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Everyone craves success. | 0:00:05 | 0:00:07 | |
OK, perfect. | 0:00:07 | 0:00:08 | |
We all love a winner. | 0:00:08 | 0:00:10 | |
CHEERING | 0:00:10 | 0:00:12 | |
But no-one makes it to the top on their own. | 0:00:12 | 0:00:15 | |
Behind every star is a team of people, immensely talented, | 0:00:15 | 0:00:20 | |
powerful in their own worlds... | 0:00:20 | 0:00:22 | |
I need two crab on the pass, now! Yes, Chef! | 0:00:22 | 0:00:25 | |
..but invisible to us. Until now. | 0:00:25 | 0:00:28 | |
-Musical director! -I am an absolute genius at what I do. | 0:00:28 | 0:00:32 | |
These are the stories of the stars | 0:00:35 | 0:00:36 | |
and the teams who strive to make them shine. | 0:00:36 | 0:00:39 | |
Job done! | 0:00:40 | 0:00:42 | |
CHEERING | 0:00:42 | 0:00:44 | |
This is the world of the VIP People. | 0:00:44 | 0:00:47 | |
TV talent shows are just one route to pop stardom. | 0:00:51 | 0:00:55 | |
But record company scouts are always on the lookout for | 0:00:56 | 0:00:59 | |
new music acts to sign. | 0:00:59 | 0:01:01 | |
# Yeaaaaah. # | 0:01:01 | 0:01:03 | |
One of those rising stars is 18-year-old Aminata Kabba. | 0:01:03 | 0:01:08 | |
-Hey, hey, hey. -She goes by the pop name of AME. | 0:01:09 | 0:01:13 | |
I'm AME. I'm a singer-songwriter from South East London. | 0:01:14 | 0:01:17 | |
# I came to bring the heat # So hot | 0:01:17 | 0:01:19 | |
# Girls keep on watching me | 0:01:19 | 0:01:21 | |
# So what? | 0:01:21 | 0:01:22 | |
# I'm gonna dance until the break of dawn | 0:01:22 | 0:01:25 | |
# And for the rhythm as the beat goes on... # | 0:01:25 | 0:01:26 | |
Just days after leaving school, | 0:01:26 | 0:01:28 | |
AME signed to Gary Barlow's record label. | 0:01:28 | 0:01:32 | |
But even with the backing of Mr Boy Band, | 0:01:32 | 0:01:35 | |
she's still waiting for a hit single and a sell-out gig of her own. | 0:01:35 | 0:01:39 | |
# ..or hold me down... # | 0:01:39 | 0:01:42 | |
Realistically, I would imagine myself in a few years time, | 0:01:42 | 0:01:45 | |
I think I could be a household name. | 0:01:45 | 0:01:48 | |
But to become a household name, AME needs publicity and radio play. | 0:01:48 | 0:01:52 | |
She's hoping to achieve this with her first headline show | 0:01:52 | 0:01:55 | |
at This Must Be Pop, | 0:01:55 | 0:01:57 | |
a popular gig night with people big in the music biz. | 0:01:57 | 0:02:01 | |
No, I'm just really looking forward to it. | 0:02:01 | 0:02:04 | |
To make the most of her big moment, | 0:02:04 | 0:02:06 | |
AME's set has to be perfect. | 0:02:06 | 0:02:09 | |
-I think it's twice. -THAT does not come in twice! | 0:02:09 | 0:02:13 | |
Her image has to stand out. | 0:02:13 | 0:02:15 | |
How do I look? | 0:02:15 | 0:02:16 | |
And most of all, she needs an audience to perform to. | 0:02:16 | 0:02:19 | |
Crunch time! | 0:02:19 | 0:02:21 | |
For her pop career to go to plan, AME will need | 0:02:23 | 0:02:25 | |
the help of a crack team of VIP people. | 0:02:25 | 0:02:28 | |
From the musical director responsible for songs that rock | 0:02:28 | 0:02:31 | |
live on stage, to the TV plugger, who gets AME seen on screen. | 0:02:31 | 0:02:36 | |
She has a digital strategist to manage her online profile, | 0:02:36 | 0:02:39 | |
and making sure AME is dressed for success is her stylist. | 0:02:39 | 0:02:43 | |
AME's family moved to London | 0:02:47 | 0:02:48 | |
when she was eight to escape a war in Sierra Leone, West Africa. | 0:02:48 | 0:02:52 | |
My mum's salon got burned down. | 0:02:52 | 0:02:54 | |
She owned a salon in Sierra Leone, | 0:02:54 | 0:02:57 | |
and that was the point where we were like, OK, | 0:02:57 | 0:02:59 | |
it's no longer safe to be here. We've got to go. | 0:02:59 | 0:03:02 | |
In London, a new discovery changed her life for ever. | 0:03:02 | 0:03:05 | |
I remember getting a Christina Aguilera tour DVD for my birthday, | 0:03:05 | 0:03:11 | |
seeing what she does behind-the-scenes. | 0:03:11 | 0:03:14 | |
That was literally the moment for me, I was like yes, I've got to do this. | 0:03:14 | 0:03:18 | |
# Dance while the record stands! # | 0:03:18 | 0:03:19 | |
Her talent for writing '90s inspired synth pop impressed record | 0:03:19 | 0:03:24 | |
