This is an episode about watching music videos and how it isn’t the experience today as it used to be way back back then during Friday Night Videos, Video Jukebox, and TRL.
Do you watch music videos? Okay, wait… Do watch music videos as you did back in the days of TRL and Video Soul? If you did you’re likely of middle age and would rather spend your time watching Netflix or Hulu or better yet, sleeping. Watching music videos has evolve into something that is more of a choir as it isn’t the experience I remember it to be back when we had to wait for the end of the week for Friday Night Videos or pay for video play with Video Jukebox Network (or The Box).
Much like clothing worn these days an MV release is less about the intrigue and anticipation and more about the shock value. Maybe if it’s the age disparity or maybe I’m just so reluctant to open my eyes (and browser) to see that there are great things happening on the web with Youtube and the music video. I won’t rule it out but when was the last time music video debuted on YouTube and hyped up an album so much you have to rush out to your local Target and purchase a CD you won’t even use? I don’t really depend on the music video to entice me to buy an album. Most records I purchase are from artists or bands whose music I know or from indie artists I would like to tout about. Otherwise it’s back to the oldies when music was pure and about… the music.
Nowadays it’s about the radio hook, but back in the olden days –the 90’s— the success of an album predicated itself on the release an awesome video single. Artists and the artist [the director] presented their work to the world by debuting their song in the form of a music video. The edgier… The better. The expensive…. The more money record labels spent. The successful execution of an okay concept would catapult a video premiere to the top ten of every music network countdown and radio station for weeks until dethroned by the next best thing.
[three_fourth_last]They were kings until they weren’t request. TRL, however, would place a video in the pantheon after a run of eight weeks or more I believe.
Here are a listed of retired TRL videos.[/three_fourth_last]
Kids, or anyone less than thirty, before the days of YouTube there were two ways to access music from your favorite band or artist: the radio and music video. Cable shows provided your elders a daily dose of musical medicine via a countdown and if we were lucky, the artist or band would occasionally appear on the show and simply melt our hearts. We sometimes waited countless hours for the video we wanted to see and often (than we can to admit) indulge in the call-in with hopes hear our voice on live television.
The newest video to premiere was a moment worthy of breaking the Internet if only we had the technology. Instead we settled for the LAN line and dial up. Call up a friend to celebrate experience with them. Oh snap! Two-way was later introduced and now you could share the moment with three of your friends. Who cares if someone else in the house had to use the phone. The Backstreet Boys were hot and you personally had ensure they remained number one on the video hierarchy.
[one_half][/one_half]Ready the VCR and ensure you have enough space on your tape because this would be a moment you would relive over and over [until the next day when you would have to watch the entire countdown again].
Our over active enthusiasm also spilled over into radio. A successful video premiere led to a great stint on the radio to huge record sales so it was important that the video premiere hit the bulleyes from the release of the forefinger and thumbs of the [record] label. Spend millions to get millions and produce the best most conceptual video possible and boost the credibility of the artist under their ownership. That meant finding an director and a damn good one. This could be someone new and avant garde or the current and hottest film director on the market. Who ever the individual that person would be tasked with the opportunity to a: excercise great creativity b: make a name for him or herself as a reputable visionary or c: simply show off. Yes, there were a few established individuals within the film trade who [record] labels would handsomely for the best product to sell to tweens globally.
For this podcast episode the boys and I take a magically voyage back to the days when the music video mattered. A time when it was believe that video killed the radio star and holding the smoking gun, i.e. camera, was a list of directors who we could one day anoint worthy of telling a feature length tale.
CHRIS’ TOP 5 MV’S
5. Wonderboy by Tenacious D directed by Spike Jonze under the alias of Marcus Von Bueler.
This video helped bring the world to the attention of the amazing duo Tenacious D. The video itself didn’t really spotlight the duos comedy roots but more of their epic rock and roll inspirations like Dio and etc. The video is like an epic fantasy movie and makes you wish there were more to Wonderboy’s journey.
4. Scream by Michael Jackson directed by Mark Romanek
his video was one of the ones I discovered while looking up material for this episode. It instantly struck a chord with me and I instantly fell in love with it. The movements of Michael and Janet are just so wonderfully choreographed against this drab black and white prison like ship.
3. Buddy Holly by Weezer Directed by Spike Jonze
I can’t get enough of this video, I just love me some Fonzie dancing. The use of clips from the show and footage of the band just blend with one another so well.
