MTV Turns 25: Fondly Remembering The Early Days
On August 1, 1981, broadcasting history was made, although few knew it at the time. On that day, a New York-based experimental cable channel went on the air, telecasting nothing but promotional films by popular music artists. Intended as a television version of Top 40 radio, this new network ignited a cultural powder keg by transmitting a clip of The Buggles lip-synching their 1979 British hit, "Video Killed The Radio Star." It was the birth of MTV.
Early MTV was an unbelievably exciting experience that can never be duplicated. It was almost like tuning into a secret underground world of pop music that was the exclusive territory of youth. Not only did the fledgling network show promo videos by up-and-coming pop artists, but they were hosted by hip and attractive "video jockeys." The first five jocks were easily the best, with each one having a distinctive on-air persona. J.J. Jackson was the knowledgable elder statesman; Nina Blackwood, the wild older sister; Mark Goodman, the opinionated and boisterous hunk; Alan Hunter, the simple-minded-but-charming boy next door. And of course, my fave was the doe-eyed and innocent Martha Quinn, whose shag cut, short skirts, and Beatles obsession gave me the biggest crush on her. I was not alone in these feelings.
As a cultural phenomenon, Music Television could not have come at a better time. As American rock radio became increasingly restrictive in it's playlists, it seemed that only established artists could get any airplay. Even as the new wave of post-punk was cresting, you would not have known it from radio. The FM dial remained stuck in a 'seventies-based comfort zone, rehashing stale heavy rock classics like "Stairway To Heaven" and "Aqualung" ad nauseum while completely ignoring meritous newcomers like Elvis Costello and The Clash. MTV would soon change all of that by giving punk and new wave equal time with heavy metal and arena rock.
As a culturally stranded midwestern teenager, MTV seemed like a Godsend. In a world that resembled a real-life version of "Fast Times At Ridgemont High," my own predeliction towards new wave music and fashion made me something of a freak among my peers. With MTV, that passion was finally vindicated. At last, my skeptical classmates could see these bands that I had been ranting about for the past two years. For the first time, my chums realized that The Jam, Squeeze, and Madness were not figments of my imagination.
The first 18 months of MTV were truly magical. Even though I preferred punk and new wave, there was something highly entertaining about seeing all types of pop in these strange and experimental shorts. Some were very rudimentary, being nothing more than films or videotapes of an artist in concert. Others were more daring and artsy, although low budgets and limited technology made these early presentations seem incredibly primitive by today's standards. However, that's exactly how I like my music video.
In general tems, I love those early videos that were cheaply-made, long before anyone realized that there was a market for them. I most enjoy those simple clips of bands lip-synching in front of an artsy backdrop, usually created on a budget of $6.98. I really get something out of the visual ambiance of brightly-lit videotape or grainy 16 MM film. These technical shortcomings gave these videos a certain outsider art quality befitting the "do it yourself" ethos of most post-punk bands. They seemed more honest and mesmerizing than the productions of today.
By early 1983, that magic started to fade. I really started disliking videos when their production became too slick. With the possible exception of "Thriller," which appeals to my love of Psychotronic horror films, I really cannot stand any attempt at a "mini-motion picture." I do not care for videos that try to tell a story with distracting dialogue and outside actors. Even though they are often attractive eye candy, choreographed dancers are just too showbiz for me. Add in perfectly-shot 35 MM film, and the slickness factor is far too much to overcome.
That being said, personal favorite early videos include:
"You Might Think" by The Cars (1984)--shot entirely on videotape with primitive computer animation, the effect is a very amusing series of stylized vignettes on sexual paranoia and stalking.
"Dumbwaiter" by The Psychedelic Furs (1981)--A very disturbing song given an even more abrasive visual treatment. Grainy black-and-white footage of The Furs playing a formal event, slow-motion, and overlaid with colored geometric shapes that echo the cover of "Talk Talk Talk." I never did hallucinogenic drugs, but this is how I imagine the experience to be.
"I Got You" by Split Enz (1979)--Cheap videotaped heaven. Singer Neil Finn over-acted, wore too much makeup, and pranced about the most cliched set imaginable...a minimalist version of a Victorian mansion, complete with sheer curtains blowing in the breeze. Oh, yeah, who can forget the singing mural?
"Goodbye To You" by Scandal (1983)--The archetypical early video. A simple clip of the band miming their song, shot on tape, and overlaid with 'sixties-inspired op art visual effects. A prime example of how many new wave artists tried to turn public taste back to a British Invasion-era "mod" aesthetic.
"Left Of The Dial" by The Replacements (1985)--Grainy black-and-white 16 MM shot of a teenager crashing in his bedroom, with the camera fixing on a stereo speaker for the remaining 3 minutes of the song. The perfect anti-video.
Kudos should also go to Madness, whose grainy 16 MM romps made every new song a truly nutty and fun experience. David Bowie almost always came up with something visually strange but very appealing. Also deserving of special mention are the likes of The Pretenders, Kim Wilde, Blondie, and Missing Persons, who always looked good on brightly-lit videotape, regardless of minimal production budget.
But alas, that was 25 years ago. MTV has since grown up into something that no longer resembles it's wild and exciting youth. Music video is only a small part of the programming day, with the majority of air time being filled by reality shows, documentaries, and other cultural fluff. Too bad. We will never again see anything as magical and original as the early days of MTV, and those who remember it will cherish it always.