label boss Celia McCamley. | 0:03:24 | 0:03:27 | |
When she came in, I just saw a pop star. | 0:03:27 | 0:03:30 | |
Celia signed AME and carefully chose her VIP people to help plot | 0:03:30 | 0:03:35 | |
AME's path to the top. | 0:03:35 | 0:03:38 | |
And it's our job to make sure we're presenting her to | 0:03:38 | 0:03:41 | |
media in the right way, so they will want to play her records. | 0:03:41 | 0:03:45 | |
Celia's label gave AME an advance, which is like a loan, | 0:03:45 | 0:03:49 | |
to live on and develop as an artist. To make this money back, | 0:03:49 | 0:03:52 | |
Celia has to ensure that AME sells lots of records. | 0:03:52 | 0:03:56 | |
The most important thing for a young artist is Radio One. | 0:03:56 | 0:04:00 | |
And we really need a Radio One playlist. | 0:04:00 | 0:04:02 | |
One, two, one, two. | 0:04:04 | 0:04:05 | |
# You will see... # | 0:04:05 | 0:04:07 | |
It does sound different. | 0:04:07 | 0:04:09 | |
For a chance at the Radio One playlist, AME | 0:04:09 | 0:04:11 | |
has to impress the press at her gig in just three weeks time. | 0:04:11 | 0:04:15 | |
And that begins with band rehearsals. | 0:04:15 | 0:04:18 | |
-Cool, feeling happy? -Uh-huh. -You want to take five? -No. -No! | 0:04:18 | 0:04:23 | |
Different bits of the song have different emotions or | 0:04:23 | 0:04:27 | |
different ways that they need to be portrayed. | 0:04:27 | 0:04:30 | |
So, for me, the most important thing is to nail that. | 0:04:30 | 0:04:34 | |
There's only one VIP Person who can help AME achieve her goal | 0:04:34 | 0:04:37 | |
of a great sounding gig - her musical director Matthias Harris. | 0:04:37 | 0:04:42 | |
# I'll take you higher I'll take you higher | 0:04:42 | 0:04:46 | |
# I'll take you higher | 0:04:46 | 0:04:48 | |
# Yeah... # | 0:04:48 | 0:04:50 | |
AME has to sound as good live as she does in the studio. | 0:04:52 | 0:04:56 | |
Musical director Matthias | 0:04:56 | 0:04:58 | |
breaks down the different parts of her songs | 0:04:58 | 0:05:00 | |
to transform AME's studio recordings into a live band performance. | 0:05:00 | 0:05:06 | |
Matthias gave up his first dream of becoming an actor | 0:05:13 | 0:05:15 | |
when he picked up a guitar, aged 17. | 0:05:15 | 0:05:18 | |
It was only when I started playing instruments that I realised | 0:05:18 | 0:05:21 | |
how much I really loved music. | 0:05:21 | 0:05:23 | |
And I really kind of threw myself into it. | 0:05:23 | 0:05:26 | |
As well as playing conventional instruments, | 0:05:26 | 0:05:28 | |
he's also into more cutting edge ways of making music. | 0:05:28 | 0:05:31 | |
Technology always gets replaced, so if you're not learning | 0:05:31 | 0:05:34 | |
how the new technology works, you're out of date. | 0:05:34 | 0:05:37 | |
He now performs with Taio Cruz | 0:05:37 | 0:05:39 | |
and Eliza Doolittle as well as being responsible for AME's live sets. | 0:05:39 | 0:05:44 | |
The thing I love most about my job is probably the creative aspect of | 0:05:44 | 0:05:48 | |
it, the show can be as entertaining as I can kind of imagine it to be | 0:05:48 | 0:05:52 | |
and then, obviously, imagine it and then make it a reality. | 0:05:52 | 0:05:57 | |
Musical director! | 0:05:57 | 0:05:59 | |
Matt basically programs everything, makes sure everything | 0:06:00 | 0:06:04 | |
is working in that sense. | 0:06:04 | 0:06:05 | |
Although AME sings live, extra vocals called harmonies | 0:06:06 | 0:06:10 | |
are stored on a computer. | 0:06:10 | 0:06:12 | |
On the recordings, there's a lot of different vocal lines, | 0:06:12 | 0:06:15 | |
so as one person, she can't sing everything. | 0:06:15 | 0:06:18 | |
In this rehearsal, Matthias is asking AME to sing a line that is | 0:06:18 | 0:06:22 | |
normally played from his laptop. | 0:06:22 | 0:06:24 | |
In the gap, just before the final chorus, | 0:06:24 | 0:06:27 | |
-there's a line that goes, I miss you. -Yeah. | 0:06:27 | 0:06:29 | |
I considered leaving that on the track, but | 0:06:29 | 0:06:32 | |
because it's such a prominent part, I thought I'd get you to sing that. | 0:06:32 | 0:06:36 | |
Matthias thinks the line comes in twice... | 0:06:36 | 0:06:38 | |
I think it's twice, I think it's after that breakdown bit. | 0:06:38 | 0:06:41 | |
So I think it's into the second chorus. | 0:06:41 | 0:06:43 | |
