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In the beginningwas the music, music, music...
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♪ Time, time, time ♪
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00:00:12,566 --> 00:00:16,466
"Video jockey" was added
to Webster's dictionary.
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♪ See what's become of me ♪
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00:00:20,133 --> 00:00:22,266
A new concept is born.
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♪ Well, I remember ♪
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I want my MTV!
8
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[ The Bangles'
"Hazy Shade of Winter" playing ]
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We offer more than cars
or grain or MTV.
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TONE LOC: Let's do it.
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NARRATOR:
The rise of the music video
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was a game changer
for pop music.
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♪ Time, time, time ♪
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PERRY:
Videos, I think, were cool.
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Songs became grander and bigger
than they were because of MTV.
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♪ Possibilities ♪
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IDOL:
The avalanche of MTV as the ‐‐
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I mean, it grew so fast
like a sort of a virus.
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♪ ...sky ♪
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♪ Is a hazy shade of winter ♪
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It just swept everything aside.
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MAN:
Video music! 24 hours a day!
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I mean, cable itself
was exploding...
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[Pop!]
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... and we were exploding
along with it.
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♪ Hey, little sister,
who's your Superman? ♪
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00:01:14,600 --> 00:01:17,966
♪ Hey, little sister,
who's the one you want? ♪
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00:01:17,966 --> 00:01:20,566
♪ Hey, little sister, shotgun ♪
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♪ It's a nice day
to start again ♪
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KNOPPER: It became so huge
and so powerful.
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It was sort of like,
you get a video on MTV,
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boom, that's it for you,
that's the magic ticket.
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NARRATOR: Suddenly,
music had another dimension,
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and musicians had a new way
to express themselves.
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♪ 1984 ♪
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It was really wonderful to use
these visual images to sort of
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develop the meaning
of the songs.
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‐♪ 1984 ♪
‐♪ Hey, yeah ♪
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To convey some other depth
in them ‐‐
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That was really experimental
at the time.
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[ Duran Duran's
"Hungry Like the Wolf" playing ]
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♪ In touch with the ground ♪
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♪ I'm on the hunt,
I'm after you ♪
44
00:02:01,600 --> 00:02:03,833
I think it was sort of a whole
new level of modernism.
45
00:02:03,833 --> 00:02:07,066
You know, it was a new style,
and who are these people?
46
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These people came from nowhere.
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Duran Duran ‐‐ Who are they?
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♪ I want my MTV ♪
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NARRATOR: It was a cultural
phenomenon that transformed
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the way we see music.
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When I was growing up,
music was what you heard first
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and you maybe saw later.
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Today music is what they see
first and maybe hear later.
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[ Rock song ends, crowd cheers ]
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[ Guitar strumming ]
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‐HARRISON: What key is it in?
‐MAN: What key is it...
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McCARTNEY:
It'll be in F for you.
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SPECTOR: Here we go.
Just one more time.
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FRANKLIN: Right after I say,
"Are you sure?"
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Da da da ‐‐ yeah.
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MAN: Oh.
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WILSON: Hal, here's how
I want to do it. It's like this.
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BOWIE: All right, it's fun time.
Fun time.
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‐MAN #1: Here we go.
‐MAN #2: Oh, really?
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MAN #1: 17, take one.
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MAN #3:
This will be a keeper.
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♪ Video killed the radio star ♪
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00:03:19,333 --> 00:03:23,033
♪ Pictures came
and broke your heart ♪
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♪ Oh, oh, oh, oh, oh, oh ♪
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I had been exposed
to music videos
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through my travels in Europe.
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I had seen them.
I saw the power of them.
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♪ Oh, oh ♪
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I loved this idea.
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So I was one of a team of six
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who sort of developed
the concept of MTV.
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And behold,
a new concept is born.
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I had been living
in Afghanistan and India
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for eight years,
came back to the States
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after my business
kind of went kaput.
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So then I went to see the guy
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who was going to run
the music channel.
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It wasn't called MTV yet.
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He said, "We're looking
to hire people who have
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‐no experience in television."
‐♪ Can't stop this ♪
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"We don't want people
from PBS or NBC or CBS."
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♪ Oh ♪
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I said, well, I have
no experience in television.
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00:04:02,433 --> 00:04:04,433
I just came from a country that
didn't even have television.
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‐Television?
‐MAN: Yo!
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‐Check this out.
‐Lo and behold, they hired me.
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MAN: Ladies and gentlemen,
rock 'n' roll.
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GOODMAN: Technology was new,
the whole concept was new,
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that you go to this channel,
and it was this world of music.
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Starting right now,
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you'll never look at music
the same way again.
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GOODMAN:
So, everybody was young.
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Nobody really knew
what the hell they were doing.
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And musically,
there was no videos.
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[ Devo's "Whip It" playing ]
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You'd see DEVO every hour 'cause
they they needed enough videos
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to fill in 24‐hour programming.
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♪ Crack that whip ♪
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♪ Give the past the slip ♪
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♪ Step on a crack ♪
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00:04:48,900 --> 00:04:51,100
♪ Break your mama's back ♪
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I think of the 160 videos that
we had when we went on the air,
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something like 35 of them
were Rod Stewart's.
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00:04:57,200 --> 00:04:58,900
[ "Tonight's the Night"
playing ]
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♪ Kick off your shoes
and sit right down ♪
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00:05:04,433 --> 00:05:09,266
♪ Loosen up
that pretty French gown ♪
112
00:05:09,800 --> 00:05:14,300
♪ Let me pour ya
a good, long drink ♪
113
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♪ Ooh, baby,
don't you hesitate 'cause ♪
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♪ Tonight's the night ♪
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He really used to bang out
these cheap ones
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in front of the fireplace
with the acoustic guitar, yeah.
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♪ Ain't nobody gonna stop us
now ♪
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It was just these crazy bands
from England.
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♪ And I ran,
I ran so far away ♪
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♪ I just ran ♪
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00:05:49,166 --> 00:05:52,300
So by default, we wound up being
really progressive
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and really sort of
ahead of our time.
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♪ I couldn't get away ♪
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IDOL: There hadn't been
that much on MTV,
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00:06:01,066 --> 00:06:02,633
so whatever you put on MTV
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00:06:02,633 --> 00:06:06,400
you were going to stylistically
start creating...
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00:06:06,900 --> 00:06:08,833
... what MTV could do.
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00:06:08,833 --> 00:06:11,966
♪ If I looked
all over the world ♪
129
00:06:11,966 --> 00:06:14,500
♪ And there's every type
of girl ♪
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00:06:14,500 --> 00:06:17,300
♪ But your empty eyes
seem to pass me by ♪
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00:06:17,300 --> 00:06:19,533
♪ And leave me
dancin' with myself ♪
132
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Yeah, we wanted to push
the boundaries
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of what was on MTV.
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00:06:24,800 --> 00:06:27,133
If you know how to shock,
you know how to rock.
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You know, that's...
[ Laughs ]
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00:06:28,900 --> 00:06:30,200
♪ ... with myself ♪
137
00:06:30,200 --> 00:06:32,666
♪ Oh, oh, dancing with myself ♪
138
00:06:32,733 --> 00:06:34,766
♪ Oh, oh, dancing with myself ♪
139
00:06:34,766 --> 00:06:38,800
We had sort of hybrids of punk
coming up in the '80s.
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Sort of a way forward that,
say, may have kept
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the sort of energy of punk.
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That's what I wanted to do,
anyway, with my music.
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♪ ...self ♪
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LENNOX: It was very radical,
that energy like,
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00:06:48,500 --> 00:06:50,800
you know, you can just
rip something up to shreds.
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00:06:50,800 --> 00:06:52,833
It's that horrid ‐‐
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We're just burning this up,
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and we're doing something that
you've never seen it before.
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♪ Dancing with myself ♪
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00:06:59,700 --> 00:07:02,700
I never thought of myself
as a punk, per se,
151
00:07:02,700 --> 00:07:06,000
but I was really, really
influenced definitely by it.
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It was like,
I cut my hair, I dyed it.