2. Intergalactic by The Beastie Boys directed by MCA
I love me some giant robots fighting giant monsters in Japan and so do the Beastie Boys. Drawing influence from the show Johnny Sokko and His Flying Robot the Beastie Boys weave a music video so crazy it make you….mmmm drop.
https://www.youtube.com/watch?v=vt1Pwfnh5pc&list=RDvt1Pwfnh5pc
1. Hurt by Johnny Cash directed by Mark Romanek
Knowing the story and legacy of Johnny Cash makes this one of the hardest videos to watch without tearing up a little. It helps they filmed in the abandoned House of Cash museum that was at the time as in bad shape as Cash was then, just showing these two together and clips of Cash’s life creates in the words of literature professor Leigh H. Edwards, “Cash’s own paradoxical themes”.
JERRY’S TOP 5 MV’S
5. Criminal” by Fiona Apple … directed by Mark Romanek
I did not know Romanek directed this video until I looked up the credits for this blog entry and trufully I don’t know why this video came to mind as one I would list as being among my top five but that’s the beauty of it, right? This podcast episode was meant spark a remembrance of the past – music videos that made an impression upon you.
Was this an awesome million-dollar extravaganza? Nope. It was simple: camera, lighting, and a woman who appears malnourished with a deep bravo to her voice who was unlike anyone stripping down for music videos at that time. She was natural and unafraid of baring it all for the camera – a true artist.
Criminal was voyeuristic a look into this woman’s world with a camera and a spotlight moving about the room tracking her moments and focusing on random retro-lstic items. The shadow corners on the lens only added to the mystic that is Apple and her occasional shyness but overall openness for the viewer, we peeping toms, to understand the pain of her predicament for being in love; it’s like she fears being prosecuted for her lustful feeling and we are her interrogators. Wow!
https://www.youtube.com/watch?v=kDWgsQhbaqU
4. Welcome to the Black Parade by My Chemical Romance… directed by Samuel Bayer (Featuring Lukas Haas)
The first few moments of the video depict the death of the main character played by Lukas Haas remembering an instance with his father and the words spoken to him but sang by Gerald Way. Once he grabs the nurses hand that’s when you realize he’s dying only to awake a member of the dead represented only by an heavy application of black makeup around the eyes — not so subtle but effective. The world could be hell, heaven, or the in between; it resembles a harlequin painting with characters of odd and peculiar looks and pure white faces. There’s also a steam punk influence within the design of the costumes and paint grayish skies that add it its peculiarity.
As someone who enjoys making composite sketches in Photoshop and admires the brilliance of 3D painting, I applaud the successful execution of mending the real with the digitally enhance. The director [and artists] were able to makes the two worlds collide so seamlessly and make the welcome of this young man’s entrance into eternity not quite as painful as his death.
3. All of The Lights by Kayne West (feat. Rihanna, Kid Cudi) directed by Hype Williams
ALL OF THE TYPE. I loved this song on the album and when the video premiered I was simple awestruck seriously, paraplegic for at least a few seconds after watching the use of type at the commencement of the music video then again when Rihanna came on screen –damn!
[two_third][/two_third]Truth is … I cried during the first thirty seconds with this baby walking to school amidst the dangers of what could only be the projects. I don’t know, that scene to me represented the solitude of youth and how sometimes these babies are sent out to into a world alone and without the shelter of a parent it saddens me. Always has. I’m pretty sure it has something to do with my own upbringing but that picture was painting by Williams.
Kayne at his best on top of cop cars in an alley with all of the lights bouncing off the bring walls causing a strobe light effect which was likely provided in post but well execution during filming.
As a graphic designer, I always love that Hype Williams uses type in his videos projects. Motion graphics and music videos are a great combination when used effectively. Lyrics are movement and with movement you can create design within words.
2. Smooth Criminal by Michael Jackson directed by Colin Chilvers
Criminal is definitely my favorite video of all time. You had the great song and lyrics but the video added a story and it was damn cool. Old time gangstas crashing nightclubs with tommy guns and dancing feet… perfect.
1. Take On Me by a-Ha directed by Steve Barron (Billie Jean and She Blinded Me With Science)
One of the very first videos that impressed a kid from the south with no access to cable who was now a citizen of far north Alaska living with a father who had cable and access to more cool things to fuel his imagination. After watching this video, I became an artist. Thanks, Pops.
Adam’s Top 5… 4 MV’s
5. The Rock Show by Blink 182… directed by The Malloys
I enjoy watching what they do with money — hilarious.
4. From Yesterday by 30 Seconds to Mars … directed by Jared Leto, under the alias Bartholomew Cubbins.
It was cool to watch the story play out.
3. The Devil In I by Slipknot… directed by (Slipknot drummer) Shawn Crahan
Cool concept.
2. Big Me by Foo Fighters… directed by Jesse Peretz
They had to stop playing this song live because the audience would throw Mentos at the band as they started playing.