..but AME thinks it only comes in once. | 0:06:43 | 0:06:45 | |
-Matt! That's not coming in twice! -I'm going to find it and check. | 0:06:45 | 0:06:51 | |
-In case I'm wrong. -Do you know how I know? | 0:06:51 | 0:06:54 | |
Because she wrote it, of course! | 0:06:54 | 0:06:55 | |
Fair point! Fair point! | 0:06:55 | 0:06:57 | |
They now have to stop the rehearsal to find out | 0:06:59 | 0:07:01 | |
how many times the line "I miss you" comes in. | 0:07:01 | 0:07:04 | |
OK, I was wrong, it doesn't do it twice. It's the "take me away". | 0:07:05 | 0:07:10 | |
For the gig to be a big success, it's vital AME | 0:07:10 | 0:07:13 | |
and Matthias are hitting all the right notes. | 0:07:13 | 0:07:16 | |
# Twilight | 0:07:19 | 0:07:21 | |
# I'm loving this Twilight | 0:07:21 | 0:07:23 | |
# I'm loving this twi-li-li-li-li-li-li-li-li | 0:07:23 | 0:07:27 | |
# Twilight. # | 0:07:27 | 0:07:29 | |
As a 21st century pop star, | 0:07:29 | 0:07:31 | |
it's not enough to sound great, you've got to look great as well. | 0:07:31 | 0:07:35 | |
I mean, for me, and I think for most artists, | 0:07:35 | 0:07:37 | |
your music and image goes hand-in-hand. | 0:07:37 | 0:07:40 | |
And that's where AME's next VIP Person comes in, | 0:07:40 | 0:07:43 | |
stylist Tamer Wilde. | 0:07:43 | 0:07:46 | |
The excitement is there | 0:07:46 | 0:07:47 | |
and we're just going to see the big reveal once it's on AME and she | 0:07:47 | 0:07:51 | |
brings it to life, cos it's only a piece of fabric until you wear it. | 0:07:51 | 0:07:55 | |
It's Tamer's job to keep AME looking fabulous. | 0:07:57 | 0:08:00 | |
From the red carpet to magazine shoots to TV shows, | 0:08:00 | 0:08:04 | |
Tamer uses fashion contacts to bring designer clothes | 0:08:04 | 0:08:07 | |
direct from the catwalk to AME's door. | 0:08:07 | 0:08:10 | |
All to create a unique and memorable image. | 0:08:10 | 0:08:12 | |
Tamer is an ex-model and magazine editor. | 0:08:16 | 0:08:19 | |
He got into styling when he was asked to provide | 0:08:19 | 0:08:21 | |
clothes for a friend's shoot and discovered his passion for fashion. | 0:08:21 | 0:08:25 | |
The thing I love about my job is having the opportunity to | 0:08:25 | 0:08:30 | |
make people happy. | 0:08:30 | 0:08:32 | |
How do I look? | 0:08:32 | 0:08:34 | |
Tamer styles fashion shoots for the likes of Vogue and ID Magazine | 0:08:34 | 0:08:38 | |
and now works on AME's image. | 0:08:38 | 0:08:41 | |
-Tamer's my stylist, my friend, my everything! -Awww! -Awww, look! Aww! | 0:08:41 | 0:08:46 | |
We often look at images, then she points out to me, | 0:08:46 | 0:08:48 | |
like, I really like this, I really don't like that. | 0:08:48 | 0:08:51 | |
To raise her profile before her first headline gig, | 0:08:56 | 0:08:59 | |
AME is hitting one of London's coolest red carpet events. | 0:08:59 | 0:09:02 | |
It's Tamer's job to find the dress that will get her noticed. | 0:09:02 | 0:09:06 | |
The challenges with styling AME is that she is so petite and cute. | 0:09:06 | 0:09:11 | |
Before I started getting styled by Tamer, | 0:09:11 | 0:09:14 | |
I kind of, I was just going with, | 0:09:14 | 0:09:16 | |
I don't know, I think, youth culture and what's happening right now. | 0:09:16 | 0:09:19 | |
To keep AME fashion forward, | 0:09:19 | 0:09:21 | |
Tamer gets designer contacts to loan tomorrow's on-trend clothes today. | 0:09:21 | 0:09:26 | |
Because he returns the outfits after AME has worn them, | 0:09:26 | 0:09:29 | |
he needs all his powers of persuasion. | 0:09:29 | 0:09:32 | |
Calling, prepping, shooting, asking, e-mailing, drop calling. | 0:09:32 | 0:09:38 | |
And after all that, | 0:09:38 | 0:09:39 | |
there's the small issue of whether AME will even like what he's chosen. | 0:09:39 | 0:09:43 | |
Right then, Tamer, | 0:09:43 | 0:09:45 | |
what are you going to be dressing our lovely AME in today? | 0:09:45 | 0:09:48 | |
OK, so, this is your red carpet dress. | 0:09:48 | 0:09:55 | |
-Mmmmm. -Cute! -Pretty. | 0:09:55 | 0:09:57 | |
Pooof! | 0:09:58 | 0:09:59 | |
That's tonight's dress sorted, | 0:09:59 | 0:10:01 | |
but AME has got one eye on her outfit for the gig. | 0:10:01 | 0:10:05 | |
Do you know what, I've been thinking about it. | 0:10:05 | 0:10:08 | |
