ABSTRACT
Building on the discussion in the previous chapter, I turn now to specific texts , particularly the ideological and contextual aspects of these. A range of specific songs provide examples of such analysis, chosen to represent particular genres and historical moments: the classic Delta blues of Robert Johnson, 'Love In Vain' (1936); the Who's power-pop, mod anthem, 'My Generation' (1966); the Sex Pistols' seminal punk statement, 'Anarchy in the UK' (1976); Grandmaster Flash and the Furious Five's urban rap, 'The Message' (1982); Kylie Minogue's chart-topping pop cover, 'Locomotion' (1987); and S Club 7s 'Bring It All Back' (1999). I then consider a key form of audio-visual text, music videos (MVs), identifying some basic considerations which usefully inform specific 'textual' readings of MV, and the difficulties endemic in constructing a classificatory typology of music videos. These intentions are in part addressed through two case studies of music video: Duran Duran's 'Hungry Like the Wolf', and Madonna's 'Open Your Heart'.
