associate Daft Punk with their robot suits to such an extent that when Thomas Bangalter DJed (wait for the 1:30 mark) three tracks, without his disguise, at Busy P's birthday party in LA last year, some of the crowd in attendance did not know who he was and those who did, went crazy, knowing that they were witnessing a rare occurrence. By restricting the amount of live appearances that they make, when Daft Punk does have a concert, it becomes an extremely special moment between the band and the fans.

Daft Punk doesn't believe in stardom. They created their artificial robot image to (a certain extent) criticize celebrity culture. They don't want to be successful thanks to the fact that they're good looking or because they have a rock n' roll attitude. Artists don't need to be on the cover of every magazine in order to be successful. As I've mentioned before, it's all about the music. Yes, their robot image (one of anonymity, invisibility and secrecy) has helped their music career but it shows that you don't necessarily need to connect with fans in a personal and human way (see what I did there) to succeed. You can just as easily do that by hiding from the limelight, something that's foreign in today's entertainment world, and that's precisely why it works. Daft Punk is a prime example of this.

“[superstars are] walking brands...I’m sort of like the president of ME so [i'm] forced to constantly develop [my] brand and talk about it.” - Kanye

Beyonce is at the very top of the entertainment food chain. She has sold millions of albums, won countless awards, produced hit after hit after hit, made the best music video of 2009 (according to the self-proclaimed Louis Vuitton don and MTV, which doesn't count for much but still, I think that we all agree) and is married to the one and only Jay-Z. Being her younger sister attempting to launch your own music career must suck. Unfortunately for Solange Knowles, that's precisely the situation she finds herself in. If something was said to be impossible, this would definitely be it. So, what is the girl to do? Réponse: brand yourself in an entirely different way. And that's exactly what Solange Knowles is doing.

Solange Knowles has decided to go indie. Now, although her foray into the indie music scene is a recent development, Solange has always seemed to have a more rebellious side than her older sister. She did give birth to a son when she was only 18 years old and she has released tracks on mixtapes that Beyonce would never think of releasing (i.e. Fuck the Industry (Signed Sincerely)).

Her current image is the polar opposite of Beyonce's. In July 2009 she shaved her head which gave her an edgier look. On her twitter she stated that she wanted to focus on other things than going to the hair salon. And in response to the criticism she said that she found it ridiculous that her haircut was getting more attention than the election in Iran. This honesty is crucial for her to create an authentic image. Artist's need to speak their mind. That's why we like rock stars, because they say what they want, when they want. These comments also allow Solange to brand herself as the antithesis of the girly female pop star. She's alternative, cool and intelligent (I don't think that the same can be said of Britney Spears, even though she also shaved her head at one point).

Solange further associated herself with the indie music scene by releasing a cover of the Dirty Projectors' (a reputable indie band) song Stillness is the Move, which was posted on Pitchfork's website (the indie kid's music bible). However, Universal Music wasn't too happy about this and forced Pitchfork to remove the track. Again, Solange didn't hold back when talking about the incident: "So fucking crazy universal has been taking down a COVER I'm NOT selling or trying to publish. Never heard of that shit in my life! Not to mention Dirty Projectors, LOVED the cover & all parties are happy. Doesn't Lil Wayne a Universal artist rap over other folks' records?" (pedestrian.tv) Would Beyonce dare to say something like that? Never. Solange openly attacked Universal Music and she even called out Lil' Wayne! She stands by her music and defends it when she has to. The sign of a true artist.

Another way to reinforce your indie image is to part ways with the major label (in this case: Interscope-Geffen-A&M) representing you and plan to release your fourth album independently. Solange also decided that she wanted to work with the Midnight Juggernauts for her next album. She has already joined them in the studio and they've performed together at the Falls Festival in Australia where she appeared as a guest vocalist during their concert. (pedestrian.tv) Her love of indie music also lead to a confirmed future collaboration with Of Montreal. She will be making a guest appearance on the next album. Solange has even put her older sister onto indie acts. Beyonce told the Guardian that she would also love to work with Of Montreal on a future album. In fact, Beyonce stated that her next album might go in a more indie direction thanks to the bands that her sister has introduced her to. It seems like Solange has branded herself so well that even Beyonce wants to redirect her career.