-I'm not going to lie, I've been thinking about it. -I'm glad! | 0:10:08 | 0:10:11 | |
SHE LAUGHS | 0:10:11 | 0:10:12 | |
I haven't actually settled on one concept yet, | 0:10:12 | 0:10:15 | |
but once I do know that, I will be non-stop Chatty Cathy. | 0:10:15 | 0:10:20 | |
HE LAUGHS | 0:10:20 | 0:10:22 | |
Tamer's off the hook for now as AME gets ready for the red carpet. | 0:10:22 | 0:10:26 | |
I love this detail. | 0:10:34 | 0:10:36 | |
Now AME's been styled to perfection... | 0:10:36 | 0:10:38 | |
I will see you tomorrow. | 0:10:38 | 0:10:41 | |
..can she get herself noticed? | 0:10:41 | 0:10:43 | |
# Last night a DJ saved my life. # | 0:10:43 | 0:10:46 | |
I'm going to an award ceremony. Take some pictures of my awesome dress. | 0:10:46 | 0:10:52 | |
She'll be competing for newspaper coverage with established stars | 0:10:52 | 0:10:55 | |
like Tulisa, Kimberley and Nicole. | 0:10:55 | 0:10:58 | |
-Hi! -When I see those flashes, I get a bit nervous. | 0:10:58 | 0:11:03 | |
It's a bit nerve-wracking now. | 0:11:03 | 0:11:06 | |
The next challenge is working out | 0:11:06 | 0:11:08 | |
when to step out in front of the paparazzi. | 0:11:08 | 0:11:11 | |
I'm not really sure how to work it. | 0:11:11 | 0:11:14 | |
Uh, no... Not yet! | 0:11:14 | 0:11:16 | |
Oh, yeah, I'm just, I'm probably going to wait. | 0:11:16 | 0:11:20 | |
OK, go! | 0:11:20 | 0:11:21 | |
PHOTOGRAPHERS SHOUT DIRECTIONS | 0:11:23 | 0:11:25 | |
CAMERAS CLICK | 0:11:25 | 0:11:27 | |
But the night doesn't end there. | 0:11:31 | 0:11:34 | |
AME's survived the red carpet, | 0:11:34 | 0:11:36 | |
but now she has to try and promote her upcoming headline gig on TV. | 0:11:36 | 0:11:40 | |
Camera overload! | 0:11:40 | 0:11:41 | |
The VIP Person here to make sure she grabs the attention of the film | 0:11:41 | 0:11:45 | |
crews is AME's TV plugger Pippa Evers. | 0:11:45 | 0:11:48 | |
It's Pippa's job to get AME on the telly. | 0:11:53 | 0:11:56 | |
Pippa uses her promotional skills to persuade TV producers to | 0:11:56 | 0:12:00 | |
feature AME on their shows. | 0:12:00 | 0:12:02 | |
She then briefs AME on what to say, how to behave | 0:12:02 | 0:12:06 | |
and how best to project her image. | 0:12:06 | 0:12:08 | |
After work experience in banks and offices, | 0:12:13 | 0:12:16 | |
Pippa found the job she loved | 0:12:16 | 0:12:18 | |
when she tried out as an assistant for a well-known music agent. | 0:12:18 | 0:12:22 | |
I wanted to go to LA, actually, and make films and do film PR, | 0:12:22 | 0:12:25 | |
but once I started on the path of music, | 0:12:25 | 0:12:28 | |
I just absolutely fell in love with it. | 0:12:28 | 0:12:31 | |
As well as AME, she works with | 0:12:31 | 0:12:32 | |
Take That, Nicole Scherzinger and Cover Drive. | 0:12:32 | 0:12:36 | |
The thing that I love about this job is the people and the places. | 0:12:36 | 0:12:39 | |
Now AME's made it through the papping frenzy, | 0:12:46 | 0:12:49 | |
it's up to Pippa to try | 0:12:49 | 0:12:50 | |
and get her some high profile TV interviews... | 0:12:50 | 0:12:53 | |
What we want to do is basically speak to as many | 0:12:53 | 0:12:56 | |
people as we can, let them know that we've got a single coming. | 0:12:56 | 0:12:59 | |
-AME, this is Jackie from Cosmopolitan TV. -Hello! | 0:12:59 | 0:13:02 | |
Lovely to meet you! | 0:13:02 | 0:13:04 | |
But with so many celebs in the house, | 0:13:04 | 0:13:06 | |
AME's having to wait her turn. | 0:13:06 | 0:13:08 | |
Do you mind doing a quick little piece with me? | 0:13:08 | 0:13:11 | |
A lot of people here are established artists and well-known | 0:13:11 | 0:13:13 | |
and stuff, and for someone like me, it just kind of makes me | 0:13:13 | 0:13:16 | |
want to work harder, so people know who I am. | 0:13:16 | 0:13:19 | |
But there is someone here who has heard of AME. | 0:13:19 | 0:13:22 | |
I played AME's song for the first time on my show, | 0:13:22 | 0:13:25 | |
and it went down very well. | 0:13:25 | 0:13:27 | |
While AME takes her turn on the interview run, Pippa grabs time with | 0:13:27 | 0:13:31 | |
a big breakfast TV show to tell them about the girl in the pretty dress. | 0:13:31 | 0:13:35 | |
Is she really? Very good, girl. | 0:13:35 | 0:13:37 | |
AME is a big star of the future and signed with Gary Barlow, | 0:13:37 | 0:13:40 | |
