MISCmedia for 3/6/00
Who Killed the Video Star?

SOMETIME LAST WEEK,MTV claimed to have played the one millionth music video (counting repeats) in the cable channel's 19-year history.

You probably didn't even notice. The channel didn't even bother to plant hype stories the channel planted in newspapers about the "achievement." (The clip chosen to represent the milestone: Peter Gabriel's "Sledgehammer.")

Once the #1-rated basic cable channel, MTV's ratings have steadily declined. (A recent, laudatory Forbes article touted the successful launches of localized MTV channels around the world, but tellingly said nothing about the U.S. original.)

What's more, the channel's more exclusively than ever drawing teen and young-adult audiences, who (despite being incessantly wooed by every channel from NBC to UPN) proportionately watch far less TV of any type than any other age group.

The problem's not that ex-viewers like me grew older while MTV didn't. It's that MTV has indeed grown old; or at least tired.

Briefly, during its mid-'80s to early-'90s midlife, the channel was known for championing artistically flashy "breakthrough videos," and also for breaking exciting new acts that threatened to stretch the boundaries of pop and rock.

Back in 1981, MTV had been routinely criticized for its lack of programming diversity. It mainly just showed hard-rock and top-40 acts, with a smattering of British "new wave" clips and almost no R&B or hiphop.

Today, during those hours when it isn't re-re-rerunning five-year-old Real World episodes or Celebrity Deathmatch animations, MTV almost exclusively plays music from five, very rigidly-defined, genres:

• Corporate bubblegum (98 Degrees, N'Sync, Britney Spears);

• White-crossover hiphop (Busta Rhymes, Missy Elliott, Puff Daddy);

• "Aggro" neo-metal (Limp Bizkit, Korn);

• Waif ballads (Tori Amos, Sarah McLachlan); and

• What's left of "alternative" pop (Beck, Marcy Playground).

Of course, as an integral part of the mainstream record-industry hype machine, MTV's decline has parallelled the industry's. With no real "top 40" mass market anymore, the industry has devolved and retreated into niches where it believes its big-promotion, big-marketing approach can still move CDs--the five genres listed above, plus the easy-listening acts played on VH1 (also owned, like MTV, by Viacom) and the pop-country acts played on TNN (soon to be owned by Viacom once its merger with CBS goes through).

TOMORROW: What's in a (corporate) name?

ELSEWHERE:

• Where Lemonheads come from....
• "Inside this treasure chest aremore than 40 different hard-to-find candies!"...

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• Requiem for an afternoon newspaper.
• Parts one and two of a Microsoft refugee's confessions.
• Highlights from our most recent MISCmedia questionnaire.
• Parts one, two, and three of our exploration of improv music as a social and political metaphor.
• More search-engine keywords that mistakenly bring people to this site.
• Yes, KFC still serves chicken.
• The long-awaited return of D.I.Y. glamour.
• Cussing around the world.
• The cloudy fate of the Frontier Room and of the Jem Studios/Galleries.
• Thoughts on the Griffey trade.
• A reluctant bachelor's reluctant look at Valentine's Day.
• Parts one and two of our look at the you-can-have-it-all fantasies in those rah-rah new business magazines.
• The problem with imagining other people to be more "innocent."
• The future of Utopias.

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