These decisions are all helping Solange create an authentic image, gain artistic credibility and allow her to differentiate herself from her sister. Solange doesn't want the same career path as Beyonce. She couldn't care less about the fame. She's indie. She started her music career at a very early age so it has taken her time to find her place in the music world but I think that she finally has. It may not be at the very top of the entertainment food chain but she's exactly where she wants to be and that's all that matters.

"Rock stars are now essentially CEOs of their own small (and big) businesses." - Robert Bound

The disruption in the music industry caused by Napster and Co has helped bands regain power and control over their music, sound and image. Ask any musician and I doubt that they would say that the music industry has taken a turn for the worst. The major record labels are the ones who are portraying this revolution as negative. Bands are happier than ever. As are the fans. The music industry is becoming increasingly fragmented since consumers can so easily access and share music. They are no longer limited to television and radio* to listen to the next big thing. Consumers don't even want to listen to the next big thing (yes, the days of the global superstar are over), they want a band that is "theirs", that reflects their tastes, personality and aesthetic. These developments mean that bands now have more of a say in (almost) every aspect of their music careers and that they can more easily penetrate a certain niche market. However, this new found freedom isn't always managed properly. Artists will remain artists and some of them will not understand the importance of managing the "brand" side of their band. Unless, of course, you're In Flagranti.

Let me first put In Flagranti's influences into context. In Flagranti's music is heavily influenced by disco music from the 1970s and italo disco from the late 70s and early 80s (for the purpose of this analysis I will be focusing on the 70s influence in their music). The 1970s marked the end of the hippie movement but the sexual freedom ideologies advocated by the hippies spilt over into the following decade and continued to develop. This era is considered to be part of the Golden Age of Porn, when dangerous STDs weren't really publicized and the introduction of birth control pills and abortion solved the whole pregnancy issue. It is also during this era that Studio 54 was the club to be seen at in New York City. This discothèque reflected the prominent party atmosphere of the decade, one of sexual promiscuity and rampant drug use. The release in 1977 of the film Saturday Night Fever helped popularize the disco movement and solidified the sexual aura attached to disco music (I'm sure more than one of you have had a fantasy involving Tony Manero).

While growing up, the In Flagranti duo (comprising Sasha Crnobrnja and Alex Gloor) discovered this exciting time by listening to past album releases and mixtapes as well as by looking at old images in magazines and on television. This experience motivated them to incorporate elements of the disco movement in their band's music, sound and image. They were able to do this by maintaining full creative control of their material thanks in part to the launch of their own record label, Codek Records, in 1996. Codek Records provides a platform for fans to discover the band's music, artwork and videos. This, in turn, allows them to communicate a consistent message and to therefore create a solid band image.

Now, we all know that a good name sells, so the band name (aka brand name) is quite important. In Flagranti comes from Latin and means "in the act of committing a misdeed" or "while committing the offence; red-handed" (Reverso dictionary). It can also be used to describe actions "while performing sexual activity". This name communicates a message of vice and sin. In Flagranti has taken this message and has consistently (and successfully) showcased it in all of its media (sound, track titles, album artwork and music videos).

In Flagranti often sample music from the 70s in their tracks and they mix it with electro to create a progressive, dance-y sound. I am even tempted to describe their albums as upbeat porn soundtracks. When listening to their music you just want to get down (and dirty) on the dancefloor (and in the bedroom). With EPs titled Sexx Piss Tool and track names including She Bend Each Leg Alternately, Erector-Set and I Chatted Up the Nympho Secretary (Part 1) as well as album artwork depicting scantily clad women (reminiscent of pin-ups and soft core porn) and, last but not least, grainy music videos that comprise chopped up, looped and repeated vintage footage that can be, at times, sexually charged (watch Business Acumen), it's hard not to associate In Flagranti with sex. And they wouldn't want it any other way. Some may find this portrayed image distasteful, however, In Flagranti found an image that works for them, that they believe in and they are sticking to it.

At the end of the day, In Flagranti is successful because their music is good. They have substance, it's not only about the image. Bands with an image and no talent will fail. BUT, the band's image should not be neglected (especially in the post-napster music era) and it has to be one created by the artist, for the artist. Nobody likes a fake. In Flagranti genuinely believe in their aesthetic. They are authentic. Their vintage sexual image was created in a natural way and reflects things that they're into. In Flagranti's fans can see this and that's why this band is still around and will be for years to come.

*although, we can't really rely on these two mediums since music television only shows reality tv and mainstream radio plays the same songs over and over again.