-so that's not too shabby, is it? -See? | 0:13:40 | 0:13:41 | |
-I do my work, I tell people these things. -Doing good. On to the next. | 0:13:41 | 0:13:46 | |
But there are no guarantees the TV channels will show AME's interviews. | 0:13:46 | 0:13:51 | |
With her first headline gig approaching, can Pippa secure | 0:13:51 | 0:13:54 | |
her that all important TV slot? | 0:13:54 | 0:13:56 | |
Aspiring singer-songwriter AME is just one week | 0:13:58 | 0:14:01 | |
away from a career defining gig. | 0:14:01 | 0:14:03 | |
To look and sound her best, she's polishing her stage performance | 0:14:03 | 0:14:07 | |
and has her stylist on the hunt for that killer outfit. | 0:14:07 | 0:14:11 | |
But if she wants her first headline show to rocket | 0:14:11 | 0:14:14 | |
her career skywards, she needs it to grab | 0:14:14 | 0:14:17 | |
the attention of both the press and fans. | 0:14:17 | 0:14:19 | |
So can her team of VIP People make AME the perfect pop package | 0:14:19 | 0:14:23 | |
and guarantee she'll be playing to a large and loud crowd? | 0:14:23 | 0:14:27 | |
To promote her first headline gig, | 0:14:33 | 0:14:35 | |
AME will be contacting fans through her websites. | 0:14:35 | 0:14:39 | |
The VIP person looking after AME's online profile | 0:14:39 | 0:14:43 | |
is the rather modest Chantelle. | 0:14:43 | 0:14:45 | |
I am an absolute Don/genius at what I do. | 0:14:45 | 0:14:48 | |
That's why I turn down work every week. | 0:14:48 | 0:14:51 | |
Chantelle runs AME's world wide web. | 0:14:54 | 0:14:57 | |
She uses cyber sense and technical know-how to manage AME's blogs, | 0:14:57 | 0:15:01 | |
videos and social networking sites | 0:15:01 | 0:15:03 | |
and spread love for her across the internet. | 0:15:03 | 0:15:06 | |
Chantelle's childhood ambition was to be a writer. | 0:15:11 | 0:15:14 | |
She built a successful career as a print journalist for pop | 0:15:14 | 0:15:17 | |
magazines before moving full time into blogging. | 0:15:17 | 0:15:20 | |
On a daily basis, my job is to find out what AME is doing, | 0:15:20 | 0:15:23 | |
to make sure that's represented online. | 0:15:23 | 0:15:26 | |
And AME isn't Chantelle's only pop client, | 0:15:26 | 0:15:29 | |
she also runs websites for Jessie J, Tyler James and Jessie Ware. | 0:15:29 | 0:15:34 | |
-It's a 24/7 job. -It's constant juggling. | 0:15:34 | 0:15:37 | |
My life is literally planned down to every hour. It has to be. | 0:15:37 | 0:15:42 | |
And the best thing about Chantelle's job? | 0:15:42 | 0:15:44 | |
The best thing about my job is that I work from home, | 0:15:44 | 0:15:47 | |
so hypothetically, I could work in a onesie all day. | 0:15:47 | 0:15:51 | |
Today, Chantelle has put some clothes on | 0:15:52 | 0:15:54 | |
and called an ideas meeting | 0:15:54 | 0:15:56 | |
with AME to get an online buzz going about her. | 0:15:56 | 0:15:59 | |
But there's one small problem... | 0:15:59 | 0:16:01 | |
-AME, where are you, please? -..AME hasn't turned up... | 0:16:01 | 0:16:04 | |
-OK, thanks, bye. -..yet! | 0:16:04 | 0:16:07 | |
I just want to get cracking. There are so many things to do. | 0:16:07 | 0:16:10 | |
So many acts to work on, and so many tracks to blow up. | 0:16:10 | 0:16:14 | |
With time running out, Chantelle and her creative team | 0:16:14 | 0:16:17 | |
work on ways to boost AME's fan base on the web. | 0:16:17 | 0:16:20 | |
It's essentially making sure AME is online and there all the time, | 0:16:20 | 0:16:24 | |
so no-one can escape her. | 0:16:24 | 0:16:25 | |
And no-one can escape her! There you go! | 0:16:28 | 0:16:30 | |
Right, so we just started filming. | 0:16:30 | 0:16:32 | |
Chantelle needs ideas that will help turn online fans | 0:16:32 | 0:16:35 | |
into ticket sales... | 0:16:35 | 0:16:36 | |
Did anyone else bring any ideas to the table before I let rip? | 0:16:36 | 0:16:40 | |
...AME suggests some virtual styling of her internet followers. | 0:16:40 | 0:16:43 | |
-I pick the clothing and I dress other people. -Yeah, totally! | 0:16:43 | 0:16:47 | |
-So you become the stylist, that's a great idea. -Yeah. | 0:16:47 | 0:16:50 | |
-Hey, I've had a genius plan. Soz! -It happens! -Right. | 0:16:50 | 0:16:56 | |
Obviously, whenever we're doing this stuff, we have to think 360. | 0:16:56 | 0:16:59 | |