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00:07:07,900 --> 00:07:09,433
It was a kind of statement
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00:07:09,433 --> 00:07:11,666
to say that
you're at odds with society.
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00:07:11,666 --> 00:07:15,100
♪ Sweet dreams
are made of these ♪
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♪ Who am I to disagree? ♪
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♪ I travel the world
and the seven seas ♪
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♪ Everybody's lookin'
for something ♪
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STEWART: "Sweet Dreams" ‐‐
It was totally surreal.
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00:07:28,666 --> 00:07:32,466
We were using Buñuel
and Salvador Dalí
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00:07:32,466 --> 00:07:36,800
and French filmmakers, Italian
filmmakers as references.
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00:07:36,800 --> 00:07:40,933
It was like a little weird
sort of surreal vignette.
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00:07:40,933 --> 00:07:42,700
‐♪ Movin' on ♪
‐♪ Hold your head up ♪
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‐♪ Movin' on ♪
‐♪ Keep your head up ♪
165
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‐♪ Movin' on ♪
‐♪ Hold your head up ♪
166
00:07:46,600 --> 00:07:48,433
‐♪ Movin' on ♪
‐♪ Keep your head up ♪
167
00:07:48,500 --> 00:07:50,433
‐♪ Movin' on ♪
‐♪ Hold your head up ♪
168
00:07:50,500 --> 00:07:53,033
‐♪ Movin' on ♪
‐♪ Keep your head up ♪
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00:07:54,400 --> 00:07:56,833
LENNOX: It was very much using
the visual tools
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00:07:56,833 --> 00:08:00,566
to say something, but it wasn't
a superficial statement.
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00:08:00,566 --> 00:08:06,233
It was a really profound thing
that was more than skin deep.
172
00:08:06,800 --> 00:08:10,233
Wearing a man's suit
to look like a twin
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with the opposite gender.
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00:08:11,866 --> 00:08:15,766
My cohort in Eurythmics, both
of us, we were like equals.
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00:08:15,766 --> 00:08:18,733
And looking back on it now as
an older woman, I look at that,
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00:08:18,733 --> 00:08:24,433
and I think I was trying to find
a way to be equal.
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So it wasn't really
anything like a pop video.
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But what happened,
MTV had just started,
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and they were desperate
to have stuff to play.
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And every time they showed it,
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everybody was going nuts
about it.
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So this critical mass
started to happen.
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00:08:39,200 --> 00:08:42,833
♪ Who am I to disagree? ♪
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By the time Annie and I arrived
in America to play a tour,
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00:08:46,400 --> 00:08:50,133
when we were in San Francisco,
Annie and I got a call
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and we were told we were
number one in America.
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So from being, you know,
really experimental
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00:08:56,133 --> 00:08:58,600
and seeing ourselves
more as performance art,
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00:08:58,600 --> 00:09:00,500
it was like number one
in America,
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00:09:00,500 --> 00:09:03,800
cover of Rolling Stone,
Annie on the cover of Newsweek.
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00:09:03,800 --> 00:09:05,300
And it was just bang, you know,
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00:09:05,300 --> 00:09:08,000
all in about the space
of four weeks.
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00:09:08,500 --> 00:09:10,366
LENNOX:
I just remember the sensation
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00:09:10,366 --> 00:09:15,033
of my world suddenly feeling
like in these films when you see
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00:09:15,033 --> 00:09:20,433
a very, very small cartoon
person knocking at a huge door,
196
00:09:20,433 --> 00:09:22,400
the Hall of the Mountain King
or something.
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00:09:22,400 --> 00:09:25,233
And then, all of a sudden...
[imitates deep creaking sound]
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00:09:25,233 --> 00:09:28,133
...you know, the door opens.
199
00:09:28,133 --> 00:09:29,400
And it's like...
200
00:09:29,400 --> 00:09:31,600
♪ My mother told me good ♪
201
00:09:31,600 --> 00:09:33,600
♪ My mother told me strong ♪
202
00:09:33,600 --> 00:09:37,533
♪ She said, be true to yourself
and you can't go wrong ♪
203
00:09:37,533 --> 00:09:41,400
♪ But there's just one thing
that you must understand ♪
204
00:09:41,400 --> 00:09:44,233
♪ You can fool
with your brother ♪
205
00:09:44,233 --> 00:09:47,800
♪ But don't mess
with a missionary man ♪
206
00:09:47,800 --> 00:09:49,166
♪ Oh ♪
207
00:09:49,166 --> 00:09:51,200
♪ Don't mess
with a missionary man ♪
208
00:09:51,200 --> 00:09:52,566
[ Vocalizing ]
209
00:09:52,566 --> 00:09:54,966
♪ Don't mess
with a missionary man ♪
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00:09:54,966 --> 00:09:56,333
[ Vocalizing ]
211
00:09:56,333 --> 00:09:58,700
♪ Don't mess
with a missionary man ♪
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00:09:58,700 --> 00:10:00,466
‐[ Vocalizing ]
‐STEWART: You couldn't come out
213
00:10:00,466 --> 00:10:03,500
and just be a normal band
playing guitars.
214
00:10:03,500 --> 00:10:07,200
We really went all the way out
in experimenting.
215
00:10:07,200 --> 00:10:08,800
Nothing to do with pop music.
216
00:10:08,800 --> 00:10:12,433
♪ Black‐eyed looks
from those Bible books ♪
217
00:10:12,433 --> 00:10:16,033
♪ He's a man with a mission,
got a serious mind ♪
218
00:10:16,033 --> 00:10:18,566
I hear this word "image" and I
used to hear this word "image,"
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00:10:18,566 --> 00:10:20,800
"your image, your image,
your image."
220
00:10:20,800 --> 00:10:22,266
And it used to really bug me.
221
00:10:22,266 --> 00:10:25,300
It still does when
I hear that ‐‐ "your image."
222
00:10:25,300 --> 00:10:28,433
And I think why am I so bugged
by this word, "image"?
223
00:10:28,433 --> 00:10:34,200
'Cause I said no, it's not
my image. This is who I am.
224
00:10:34,200 --> 00:10:37,966
But at the same time,
that wasn't exactly true.
225
00:10:38,533 --> 00:10:40,700
Because it was a presentation.
226
00:10:40,700 --> 00:10:45,566
♪ Believe, believe, believe,
believe, believe, believe ♪
227
00:10:45,566 --> 00:10:48,533
ENO: I like the idea that
when you make a piece of music,
228
00:10:48,533 --> 00:10:52,366
you make a little play,
a little piece of theater.
229
00:10:52,366 --> 00:10:54,266
And it isn't necessarily
about you.
230
00:10:54,266 --> 00:10:55,600
There are characters in it.
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00:10:55,600 --> 00:10:57,500
There's somebody singing
who's probably using
232
00:10:57,500 --> 00:11:01,633
the first person singular, "I,"
but it doesn't mean it's me.
233
00:11:01,633 --> 00:11:03,366
You know,
Bowie is very good at this.
234
00:11:03,366 --> 00:11:05,666
He often populates his songs
235
00:11:05,666 --> 00:11:08,900
with characters
who clearly aren't him.
236
00:11:08,900 --> 00:11:14,466
♪ One flash of light
but no smoking pistol ♪
237
00:11:15,366 --> 00:11:17,933
♪ I've never done good things ♪
238
00:11:17,933 --> 00:11:19,400
I've never done good things.
239
00:11:19,400 --> 00:11:21,133
♪ I've never done bad things ♪
240
00:11:21,133 --> 00:11:22,733
I've never done bad things.
241
00:11:22,733 --> 00:11:28,166
♪ I never did
anything out of the blue ♪
242
00:11:28,166 --> 00:11:29,200
♪ Whoa‐oa‐oa ♪
243
00:11:29,200 --> 00:11:31,000
Whoa‐oa‐oa.
