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By Andrew Goodwin


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Extra resources for Dancing in the Distraction Factory: Music Television and Popular Culture

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Millions of people in the United Kingdom would have seen Culture Club's performances on Top of the Pops, featuring George in drag, and millions more would have seen and SILENCE! ACADEMICS AT WORK 11 read about the band in the popular press, the music papers, and teen magazines. " 13 As Turner correctly notes, the video makes this reading explicit. My point is that this is not a case of video imagery transforming pop meanings so much as an example of a video clip building on the visual codes already in play.

The song's meaning shifted again in 1985, when "Drive" was used by the Canadian Broadcasting System as part of its contribution to the Live Aid event. " now sounds spectacularly incongruous; nonetheless, it is the images of Ethiopian famine that were then "fixed" for many listeners. Since then, the original DRIVE clip has been aired from time to time (for instance, on MTV); there is no research as yet on the duration of impact for video meanings, so there is no way of knowing whether the images in the Live Aid clip or the original video images have persisted.

All his experiences — his so-called apperceptive background —exist encoded in his inner speech, and only to that extent do they come into contact with speech received from the outside. Word comes into contact with word. The context of this inner speech is the locale in which another's utterance is received, comprehended and evaluated; it is where the speaker's active orientation takes place, (p. 118; emphasis added). In the context of music television, this comment is highly relevant, although it also needs amending.

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