And when I say 360, I mean how does every single element of what we're | 0:16:59 | 0:17:02 | |
doing work online, work off-line, think about how everything works. | 0:17:02 | 0:17:06 | |
Chantelle knows which of AME'S posts are most successful by keeping | 0:17:06 | 0:17:10 | |
an eye on the statistics pages of AME's websites. | 0:17:10 | 0:17:13 | |
What's really important with this | 0:17:13 | 0:17:15 | |
is it provides key information as to what we need to post next, | 0:17:15 | 0:17:17 | |
what we need to do to keep the interaction going. | 0:17:17 | 0:17:21 | |
So, I can see that our reach is decreasing as we're going | 0:17:21 | 0:17:23 | |
through the week. | 0:17:23 | 0:17:25 | |
So we can see here that the top five posts are all competitions. | 0:17:25 | 0:17:28 | |
Chantelle then uses those statistics to shape her ideas meetings. | 0:17:28 | 0:17:33 | |
Why don't we make a competition online for models? | 0:17:33 | 0:17:36 | |
-Like nominate your mates to be models. -Ah! -And what we can do, | 0:17:36 | 0:17:40 | |
I had another genius plan, right, so... | 0:17:40 | 0:17:43 | |
Chantelle is a fountain of genius plans, | 0:17:43 | 0:17:46 | |
but will any of them get fans to AME's gig? | 0:17:46 | 0:17:49 | |
# Rock, rock, rock, rock, rock | 0:17:49 | 0:17:51 | |
# Rock da house | 0:17:51 | 0:17:53 | |
# Rock, rock, rock, rock, rock # Rock da house... # | 0:17:53 | 0:17:57 | |
With just days to her very first headline gig, | 0:17:58 | 0:18:01 | |
AME's TV plugger Pippa Evers has booked her a sought-after | 0:18:01 | 0:18:04 | |
slot on a brand new CBBC series - The Jonny and Inel Show. | 0:18:04 | 0:18:08 | |
So how did she pull this off? | 0:18:12 | 0:18:14 | |
So, I played it to the producers of the show and I took | 0:18:14 | 0:18:19 | |
one of the girls to one of the gigs and let them see what she can do. | 0:18:19 | 0:18:23 | |
And they fell in love with her, like we all have. So... | 0:18:23 | 0:18:26 | |
But Pippa's work isn't done. | 0:18:26 | 0:18:28 | |
While stylist Tamer gets Matthias and the band dressed, | 0:18:28 | 0:18:31 | |
Pippa's talking to producers on the floor | 0:18:31 | 0:18:33 | |
to get the best possible exposure for AME. | 0:18:33 | 0:18:36 | |
When you're only doing a performance and not an interview, | 0:18:36 | 0:18:39 | |
it's quite hard to get someone's personality across, | 0:18:39 | 0:18:41 | |
so if there's any little ad-libs that we can make that | 0:18:41 | 0:18:44 | |
kind of bring a bit more personality to it, it's always helpful. | 0:18:44 | 0:18:48 | |
This camera from here is getting Matt behind you, | 0:18:48 | 0:18:50 | |
-and he's really animated, so you can always do a nod to Matt. -OK. | 0:18:50 | 0:18:54 | |
So, guys, please welcome AME! | 0:18:54 | 0:18:56 | |
CHEERING | 0:18:56 | 0:18:59 | |
Clap it! Like this, like this, like this! | 0:18:59 | 0:19:01 | |
THEY CLAP ALONG | 0:19:01 | 0:19:03 | |
# I can hear the beat... # | 0:19:06 | 0:19:07 | |
So what is the secret of Pippa's success? | 0:19:07 | 0:19:10 | |
A, you need to know your music. | 0:19:10 | 0:19:13 | |
So, you need to be passionate about music, you need to know | 0:19:13 | 0:19:15 | |
something about it, you need to be able to explain where this journey | 0:19:15 | 0:19:18 | |
is going to go and where they're going to end up. | 0:19:18 | 0:19:22 | |
And Pippa never takes her eye off the ball. | 0:19:22 | 0:19:24 | |
Jump! | 0:19:24 | 0:19:26 | |
I just noticed that when she was stepping back, sometimes, | 0:19:26 | 0:19:30 | |
you just need to tell an artist to stand forward a little bit | 0:19:30 | 0:19:32 | |
so they don't move out of what is their lighting, essentially, | 0:19:32 | 0:19:36 | |
but the director's happy, said it's fine. | 0:19:36 | 0:19:38 | |
All good with me. | 0:19:38 | 0:19:39 | |
CHEERING AND APPLAUSE | 0:19:42 | 0:19:46 | |
Oh, yeah, an absolute banger, that was. That was brilliant. | 0:19:46 | 0:19:50 | |
-It was, it was. -Got a thumbs up from the producer, always nice. | 0:19:50 | 0:19:53 | |
As well as making TV appearances | 0:19:57 | 0:19:59 | |
and building a strong online profile, AME also needs | 0:19:59 | 0:20:02 | |
newspaper and magazine coverage to generate a buzz around her music. | 0:20:02 | 0:20:07 | |