244
00:11:31,000 --> 00:11:34,500
♪ Want an axe to break the ice ♪
245
00:11:34,500 --> 00:11:38,433
♪ Wanna come down right now ♪
246
00:11:38,433 --> 00:11:42,233
♪ Ashes to ashes,
funk to funky ♪
247
00:11:42,233 --> 00:11:46,000
♪ We know
Major Tom's a junkie ♪
248
00:11:46,000 --> 00:11:48,733
KING: One of the things that
Bowie brought to the scene,
249
00:11:48,733 --> 00:11:52,133
as did so many of the other
"art rock" musicians
250
00:11:52,133 --> 00:11:56,766
like a Brian Eno of Roxy Music,
Freddie Mercury in the 1970s,
251
00:11:56,766 --> 00:12:00,233
they brought a prioritization of
the visual into popular music.
252
00:12:00,233 --> 00:12:04,166
♪ Jean Genie lives on his back ♪
253
00:12:04,166 --> 00:12:07,366
♪ The Jean Genie
loves chimney stacks ♪
254
00:12:07,366 --> 00:12:11,366
♪ He's outrageous,
he screams and he bawls ♪
255
00:12:11,366 --> 00:12:14,500
♪ The Jean Genie,
let yourself go ♪
256
00:12:14,500 --> 00:12:17,433
David Bowie radicalized
masculinity in popular music.
257
00:12:17,433 --> 00:12:21,933
So he changed the way
that we think about gender,
258
00:12:21,933 --> 00:12:24,300
the possibilities for how men
259
00:12:24,300 --> 00:12:27,633
can stylistically express
themselves in popular music.
260
00:12:29,133 --> 00:12:33,466
♪ He sits like a man,
but he smiles like a reptile ♪
261
00:12:33,466 --> 00:12:37,066
♪ She love him, she love him,
but just for a short while ♪
262
00:12:37,066 --> 00:12:40,733
♪ She'll scratch in the sand,
won't let go his hand ♪
263
00:12:40,733 --> 00:12:44,600
♪ He says he's a beautician
and sells you nutrition ♪
264
00:12:44,600 --> 00:12:48,800
♪ And keeps all your dead hair
for making up underwear ♪
265
00:12:48,800 --> 00:12:51,466
♪ Poor little Greenie ♪
266
00:12:52,800 --> 00:12:54,400
♪ Ooh‐ooh‐ooh ♪
267
00:12:54,400 --> 00:12:56,966
BARRON: In every sense,
David Bowie was the predecessor
268
00:12:56,966 --> 00:13:00,233
to so many
of these artists on MTV.
269
00:13:00,233 --> 00:13:03,433
They learned to be brave
from him.
270
00:13:03,433 --> 00:13:07,333
They learned to put across
another persona.
271
00:13:07,333 --> 00:13:09,766
♪ The Jean Genie,
let yourself go ♪
272
00:13:09,766 --> 00:13:13,533
SCOTT: That was Bowie, that
was Presley, that was DEVO.
273
00:13:13,533 --> 00:13:15,533
They were very
professional musicians
274
00:13:15,533 --> 00:13:17,366
that were putting on an image,
275
00:13:17,366 --> 00:13:20,766
which is what
most of rock 'n' roll is.
276
00:13:21,366 --> 00:13:24,100
At the end of the day,
it's show business.
277
00:13:24,100 --> 00:13:26,233
Who are our favorite
entertainers, ever?
278
00:13:26,233 --> 00:13:28,933
James Brown, Prince,
David Bowie,
279
00:13:28,933 --> 00:13:33,566
because they embraced...
the razzle dazzle.
280
00:13:38,068 --> 00:13:39,968
To take the power of music
and put it together
281
00:13:39,968 --> 00:13:42,634
with the power of television
was a great combination.
282
00:13:42,634 --> 00:13:46,368
And it certainly showed
its strength years before MTV
283
00:13:46,368 --> 00:13:47,834
and in many, many ways.
284
00:13:47,834 --> 00:13:52,068
♪ In the shadows,
let me come and sing to you ♪
285
00:13:52,068 --> 00:13:56,568
♪ Let me dream a song
that I can dream to you ♪
286
00:13:56,568 --> 00:13:58,001
MTV is a culmination
287
00:13:58,001 --> 00:14:01,468
of years and years and years
of visual imagery.
288
00:14:01,468 --> 00:14:03,301
♪ Let me... ♪
289
00:14:03,301 --> 00:14:07,301
‐First it was film.
‐♪ Let me live my song ♪
290
00:14:07,301 --> 00:14:08,734
The musical.
291
00:14:08,734 --> 00:14:10,334
You know,
even "the Wizard of Oz."
292
00:14:10,334 --> 00:14:12,701
All right, Mr. Ritchie,
how 'bout a downbeat
293
00:14:12,701 --> 00:14:14,468
for the baby‐loving Supremes?
294
00:14:14,468 --> 00:14:16,368
AYEROFF: Then all of a sudden,
music comes into the house,
295
00:14:16,368 --> 00:14:19,601
and you have the growth
of the visual medium at home.
296
00:14:19,601 --> 00:14:23,168
[ Intro to
"Where Did Our Love Go?" plays ]
297
00:14:23,168 --> 00:14:25,568
♪ Baby, baby ♪
298
00:14:25,568 --> 00:14:28,468
♪ Baby, don't leave me ♪
299
00:14:28,468 --> 00:14:31,801
♪ Ooh, please, don't leave me ♪
300
00:14:31,801 --> 00:14:34,768
♪ All by myself ♪
301
00:14:34,768 --> 00:14:37,101
I would see
Diana Ross and The Supremes
302
00:14:37,101 --> 00:14:39,234
in these beautiful,
elegant shift dresses,
303
00:14:39,234 --> 00:14:41,534
you know, with this kind
of minimalistic moves
304
00:14:41,534 --> 00:14:45,801
that they all did in
synchronistic unison, you know?
305
00:14:45,801 --> 00:14:47,301
And they had this deportment.
306
00:14:47,301 --> 00:14:49,701
But the reason
why they learned to do that
307
00:14:49,701 --> 00:14:52,801
was because somebody
had the foresight to say,
308
00:14:52,801 --> 00:14:56,401
"Now, you know, when you
perform, it has to be like this,
309
00:14:56,401 --> 00:14:57,968
and it worked.
310
00:14:57,968 --> 00:14:59,568
Whatever they represented,
311
00:14:59,568 --> 00:15:03,034
it had that inherent sort of
dignity and beauty and elegance,
312
00:15:03,034 --> 00:15:05,568
and, boy, it was something else.
313
00:15:05,568 --> 00:15:07,234
♪ ...surrender ♪
314
00:15:07,234 --> 00:15:10,334
‐♪ So helplessly ♪
‐♪ Where did our love go? ♪
315
00:15:10,334 --> 00:15:13,001
‐♪ You now want to leave ♪
‐♪ Baby, baby ♪
316
00:15:13,001 --> 00:15:16,534
♪ Ooh, you wanna leave me ♪
317
00:15:16,534 --> 00:15:20,101
Television for me
was primordial.
318
00:15:20,101 --> 00:15:21,434
I had to have TV.
319
00:15:21,434 --> 00:15:24,934
So I grew up with Ed Sullivan.
320
00:15:24,934 --> 00:15:27,668
I grew up with
the Grand Ole Opry.
321
00:15:27,668 --> 00:15:29,934
Anytime Elvis Presley
would be on
322
00:15:29,934 --> 00:15:32,201
or James Brown would be on,
we were there.
323
00:15:32,201 --> 00:15:34,201
It was like
a neighborhood event.
324
00:15:34,201 --> 00:15:37,468
People that didn't have TVs
would come over to our house,
325
00:15:37,468 --> 00:15:39,868
and it became, like ‐‐
it would be like a party.
326
00:15:39,868 --> 00:15:41,801
♪ We're going hopping ♪
327
00:15:41,801 --> 00:15:45,201
KAY: And then, of course,
you had Dick Clark
328
00:15:45,201 --> 00:15:48,434
and "American Bandstand"
out of Philadelphia.