Early MTV was an unbelievably exciting experience that can never be duplicated. It was almost like tuning into a secret underground world of pop music that was the exclusive territory of youth. Not only did the fledgling network show promo videos by up-and-coming pop artists, but they were hosted by hip and attractive "video jockeys." The first five jocks were easily the best, with each one having a distinctive on-air persona. J.J. Jackson was the knowledgable elder statesman; Nina Blackwood, the wild older sister; Mark Goodman, the opinionated and boisterous hunk; Alan Hunter, the simple-minded-but-charming boy next door. And of course, my fave was the doe-eyed and innocent Martha Quinn, whose shag cut, short skirts, and Beatles obsession gave me the biggest crush on her. I was not alone in these feelings.
As a cultural phenomenon, Music Television could not have come at a better time. As American rock radio became increasingly restrictive in it's playlists, it seemed that only established artists could get any airplay. Even as the new wave of post-punk was cresting, you would not have known it from radio. The FM dial remained stuck in a 'seventies-based comfort zone, rehashing stale heavy rock classics like "Stairway To Heaven" and "Aqualung" ad nauseum while completely ignoring meritous newcomers like Elvis Costello and The Clash. MTV would soon change all of that by giving punk and new wave equal time with heavy metal and arena rock.
As a culturally stranded midwestern teenager, MTV seemed like a Godsend. In a world that resembled a real-life version of "Fast Times At Ridgemont High," my own predeliction towards new wave music and fashion made me something of a freak among my peers. With MTV, that passion was finally vindicated. At last, my skeptical classmates could see these bands that I had been ranting about for the past two years. For the first time, my chums realized that The Jam, Squeeze, and Madness were not figments of my imagination.
The first 18 months of MTV were truly magical. Even though I preferred punk and new wave, there was something highly entertaining about seeing all types of pop in these strange and experimental shorts. Some were very rudimentary, being nothing more than films or videotapes of an artist in concert. Others were more daring and artsy, although low budgets and limited technology made these early presentations seem incredibly primitive by today's standards. However, that's exactly how I like my music video.
In general tems, I love those early videos that were cheaply-made, long before anyone realized that there was a market for them. I most enjoy those simple clips of bands lip-synching in front of an artsy backdrop, usually created on a budget of $6.98. I really get something out of the visual ambiance of brightly-lit videotape or grainy 16 MM film. These technical shortcomings gave these videos a certain outsider art quality befitting the "do it yourself" ethos of most post-punk bands. They seemed more honest and mesmerizing than the productions of today.
By early 1983, that magic started to fade. I really started disliking videos when their production became too slick. With the possible exception of "Thriller," which appeals to my love of Psychotronic horror films, I really cannot stand any attempt at a "mini-motion picture." I do not care for videos that try to tell a story with distracting dialogue and outside actors. Even though they are often attractive eye candy, choreographed dancers are just too showbiz for me. Add in perfectly-shot 35 MM film, and the slickness factor is far too much to overcome.
That being said, personal favorite early videos include:
"You Might Think" by The Cars (1984)--shot entirely on videotape with primitive computer animation, the effect is a very amusing series of stylized vignettes on sexual paranoia and stalking.
"Dumbwaiter" by The Psychedelic Furs (1981)--A very disturbing song given an even more abrasive visual treatment. Grainy black-and-white footage of The Furs playing a formal event, slow-motion, and overlaid with colored geometric shapes that echo the cover of "Talk Talk Talk." I never did hallucinogenic drugs, but this is how I imagine the experience to be.
"I Got You" by Split Enz (1979)--Cheap videotaped heaven. Singer Neil Finn over-acted, wore too much makeup, and pranced about the most cliched set imaginable...a minimalist version of a Victorian mansion, complete with sheer curtains blowing in the breeze. Oh, yeah, who can forget the singing mural?
"Goodbye To You" by Scandal (1983)--The archetypical early video. A simple clip of the band miming their song, shot on tape, and overlaid with 'sixties-inspired op art visual effects. A prime example of how many new wave artists tried to turn public taste back to a British Invasion-era "mod" aesthetic.
"Left Of The Dial" by The Replacements (1985)--Grainy black-and-white 16 MM shot of a teenager crashing in his bedroom, with the camera fixing on a stereo speaker for the remaining 3 minutes of the song. The perfect anti-video.
Kudos should also go to Madness, whose grainy 16 MM romps made every new song a truly nutty and fun experience. David Bowie almost always came up with something visually strange but very appealing. Also deserving of special mention are the likes of The Pretenders, Kim Wilde, Blondie, and Missing Persons, who always looked good on brightly-lit videotape, regardless of minimal production budget.
But alas, that was 25 years ago. MTV has since grown up into something that no longer resembles it's wild and exciting youth. Music video is only a small part of the programming day, with the majority of air time being filled by reality shows, documentaries, and other cultural fluff. Too bad. We will never again see anything as magical and original as the early days of MTV, and those who remember it will cherish it always.
posted by Trash Culture Connoisseur at 8:16 PM
2 Comments:
Will said, I loved the early days. I agree it also aided in opening many musical minds; as radio had become increasingly segmented in it's formats. By it's very nature of their being one channel it crossed genre's and borders. I think it became less useful when they added additional channels thereby becoming as segmented and restrictive in formats as FM radio had been previously.
With 40 years of hindsight, I finally see MTV's biggest shortcoming: the absence of music by African-American artists. Sadly, the early 1980's music business was very racist, pigeonholed performers by race. Black rockers like Garland Jeffries, The Bus Boys, and Willie Phoenix were screwed by major labels who thought Rock fans wouldn't buy music by African-Americans. The addition of Michael Jackson, when CBS had to blackmail MTV, was the right thing. Sad shame that most non-mainstream acts were bumped or marginalized to late-night niche programs.
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