-Hello, gorgeous. -Hello, how are you, lovely to see you. | 0:20:07 | 0:20:11 | |
Ahead of her gig, she has a photo shoot with We Love Pop magazine. | 0:20:11 | 0:20:16 | |
This is Louise from We Love Pop. | 0:20:16 | 0:20:19 | |
Stylist Tamer has been called in to create an eye-catching look. | 0:20:19 | 0:20:23 | |
I used to be well into We Love Pop | 0:20:23 | 0:20:25 | |
and all of the bits that you got with it. | 0:20:25 | 0:20:28 | |
So, it's exciting to be able to shoot with them. | 0:20:28 | 0:20:30 | |
Do you mind grabbing AME's shoes out of her bag so we can start? | 0:20:30 | 0:20:33 | |
The location for the shoot, a launderette, | 0:20:33 | 0:20:36 | |
is only booked for a short time and Tamer has to dress the set | 0:20:36 | 0:20:39 | |
quickly...but there's a finishing touch he's forgotten. | 0:20:39 | 0:20:43 | |
-I'm going to run off and get a headscarf. -OK. | 0:20:43 | 0:20:46 | |
-Part of my outfit is missing. -As part of the look. | 0:20:46 | 0:20:48 | |
Part of it is missing right now. | 0:20:48 | 0:20:50 | |
And Tamer is reminded that the clock is ticking. | 0:20:50 | 0:20:53 | |
Also, just so you know, we basically got an hour to shoot today. | 0:20:53 | 0:20:57 | |
She's already dressed, I'm going to put a little undergarment to | 0:20:57 | 0:21:02 | |
-puff it out more. -All right. Cool. Right. -I'll be right back. | 0:21:02 | 0:21:06 | |
-See you shortly. -But as a professional stylist, | 0:21:07 | 0:21:11 | |
Tamer's used to working under pressure. | 0:21:11 | 0:21:13 | |
And moments later he's back with his final fashion fix. | 0:21:13 | 0:21:17 | |
Wheeeee! | 0:21:17 | 0:21:19 | |
Just on top of your head, that's it, that's good. | 0:21:23 | 0:21:25 | |
The shoot can now get underway. | 0:21:25 | 0:21:27 | |
So, the head wrap was a last-minute decision. I had to quickly run | 0:21:29 | 0:21:34 | |
and look for it. A scarf that matched the dress. And it worked. | 0:21:34 | 0:21:40 | |
But there's another interruption... | 0:21:40 | 0:21:42 | |
BELL RINGS | 0:21:42 | 0:21:44 | |
THEY WHISPER AND GIGGLE | 0:21:52 | 0:21:55 | |
PHOTOGRAPHER: That's it, that's lovely. AME, quick, towards the lens. | 0:21:56 | 0:21:59 | |
That's it, that's good, here we go, brilliant. Thank you. | 0:21:59 | 0:22:04 | |
-It's that one, the clothes are more distinct. -I think you like | 0:22:11 | 0:22:14 | |
-the drama as well. -Are you happy? -Yeah, they look awesome. | 0:22:14 | 0:22:18 | |
It's another style success for Tamer, | 0:22:18 | 0:22:20 | |
but he still needs an outfit for AME's live show. | 0:22:20 | 0:22:23 | |
In the run up to AME's first headline gig, | 0:22:26 | 0:22:28 | |
her musical director Matthias Harris is fine tuning the live set. | 0:22:28 | 0:22:32 | |
So, the pressure on me for this show is basically to make sure | 0:22:36 | 0:22:40 | |
that it's ready. The pressure on AME is much more | 0:22:40 | 0:22:44 | |
about her performance on the night. | 0:22:44 | 0:22:47 | |
He's making sure technology won't let them down. | 0:22:47 | 0:22:50 | |
What I've got here is different audio files for each track | 0:22:50 | 0:22:54 | |
going from left to right. | 0:22:54 | 0:22:56 | |
And then different songs going down the screen. | 0:22:56 | 0:23:00 | |
So, it's a very important piece of equipment and it takes a lot | 0:23:00 | 0:23:03 | |
of test runs and sort of thought about making sure nothing | 0:23:03 | 0:23:06 | |
can go wrong, because that's the last thing | 0:23:06 | 0:23:08 | |
you want, for the computer to fail. | 0:23:08 | 0:23:10 | |
It's scary to think that this little laptop | 0:23:10 | 0:23:12 | |
could make or break AME's gig. | 0:23:12 | 0:23:14 | |
Getting people to attend a gig for a new artist is a challenge. | 0:23:18 | 0:23:21 | |
And even online guru Chantelle is prepared to go old school to | 0:23:21 | 0:23:25 | |
draw in the crowds. | 0:23:25 | 0:23:26 | |
Today she's handing out AME fanzines on the street. | 0:23:26 | 0:23:29 | |
Things like the magazine just help, | 0:23:29 | 0:23:31 | |
just to get the awareness of what AME's got coming up live, | 0:23:31 | 0:23:34 | |
cos we have all the dates in there, all the online | 0:23:34 | 0:23:36 | |
-networks are in there. -It's proving to be hard work... | 0:23:36 | 0:23:38 | |
Would you like a magazine, madam? | 0:23:38 | 0:23:40 | |