329
00:15:48,434 --> 00:15:49,868
♪ On the bandstand ♪
330
00:15:49,868 --> 00:15:52,068
♪ Bandstand ♪
331
00:15:52,068 --> 00:15:54,034
FRESTON: Dick Clark
used to have a show on
332
00:15:54,034 --> 00:15:56,468
on 7:30 on Saturday nights
333
00:15:56,468 --> 00:15:58,934
and it was brought to you
by Beech‐Nut spearmint gum,
334
00:15:58,934 --> 00:16:01,534
I remember that. And we
used to clap in the same way.
335
00:16:01,534 --> 00:16:03,101
It was like a cavalcade,
336
00:16:03,101 --> 00:16:05,601
you know, of all kinds of
different acts coming on
337
00:16:05,601 --> 00:16:08,134
and singing their songs,
so you actually would see them.
338
00:16:08,134 --> 00:16:12,001
From ABC Television Centerin Hollywood ‐‐ "Shindig!"
339
00:16:12,001 --> 00:16:15,234
♪ I got a woman
mean as she can be ♪
340
00:16:15,234 --> 00:16:20,134
♪ Well, I got a woman
mean as she can be ♪
341
00:16:20,134 --> 00:16:23,301
♪ Well, sometimes I think
she's almost mean as me ♪
342
00:16:23,301 --> 00:16:27,034
"Shindig!" was really the first
real rock‐'n'‐roll show
343
00:16:27,034 --> 00:16:29,234
‐in the United States.
‐♪ Well, I sure do it good ♪
344
00:16:29,234 --> 00:16:32,168
♪ I got a woman
mean as she can be ♪
345
00:16:32,168 --> 00:16:33,401
♪ I got a woman ♪
346
00:16:33,401 --> 00:16:36,201
♪ Sometimes I think
she's almost mean as me ♪
347
00:16:36,201 --> 00:16:38,501
‐♪ I got a woman ♪
‐Whoo!
348
00:16:38,501 --> 00:16:40,334
It was all black and white.
349
00:16:40,334 --> 00:16:44,201
Fast cuts, you know,
kind of exciting‐looking.
350
00:16:44,868 --> 00:16:47,034
And "American Bandstand,"
it was different, you know,
351
00:16:47,034 --> 00:16:49,801
it was kids dancing,
and it was very polite.
352
00:16:49,801 --> 00:16:54,001
And, you know, Dick Clark
was sort of like your dad.
353
00:16:54,001 --> 00:16:55,501
But this wasn't like that.
354
00:16:55,501 --> 00:16:56,734
This was more, you know,
355
00:16:56,734 --> 00:16:59,268
cutting edge‐looking
and feeling.
356
00:16:59,268 --> 00:17:00,368
♪ ... woman ♪
357
00:17:01,234 --> 00:17:05,834
I got the gig of being a rhythm
guitar player on "Shindig!"
358
00:17:05,834 --> 00:17:07,801
and we'd prerecord
most of the tracks.
359
00:17:07,801 --> 00:17:09,468
Sometimes we would play live.
360
00:17:09,468 --> 00:17:10,501
[ Audience screaming ]
361
00:17:10,501 --> 00:17:11,901
But we'd prerecord the music,
362
00:17:11,901 --> 00:17:13,901
and then the artists
would sing live.
363
00:17:13,901 --> 00:17:16,934
[ Thunder rumbling ]
364
00:17:22,101 --> 00:17:24,601
[ The Rolling Stones'
"Little Red Rooster" plays ]
365
00:17:24,601 --> 00:17:26,968
[ Audience screaming ]
366
00:17:37,068 --> 00:17:40,568
♪ I am the little red rooster,
baby ♪
367
00:17:41,068 --> 00:17:45,268
♪ Too lazy to crow for day ♪
368
00:17:51,134 --> 00:17:54,834
♪ I am the little red rooster,
baby ♪
369
00:17:54,834 --> 00:17:58,968
♪ Too lazy to crow for day ♪
370
00:18:08,668 --> 00:18:12,701
♪ I keep everything
in the farmyard ♪
371
00:18:12,701 --> 00:18:16,568
♪ Upset in every way ♪
372
00:18:22,468 --> 00:18:25,401
FRESTON:
So you got up close.
373
00:18:25,401 --> 00:18:28,534
It also gave you sense about
that band as sort of being
374
00:18:28,534 --> 00:18:31,068
playful, casual,
modern, stylish.
375
00:18:31,068 --> 00:18:32,801
You got all these image things
376
00:18:32,801 --> 00:18:35,001
out of whatever
they sought to do.
377
00:18:35,001 --> 00:18:36,601
♪ Paperback writer ♪
378
00:18:36,601 --> 00:18:42,568
‐♪ Paperback writer ♪
‐♪ Paperback writer ♪
379
00:18:46,968 --> 00:18:49,701
♪ Yes, sir or madam,
will you read my book? ♪
380
00:18:49,701 --> 00:18:52,968
♪ It took me years to write,
will you take a look? ♪
381
00:18:52,968 --> 00:18:56,001
♪ It's based on a novel
by a man named Lear ♪
382
00:18:56,001 --> 00:18:58,568
♪ And I need a job,
so I wanna be ♪
383
00:18:58,568 --> 00:19:01,468
♪ A paperback writer ♪
384
00:19:01,468 --> 00:19:05,168
♪ Paperback writer ♪
385
00:19:05,168 --> 00:19:08,001
In England,
every Beatles song had a movie.
386
00:19:08,001 --> 00:19:09,601
♪ And his clinging wife
doesn't understand ♪
387
00:19:09,601 --> 00:19:11,634
Whether they were singing
on a rooftop
388
00:19:11,634 --> 00:19:13,401
or whether they were
singing in a room
389
00:19:13,401 --> 00:19:15,268
or they were in the studio,
there was always
390
00:19:15,268 --> 00:19:18,334
some visual thing sent around
the world for the Beatles
391
00:19:18,334 --> 00:19:19,534
when they weren't touring.
392
00:19:19,534 --> 00:19:23,534
♪ Paperback writer ♪
393
00:19:23,601 --> 00:19:25,201
♪ Paperback writer ♪
394
00:19:25,201 --> 00:19:29,834
‐♪ Paperback writer ♪
‐♪ Paperback writer ♪
395
00:19:29,834 --> 00:19:32,134
TITELMAN: Everything was
covered. Everything was shot.
396
00:19:32,134 --> 00:19:33,634
And everybody
wanted to see them.
397
00:19:33,634 --> 00:19:36,001
And everybody wanted to see
all of it.
398
00:19:36,001 --> 00:19:38,334
♪ A thousand pages,
give or take a few ♪
399
00:19:38,334 --> 00:19:41,334
♪ I'll be writing more
in a week or two ♪
400
00:19:41,334 --> 00:19:44,401
♪ I can make it longer
if you like the style ♪
401
00:19:44,401 --> 00:19:45,968
♪ I can change it 'round ♪
402
00:19:45,968 --> 00:19:49,301
♪ And I want to be
a paperback writer ♪
403
00:19:49,301 --> 00:19:50,868
FRESTON: Because they had
the money to do it
404
00:19:50,868 --> 00:19:52,468
and they had the platform
to get it out there,
405
00:19:52,468 --> 00:19:54,701
and, at the time, they were
the center of the universe.
406
00:19:54,701 --> 00:19:56,101
So filmmakers and everybody
407
00:19:56,101 --> 00:19:57,801
wanted to associate
with the Beatles.
408
00:19:57,801 --> 00:19:59,368
So someone would say,
"Hey, let's make a music video."
409
00:19:59,368 --> 00:20:02,268
♪ If you must return it,
you can send it here ♪
410
00:20:02,268 --> 00:20:05,001
♪ But I need a break
and I want to be ♪
411
00:20:05,001 --> 00:20:07,468
♪ A paperback writer ♪
412
00:20:07,468 --> 00:20:11,968
♪ Paperback writer ♪
413
00:20:12,034 --> 00:20:13,901
♪ Paperback writer ♪
414
00:20:13,901 --> 00:20:18,568
‐♪ Paperback writer ♪
‐♪ Paperback writer ♪
415
00:20:18,568 --> 00:20:21,601
LAMBERT: You know, there was
a lot of music and picture.
416
00:20:21,601 --> 00:20:23,068
And the Beatles, of course,
417
00:20:23,068 --> 00:20:27,101
I had seen everything
that the Beatles ever did.
418
00:20:27,101 --> 00:20:29,734
I went to see "Help!"
the weekend it opened.
419
00:20:29,734 --> 00:20:31,068
That's what I would consider
420
00:20:31,068 --> 00:20:33,301
to be one of the first
true music videos.
421
00:20:33,301 --> 00:20:36,934
FRESTON: The Beatles got in
on it relatively early
422
00:20:36,934 --> 00:20:39,468
with non‐narrative pieces
that connoted a certain feeling
423
00:20:39,468 --> 00:20:41,934
and a certain style,
and it allowed you to sort of
424
00:20:41,934 --> 00:20:43,934
re‐evaluate your relationship
with these artists
425
00:20:43,934 --> 00:20:45,668
and what they were
and reimagine them.
426
00:20:45,668 --> 00:20:47,201
Sometimes we'd call them
promo clips.
427
00:20:47,201 --> 00:20:50,068
Chrysalis, they were doing
Blondie promo clips.
428
00:20:50,068 --> 00:20:52,034
And you would take them
and you'd show them
429
00:20:52,034 --> 00:20:55,568
to radio stations
at a party for Blondie.
430
00:20:56,301 --> 00:20:59,501
You know, Blondie, you know,
Debbie Harry, she's amazing.
431
00:20:59,501 --> 00:21:03,501
♪ Hanging on the telephone ♪
432
00:21:03,501 --> 00:21:06,668
♪ It's good to hear your voice,
you know it's been so long ♪
433
00:21:06,668 --> 00:21:10,034
♪ If I don't get your calls,
then everything goes wrong ♪
434
00:21:10,034 --> 00:21:13,368
♪ I want to tell you something
you've known all along ♪
435
00:21:13,368 --> 00:21:19,268
♪ Don't leave me hanging
on the telephone ♪
436
00:21:19,268 --> 00:21:21,534
HARRY:
Because we were international,
437
00:21:21,534 --> 00:21:25,734
we had to make videos,
and we made videos from day one.
438
00:21:26,234 --> 00:21:31,101
And, you know, making videos at
that point was so inexpensive.
439
00:21:31,101 --> 00:21:33,734
First it started out
just as an art form
440
00:21:33,734 --> 00:21:35,268
'cause it was fun,
it was experimental,
441
00:21:35,268 --> 00:21:37,034
it was another way for artists
to express themselves
442
00:21:37,034 --> 00:21:39,068
and it was done pretty much
on the cheap.
443
00:21:39,068 --> 00:21:42,034
But done right, it would work
amazingly well for an artist.
444
00:21:42,034 --> 00:21:43,901
♪ ... my affection ♪
445
00:21:43,901 --> 00:21:46,168
♪ Oh, I can't control myself ♪
446
00:21:46,168 --> 00:21:49,434
BARRON: It was so new that
there were no ground rules.
447
00:21:49,434 --> 00:21:51,501
For a few glorious years,
448
00:21:51,501 --> 00:21:55,234
you had carte blanche to do
whatever you could think of.
449
00:21:59,125 --> 00:22:01,925
When I got the call to do
the "Billie Jean" video,
450
00:22:01,925 --> 00:22:04,458
Michael Jackson
wanted something cinematic
451
00:22:04,458 --> 00:22:06,125
with something magical.
452
00:22:06,125 --> 00:22:09,458
And so I showed him this idea
about this magical Midas Touch
453
00:22:09,458 --> 00:22:11,658
with this private detective
on his tail,
454
00:22:11,658 --> 00:22:13,358
and doing some things
455
00:22:13,358 --> 00:22:15,158
with old‐fashioned filmmaking,
as well.
456
00:22:15,158 --> 00:22:17,325
I really wanted to do something
with glass shots,
457
00:22:17,325 --> 00:22:19,692
which were where you put a glass
in front of the camera
458
00:22:19,692 --> 00:22:21,325
and you paint a piece of the set
459
00:22:21,325 --> 00:22:24,025
and you just have
a little more magic to it.
460
00:22:24,025 --> 00:22:26,558
You know, his manager had said
the week before,
461
00:22:26,558 --> 00:22:29,158
"He's worked out some dance
moves in front of the mirror,
462
00:22:29,158 --> 00:22:31,892
so leave a little space
for that."
463
00:22:31,892 --> 00:22:33,725
There was a storyboard,
and then there was a bit
464
00:22:33,725 --> 00:22:35,958
where it was just like, well,
this is just you dancing.
465
00:22:35,958 --> 00:22:38,758
And it wasn't until that moment
in the studio
466
00:22:38,758 --> 00:22:43,558
when the track came on that we
saw what he was going to do.
467
00:22:43,558 --> 00:22:47,458
I was operating the camera, and
the camera literally steamed up
468
00:22:47,458 --> 00:22:51,792
because of the heat coming from
me at what I was seeing.
469
00:22:51,792 --> 00:22:54,392
The eyepiece steamed completely.
470
00:22:54,392 --> 00:22:55,558
Amazing.
471
00:22:55,558 --> 00:22:58,492
Initially, MTV got
the "Billie Jean" video
472
00:22:58,492 --> 00:23:00,892
and felt it wasn't
for their audience.
473
00:23:00,892 --> 00:23:04,725
You know, there weren't
any black artists on MTV.
474
00:23:04,725 --> 00:23:07,758
MTV was music television,
475
00:23:07,758 --> 00:23:13,925
but it was basically...
white...rock music television.
476
00:23:13,925 --> 00:23:17,225
It wasn't really
music television.
477
00:23:17,225 --> 00:23:24,092
♪ Everyone's watchin'
to see what you will do ♪
478
00:23:24,092 --> 00:23:28,325
♪ Everyone's lookin' at you ♪
479
00:23:28,325 --> 00:23:30,092
♪ Oh ♪
480
00:23:30,092 --> 00:23:32,625
A lot of the early videos
that were played on MTV
481
00:23:32,625 --> 00:23:34,292
were rock video clips.
482
00:23:34,292 --> 00:23:37,492
And MTV didn't necessarily see
itself being in the business
483
00:23:37,492 --> 00:23:41,325
of broadcasting kind of
diversity of popular music.
484
00:23:41,325 --> 00:23:43,125
♪ Get it right ♪
485
00:23:43,125 --> 00:23:46,192
It was basically
an exclusionary medium.
486
00:23:46,192 --> 00:23:48,825
The founders of MTV
always imagined
487
00:23:48,825 --> 00:23:52,758
that their primary demographic
were white males,
488
00:23:52,758 --> 00:23:55,158
young males
who were into rock music
489
00:23:55,158 --> 00:23:56,925
and didn't listen
to anything else.
490
00:23:56,925 --> 00:24:01,192
♪ Everybody's goin'
off the deep end ♪
491
00:24:03,458 --> 00:24:07,525
♪ Everybody needs
a second chance, oh ♪
492
00:24:07,525 --> 00:24:08,858
FRESTON:
It was a good point.
493
00:24:08,858 --> 00:24:11,825
I would say that, in those days,
MTV's format was
494
00:24:11,825 --> 00:24:14,125
a little bit too careful
and overly restrictive.
495
00:24:14,125 --> 00:24:18,592
♪ Do you really want to hurt
me? ♪
496
00:24:19,058 --> 00:24:23,525
♪ Do you really want to make me
cry? ♪
497
00:24:23,525 --> 00:24:27,592
GOODMAN: But what wound up
happening fairly quickly
498
00:24:27,592 --> 00:24:31,192
was we could play Culture Club,
499
00:24:31,192 --> 00:24:33,492
who was basically doing
R&B music.
500
00:24:33,492 --> 00:24:36,058
You know, we could play
bands that were doing
501
00:24:36,058 --> 00:24:39,358
what black artists were doing,
but they were white.
502
00:24:39,358 --> 00:24:41,225
And we weren't playing black
artists doing the same thing.