But Chantelle didn't get to where she is by taking no for an answer... | 0:23:41 | 0:23:46 | |
There's only one thing missing in your life, it's this magazine. | 0:23:46 | 0:23:49 | |
Everybody goes above and beyond what they have to do, | 0:23:51 | 0:23:53 | |
and what their job requirements are, | 0:23:53 | 0:23:55 | |
to make sure that my career can go the best way that it possibly can. | 0:23:55 | 0:23:59 | |
Job done! | 0:23:59 | 0:24:02 | |
-Sorry! -SHE LAUGHS | 0:24:02 | 0:24:04 | |
It's the night of AME'S first headline gig... | 0:24:14 | 0:24:17 | |
It's kind of a stepping stone onto a larger platform, psychologically, | 0:24:17 | 0:24:22 | |
at least, that's really important thing. And it needs to go well. | 0:24:22 | 0:24:26 | |
The band are ready, but is AME's outfit? | 0:24:26 | 0:24:28 | |
Do you know if Tamer's here yet? | 0:24:28 | 0:24:30 | |
Matthias and the crew set up for sound check. | 0:24:30 | 0:24:33 | |
-AME, could I just hear your vocal for a second? -One, two. One, two. | 0:24:33 | 0:24:38 | |
One, two. Check, check, check. | 0:24:38 | 0:24:39 | |
Yeah, my first headline gig. | 0:24:39 | 0:24:41 | |
Got some new songs into the set that people have never heard before, | 0:24:41 | 0:24:45 | |
so I'm really excited to see how people react to it. | 0:24:45 | 0:24:47 | |
And finally, Tamer arrives with AME's outfit. | 0:24:47 | 0:24:51 | |
-We're just getting AME ready to go on stage. -Crunch time! | 0:24:52 | 0:24:57 | |
Let's do this! | 0:24:58 | 0:25:00 | |
And let's make loads and loads and loads of noise for AME! | 0:25:00 | 0:25:03 | |
CHEERING AND APPLAUSE | 0:25:04 | 0:25:07 | |
It's time to take to the stage. | 0:25:07 | 0:25:09 | |
A great gig tonight could lead to five star reviews | 0:25:10 | 0:25:14 | |
and that vital Radio One playlist. | 0:25:14 | 0:25:17 | |
Here's Heartless. | 0:25:17 | 0:25:19 | |
Clap like this. | 0:25:19 | 0:25:21 | |
# I can hear the beat of your bass | 0:25:25 | 0:25:28 | |
# Hear the beat of your bass, got me rocking it | 0:25:28 | 0:25:31 | |
# Pop on over give me a taste | 0:25:31 | 0:25:35 | |
# Come on, give me a taste | 0:25:35 | 0:25:37 | |
# Set me on fire | 0:25:37 | 0:25:40 | |
# Turn the lights down low... # | 0:25:40 | 0:25:42 | |
As the gig gets underway, | 0:25:44 | 0:25:46 | |
the hard work of AME'S VIP People is paying off. | 0:25:46 | 0:25:49 | |
Matthias is belting out the beats, Tamer's outfit is pitch perfect, | 0:25:49 | 0:25:54 | |
and crucially, the audience is loving every minute. | 0:25:54 | 0:25:57 | |
# No, don't you be so heartless | 0:25:58 | 0:26:01 | |
# Let's go! | 0:26:01 | 0:26:03 | |
# How could you be so heartless? | 0:26:08 | 0:26:11 | |
# How could you be so heart-le-e-e-e-e-s-s-s? | 0:26:15 | 0:26:22 | |
CHEERING AND APPLAUSE | 0:26:23 | 0:26:26 | |
For AME's VIP People, it's a case of job done. | 0:26:36 | 0:26:39 | |
She'll go away from this, go and look | 0:26:39 | 0:26:41 | |
on her various apps on her phone and see so many messages, | 0:26:41 | 0:26:44 | |
it will just make her feel even better | 0:26:44 | 0:26:46 | |
-than she does all ready, I'm sure. -Dead. Done. | 0:26:46 | 0:26:50 | |
It's an incredible performance from AME - but is it career changing? | 0:26:50 | 0:26:55 | |
# Play the game, boy, play the game, game, boy... # | 0:26:55 | 0:26:58 | |
Since her big gig, AME has been played on Radio One | 0:26:58 | 0:27:01 | |
and One Extra over 100 times. Glamour and Elle Magazine | 0:27:01 | 0:27:05 | |
have named her as a Face of 2013 and she's made another | 0:27:05 | 0:27:08 | |
TV appearance on the Friday Download Show. | 0:27:08 | 0:27:11 | |
Without Team AME, there would be no AME. There would be Amy | 0:27:11 | 0:27:14 | |
in a classroom, studying music. | 0:27:14 | 0:27:16 | |
Thanks to the hard work of | 0:27:16 | 0:27:17 | |
her VIP People, AME is well on track to becoming the next big pop thing. | 0:27:17 | 0:27:23 | |
# Play the game, boy. # | 0:27:23 | 0:27:25 | |
# So baby if you want me | 0:27:25 | 0:27:29 | |
# You've got to show me love | 0:27:29 | 0:27:32 | |
# Words are so easy to say, oh, ah, yeah | 0:27:32 | 0:27:37 | |
# You've got to show me love. # | 0:27:37 | 0:27:39 | |
Subtitles by Red Bee Media Ltd | 0:27:41 | 0:27:44 |