503
00:24:41,225 --> 00:24:44,558
♪ She's a very kinky girl ♪
504
00:24:44,558 --> 00:24:48,458
♪ The kind
you don't take home to mother ♪
505
00:24:48,458 --> 00:24:52,092
♪ She will never let
your spirits down ♪
506
00:24:52,092 --> 00:24:55,392
♪ Once you get her
off the street, oh, girl ♪
507
00:24:55,392 --> 00:25:00,892
Rick James was a rock‐'n'‐roll
artist who belonged on MTV.
508
00:25:00,892 --> 00:25:02,792
♪ ... favorite ♪
509
00:25:02,792 --> 00:25:07,125
♪ When I make my move to
her room, it's the right time ♪
510
00:25:07,125 --> 00:25:09,358
♪ She's never hard to please ♪
511
00:25:09,358 --> 00:25:10,658
♪ Oh, no ♪
512
00:25:10,658 --> 00:25:12,692
♪ That girl is pretty wild now ♪
513
00:25:12,692 --> 00:25:14,125
♪ The girl's a super freak ♪
514
00:25:14,125 --> 00:25:16,058
♪ The kind of girl
you read about ♪
515
00:25:16,058 --> 00:25:17,792
♪ In New Wave magazines ♪
516
00:25:17,792 --> 00:25:19,792
♪ That girl is pretty kinky ♪
517
00:25:19,792 --> 00:25:21,292
♪ The girl's a super freak ♪
518
00:25:21,292 --> 00:25:23,625
♪ I'd really love to taste her ♪
519
00:25:23,625 --> 00:25:25,158
♪ Every time we meet ♪
520
00:25:25,158 --> 00:25:27,692
He's sitting on the sidelines
like, "I want to be down.
521
00:25:27,692 --> 00:25:29,392
I have stuff to say.
522
00:25:29,392 --> 00:25:33,725
You know, I want to be part of
this dialogue that's going on."
523
00:25:33,725 --> 00:25:36,992
It's a strange thing.
I watch MTV.
524
00:25:37,492 --> 00:25:39,292
And I see all these acts.
525
00:25:39,292 --> 00:25:41,458
Some of them don't have
record deals.
526
00:25:41,458 --> 00:25:43,458
Some of them don't sell
nine records.
527
00:25:43,458 --> 00:25:45,758
Then there's acts that sell
millions and millions of copies
528
00:25:45,758 --> 00:25:47,192
of records.
529
00:25:47,192 --> 00:25:50,625
People want to see them,
and we're not seen.
530
00:25:50,625 --> 00:25:52,758
Maybe it's the skin we're in.
531
00:25:52,758 --> 00:25:54,625
I don't see many black videos
on MTV.
532
00:25:54,625 --> 00:25:55,992
I wish we could see more.
533
00:25:55,992 --> 00:25:57,725
KING: Michael Jackson broke
that race barrier
534
00:25:57,725 --> 00:26:00,825
because of the pressure that
his record label at the time
535
00:26:00,825 --> 00:26:02,158
put on MTV, saying,
536
00:26:02,158 --> 00:26:04,192
"If you don't play
Michael Jackson's videos,
537
00:26:04,192 --> 00:26:06,992
you're not getting any other
videos from the record label."
538
00:26:06,992 --> 00:26:09,625
CBS at that time
really put the foot down
539
00:26:09,625 --> 00:26:12,392
and really used their leverage
540
00:26:12,392 --> 00:26:14,925
to get him in rotation,
and the rest is history.
541
00:26:14,925 --> 00:26:17,225
It was amazing to watch.
542
00:26:17,225 --> 00:26:20,292
Then you were on to "Thriller."
543
00:26:20,825 --> 00:26:22,992
And it was like
the biggest event ‐‐
544
00:26:22,992 --> 00:26:25,025
It was like MTV ran it
every hour.
545
00:26:25,025 --> 00:26:26,758
The full‐length thing.
546
00:26:26,758 --> 00:26:29,792
♪ 'Cause this is thriller ♪
547
00:26:29,792 --> 00:26:31,525
♪ Thriller night ♪
548
00:26:31,525 --> 00:26:35,092
♪ And no one's gonna save you
from the beast about to strike ♪
549
00:26:35,092 --> 00:26:37,958
♪ You know it's thriller ♪
550
00:26:37,958 --> 00:26:39,692
♪ Thriller night ♪
551
00:26:39,692 --> 00:26:43,792
♪ You're fighting for your life
inside a killer, thriller ♪
552
00:26:43,792 --> 00:26:45,825
And I remember
we would be recording,
553
00:26:45,825 --> 00:26:48,225
and we'd be like,
"What time is it?"
554
00:26:48,225 --> 00:26:50,058
"7:55."
"Okay, wait, hold it.
555
00:26:50,058 --> 00:26:51,958
We're gonna stop for a minute.
We gotta go watch it."
556
00:26:51,958 --> 00:26:53,558
And we'd sit and watch
the whole video and we'd go,
557
00:26:53,558 --> 00:26:56,025
"Yeah, yeah, that was good."
Then we'd record again.
558
00:26:56,025 --> 00:26:59,125
"What time is it?"
"8:55." "Okay, hold on."
559
00:26:59,125 --> 00:27:03,292
You know, it's coming on
television at a particular time
560
00:27:03,292 --> 00:27:06,392
and people are tuning in to it
to see this premiere
561
00:27:06,392 --> 00:27:09,758
the way they would, you know,
go see a movie in a theater.
562
00:27:09,758 --> 00:27:13,125
♪ Then any ghoul
would ever dare try ♪
563
00:27:13,125 --> 00:27:14,792
QUESTLOVE:
I'm just sitting here for hours
564
00:27:14,792 --> 00:27:16,858
waiting for Michael Jackson
to come on,
565
00:27:16,858 --> 00:27:19,458
but meanwhile,
I'm getting introduced to...
566
00:27:19,458 --> 00:27:22,425
Men at Work and The Pretenders
567
00:27:22,425 --> 00:27:26,158
and a whole array
of metal music and rock music
568
00:27:26,158 --> 00:27:29,858
and synth pop and punk rock
and you know...
569
00:27:29,858 --> 00:27:31,692
And they're playing it over
and over again.
570
00:27:31,692 --> 00:27:35,425
So suddenly now I'm an expert
in pop music by default.
571
00:27:35,425 --> 00:27:37,992
LANDIS: The reason
"Thriller" is the length it is
572
00:27:37,992 --> 00:27:41,358
is 'cause I wanted it to be
a theatrical short.
573
00:27:41,358 --> 00:27:43,292
It was a short.
574
00:27:43,858 --> 00:27:46,658
And I wanted it to be
in theaters.
575
00:27:46,658 --> 00:27:48,258
In fact,
it still breaks my heart
576
00:27:48,258 --> 00:27:50,758
that the vast majority of people
577
00:27:50,758 --> 00:27:53,025
have seen "Thriller" this big,
you know.
578
00:27:53,025 --> 00:27:56,425
BARRON: Michael Jackson was able
to break down those walls.
579
00:27:56,425 --> 00:28:01,192
Whatever the walls that had been
set up at the start of MTV,
580
00:28:01,192 --> 00:28:02,992
of who was going to be
the audience
581
00:28:02,992 --> 00:28:06,658
for MTV for the future,
there was a big turning point,
582
00:28:06,658 --> 00:28:09,525
and then it pushed
the walls down
583
00:28:09,525 --> 00:28:12,558
and became what MTV then became.
584
00:28:12,558 --> 00:28:15,392
It changes the whole notion
of what's possible
585
00:28:15,392 --> 00:28:18,958
for a black artist
in the age of music video.
586
00:28:18,958 --> 00:28:20,625
While, in its early days
the channel
587
00:28:20,625 --> 00:28:23,092
seriously avoided black music
and was even accused
588
00:28:23,092 --> 00:28:24,725
‐of musical racism...
‐♪ Huh! ♪
589
00:28:24,725 --> 00:28:27,358
...it later realized the power
and importance of the genre
590
00:28:27,358 --> 00:28:31,392
and brought rap to the masses
with the highly successful show
591
00:28:31,392 --> 00:28:32,725
"Yo! MTV Raps."
592
00:28:32,725 --> 00:28:34,492
Yo, let's do this.
Let's do this.
593
00:28:34,492 --> 00:28:36,258
‐♪ I'm DJ Jazzy Jeff ♪
‐♪ And, yo, I'm the Prince ♪
594
00:28:36,258 --> 00:28:38,425
‐♪ And I'm Ready Rock C ♪
‐♪ Hold up, bust this ♪
595
00:28:38,425 --> 00:28:40,192
♪ We wanna let everybody
know where it's at ♪
596
00:28:40,192 --> 00:28:42,858
‐♪ It's right here ♪
‐♪ Yo! MTV Raps ♪
597
00:28:42,858 --> 00:28:45,925
♪ Box, box, box
for you, for you ♪
598
00:28:45,925 --> 00:28:47,558
♪ Fresh, fresh ♪
599
00:28:47,558 --> 00:28:51,492
McDANIELS: The first rap video
to be played on MTV
600
00:28:51,492 --> 00:28:55,492
was a record called "Rock Box,"
which was on our first album.
601
00:28:55,492 --> 00:29:00,025
And at the time, the only other
big, huge black artist
602
00:29:00,025 --> 00:29:01,525
was Michael Jackson.
603
00:29:01,525 --> 00:29:06,925
When we came along,
it was, "What the hell is this?"
604
00:29:06,925 --> 00:29:08,925
♪ Artists were heard
but never seen ♪
605
00:29:08,925 --> 00:29:10,592
♪ Until MTV hit the spot ♪
606
00:29:10,592 --> 00:29:12,592
♪ Right and then and there,
folks became aware ♪
607
00:29:12,592 --> 00:29:14,858
♪ That hip hop
was something quite gothic ♪
608
00:29:14,858 --> 00:29:17,192
♪ Records went gold
and lyrics got bold ♪
609
00:29:17,192 --> 00:29:18,425
‐[ Siren wails ]
‐♪ Violence became
610
00:29:18,425 --> 00:29:20,258
the main topic ♪
611
00:29:22,825 --> 00:29:24,192
♪ Hit me ♪
612
00:29:24,192 --> 00:29:26,492
WANG: Because hip hop
was this new genre,
613
00:29:26,492 --> 00:29:28,092
one in which
there were a lot of naysayers
614
00:29:28,092 --> 00:29:29,825
who doubted its longevity,
615
00:29:29,825 --> 00:29:32,058
who questioned its politics
or its message,
616
00:29:32,058 --> 00:29:35,292
"Yo! MTV Raps"
sort of legitimized the art form
617
00:29:35,292 --> 00:29:36,825
to a lot of people.
618
00:29:36,825 --> 00:29:38,692
Importantly,
it broadcast these songs
619
00:29:38,692 --> 00:29:41,592
that might have been recorded
in one part of the U. S.
620
00:29:41,592 --> 00:29:44,458
and suddenly made them
sort of nationally available
621
00:29:44,458 --> 00:29:46,358
in a way that was instantaneous.
622
00:29:46,358 --> 00:29:49,058
IDOL: It became obvious
to the people running MTV
623
00:29:49,058 --> 00:29:51,625
that all this music
is about cross‐pollination.
624
00:29:51,625 --> 00:29:55,525
It's not about any one race
or creed or style,
625
00:29:55,525 --> 00:29:57,825
it's about this melange.
626
00:30:01,834 --> 00:30:04,900
[ Madonna's "Borderline"
playing ]
627
00:30:07,200 --> 00:30:08,967
BARRON:
There were those artists that
628
00:30:08,967 --> 00:30:11,334
had watched
a couple of years of MTV,
629
00:30:11,334 --> 00:30:14,900
had invented themselves
with an image,
630
00:30:14,900 --> 00:30:18,600
and known that their future
depended on them having
631
00:30:18,600 --> 00:30:22,000
some kind of an image,
whether it was how they dressed
632
00:30:22,000 --> 00:30:23,734
or even the attitude
of their music.
633
00:30:23,734 --> 00:30:25,534
It was thought of
from a visual point of view.
634
00:30:25,534 --> 00:30:30,367
♪ Something in the way
you love me won't let me be ♪
635
00:30:30,367 --> 00:30:34,134
AYEROFF: MTV has got very few
female artists at that point
636
00:30:34,134 --> 00:30:35,900
and I'm talking
to the people at MTV,
637
00:30:35,900 --> 00:30:38,800
and I'm saying Madonna, Madonna,
Madonna, Madonna, Madonna,
638
00:30:38,800 --> 00:30:40,667
Madonna, Madonna, Madonna,
Madonna, Madonna
639
00:30:40,667 --> 00:30:43,867
because Madonna could be
a big MTV artist.
640
00:30:43,867 --> 00:30:45,600
♪ Finish what you start ♪
641
00:30:45,600 --> 00:30:48,334
♪ When you make my love
come down ♪
642
00:30:48,334 --> 00:30:52,734
They quickly realized that
Madonna could be a huge star,
643
00:30:52,734 --> 00:30:54,500
and they jump.
644
00:30:54,500 --> 00:30:58,334
And especially when Mary Lambert
delivers "Borderline."
645
00:30:58,334 --> 00:30:59,734
♪ Just... ♪
646
00:30:59,734 --> 00:31:01,500
LAMBERT: Jeff Ayeroff
said to me, you know,
647
00:31:01,500 --> 00:31:05,767
"There's this girl, and I think
she's going to be really big.
648
00:31:05,767 --> 00:31:08,500
And I'll buy you
a plane ticket to New York,
649
00:31:08,500 --> 00:31:10,367
and you can meet her."
650
00:31:10,367 --> 00:31:11,867
I had never heard of Madonna.
651
00:31:11,867 --> 00:31:13,934
I didn't know anyone
who had ever heard of Madonna
652
00:31:13,934 --> 00:31:16,600
and he gave me this, you know,
record to listen to.
653
00:31:16,600 --> 00:31:17,867
I did not know what to expect.
654
00:31:17,867 --> 00:31:19,834
I didn't know
what she looked like.
655
00:31:19,834 --> 00:31:21,267
She sounded like the black girl.
656
00:31:21,267 --> 00:31:25,367
♪ You just keep on
pushin' my love ♪
657
00:31:25,367 --> 00:31:28,300
♪ Over the borderline ♪
658
00:31:28,300 --> 00:31:31,567
BARRON: With music videos, she
was really kind of coming out
659
00:31:31,567 --> 00:31:35,100
and showing us
what it all could be.
660
00:31:35,100 --> 00:31:38,800
And she used MTV
as much as they used her.
661
00:31:38,800 --> 00:31:40,467
Hi. [ Laughs ]
662
00:31:40,467 --> 00:31:42,067
MAN: So, what have you been up
to? What's happening with you?
663
00:31:42,067 --> 00:31:44,300
I'm working on a new album
with Nile Rodgers.
664
00:31:44,300 --> 00:31:46,134
We've been working
for the past two months,
665
00:31:46,134 --> 00:31:48,300
and I'll be releasing
the first single,
666
00:31:48,300 --> 00:31:50,934
which is called "Like a Virgin,"
the first week of June.
667
00:31:50,934 --> 00:31:52,900
AYEROFF:
I go to Mary Lambert, and I say,
668
00:31:52,900 --> 00:31:55,334
"Here's a song,
'Like a Virgin.'"
669
00:31:55,334 --> 00:31:57,534
Jeff was always ‐‐ You know,
you've interviewed him.
670
00:31:57,534 --> 00:31:59,000
Jeff's always pushing things,
671
00:31:59,000 --> 00:32:03,300
and he's never satisfied
with your first idea,
672
00:32:03,300 --> 00:32:05,967
or he always knows
that you can do better
673
00:32:05,967 --> 00:32:07,700
if you work at it a little bit.
674
00:32:07,700 --> 00:32:09,300
He's really great to work ‐‐
675
00:32:09,300 --> 00:32:11,734
As an artist,
he's so great to work with.
676
00:32:11,734 --> 00:32:15,067
I wrote a script for it,
but it was just about her
677
00:32:15,067 --> 00:32:19,067
having two boyfriends, and one
of them was soulful and poor,
678
00:32:19,067 --> 00:32:21,767
and the other one
was successful and rich.
679
00:32:21,767 --> 00:32:25,034
And he's like, "Why don't you ‐‐
You need to think bigger.
680
00:32:25,034 --> 00:32:28,934
You need to think
of a bigger idea.
681
00:32:28,934 --> 00:32:30,734
I want to take this
to the next step."
682
00:32:30,734 --> 00:32:33,634
So I just came up
with the most impossible thing
683
00:32:33,634 --> 00:32:35,100
I could possibly imagine.
684
00:32:35,100 --> 00:32:38,967
I never, ever guessed
that they would buy it.
685
00:32:38,967 --> 00:32:41,334
"Let's have her
in a gondola, dancing."
686
00:32:41,334 --> 00:32:44,200
"In Venice?"
And I'm like, "Yeah, in Venice!"
687
00:32:44,200 --> 00:32:47,600
And everyone's like, "Yeah!
Let's go to Venice."
688
00:32:47,600 --> 00:32:48,900
So we went to Venice.
689
00:32:48,900 --> 00:32:52,767
♪ I made it
through the wilderness ♪
690
00:32:52,767 --> 00:32:57,100
♪ Somehow I made it through ♪
691
00:32:57,600 --> 00:33:03,667
♪ Didn't know how lost I was
until I found you ♪
692
00:33:03,667 --> 00:33:05,567
AYEROFF: So, like
a bunch of merry pranksters,
693
00:33:05,567 --> 00:33:07,300
we go to Venice, Italy.
694
00:33:07,300 --> 00:33:10,067
My fondest memory
is sitting on the boat
695
00:33:10,067 --> 00:33:11,800
that Madonna's singing on ‐‐
'cause we're going
696
00:33:11,800 --> 00:33:16,967
under small bridges ‐‐
going, "Duck, duck."
697
00:33:16,967 --> 00:33:20,667
♪ Yeah, you make me feel ♪
698
00:33:20,667 --> 00:33:25,567
♪ Shiny and new... hey ♪
699
00:33:25,567 --> 00:33:28,500
♪ Like a virgin ♪
700
00:33:28,500 --> 00:33:32,067
♪ Touched
for the very first time ♪
701
00:33:32,067 --> 00:33:35,500
It was the most romantic part
of the video business
702
00:33:35,500 --> 00:33:37,434
I can recall, you know.
703
00:33:37,434 --> 00:33:39,500
And that video just blew up.
704
00:33:39,500 --> 00:33:42,367
It was like a holy alliance,
you know?
705
00:33:42,367 --> 00:33:44,967
♪ All my love, boy ♪
706
00:33:44,967 --> 00:33:48,467
In 1985, when Madonna was
getting ready to go on tour,
707
00:33:48,467 --> 00:33:52,734
like, she was big, but
it wasn't like she's Madonna.
708
00:33:52,734 --> 00:33:54,734
We get asked to open for her.
709
00:33:54,734 --> 00:33:56,234
We had never really been
on a tour.
710
00:33:56,234 --> 00:33:59,467
And so we're there,
and every show on that tour ‐‐
711
00:33:59,467 --> 00:34:01,867
Like, say the tour started here
and ended here,
712
00:34:01,867 --> 00:34:04,134
each place got bigger
and bigger and bigger.
713
00:34:04,134 --> 00:34:05,767
Like, they would swap out
the place.
714
00:34:05,767 --> 00:34:08,500
Like, "No,
you can't play in the theater,
715
00:34:08,500 --> 00:34:10,734
you have to play
in the amphitheater."
716
00:34:10,734 --> 00:34:11,800
"You can't play
in the amphitheater.
717
00:34:11,800 --> 00:34:13,300
You have to play in the arena."
718
00:34:13,300 --> 00:34:16,367
Like, every day, you know,
719
00:34:16,367 --> 00:34:19,900
500,000 more people
heard about who Madonna was.
720
00:34:19,900 --> 00:34:23,834
♪ I hear your voice ♪
721
00:34:23,834 --> 00:34:28,300
♪ It's like an angel sighing ♪
722
00:34:28,300 --> 00:34:30,267
♪ I have no choice ♪
723
00:34:30,267 --> 00:34:33,634
♪ I hear your voice ♪
724
00:34:33,634 --> 00:34:36,234
♪ Feels like flying ♪
725
00:34:36,234 --> 00:34:38,167
FRESTON: Almost every time
there was a Madonna video,
726
00:34:38,167 --> 00:34:40,567
there was a controversy ‐‐
almost every one.
727
00:34:40,567 --> 00:34:42,867
I remember a video once, "Like
a Prayer," when it came in.
728
00:34:42,867 --> 00:34:45,167
And she had just done
a big advertising campaign
729
00:34:45,167 --> 00:34:46,367
for Pepsi‐Cola,
730
00:34:46,367 --> 00:34:47,967
and I think they paid her
$10 million or something.
731
00:34:47,967 --> 00:34:49,700
And I remember sitting there
and watching it
732
00:34:49,700 --> 00:34:52,067
with this fellow
who was the marketing guy
733
00:34:52,067 --> 00:34:54,567
from Pepsi‐Cola,
he happened to be in my office,
734
00:34:54,567 --> 00:34:56,234
and so we both saw it
at the same time.
735
00:34:56,234 --> 00:35:00,500
He said this, his reaction was,
"Oh, no. There goes my job."
736
00:35:00,500 --> 00:35:04,734
♪ Life is a mystery ♪
737
00:35:04,734 --> 00:35:08,967
♪ Everyone must stand alone ♪
738
00:35:08,967 --> 00:35:13,500
♪ I hear you call my name ♪
739
00:35:13,500 --> 00:35:17,667
♪ And it feels like home ♪
740
00:35:17,667 --> 00:35:19,134
GOODMAN: She, as an artist,
741
00:35:19,134 --> 00:35:21,467
didn't want to be fettered
by any of that.
742
00:35:21,467 --> 00:35:23,567
She saw it as just censorship.
743
00:35:23,567 --> 00:35:25,100
[ Mid‐tempo music plays ]
744
00:35:25,100 --> 00:35:27,700
M... T... V,
745
00:35:27,700 --> 00:35:30,300
let it... rip!
746
00:35:30,300 --> 00:35:34,567
The year of "Thriller"
was the first MTV Awards.
747
00:35:34,567 --> 00:35:36,934
[ Cheers and applause ]
748
00:35:36,934 --> 00:35:40,900
Your hosts,
ladies and gentlemen,
749
00:35:40,900 --> 00:35:45,400
Bette Midler and Dan Aykroyd!
750
00:35:45,400 --> 00:35:47,500
LANDIS: My wife and I
were sitting in the front row
751
00:35:47,500 --> 00:35:49,200
at Radio City Music Hall.
752
00:35:49,200 --> 00:35:51,234
Danny Aykroyd and Bette Midler
were the hosts.
753
00:35:51,234 --> 00:35:55,434
And we're sitting in this row
with Diana Ross, Cher,
754
00:35:55,434 --> 00:35:56,767
Tina Turner, I think.
755
00:35:56,767 --> 00:35:59,434
I'm trying to think,
but all these divas.
756
00:35:59,434 --> 00:36:02,800
And Madonna comes out.
No one had ever heard of her.
757
00:36:02,800 --> 00:36:05,500
And she was rolling around
onstage,
758
00:36:05,500 --> 00:36:09,834
and I won't say who, but
someone really legendary said,
759
00:36:09,834 --> 00:36:13,000
"Take a good look.
We're never seeing her again."
760
00:36:13,000 --> 00:36:16,534
♪ Don't stop me now,
don't need to catch my breath ♪
761
00:36:16,534 --> 00:36:20,100
♪ I can go on and on and on ♪
762
00:36:20,100 --> 00:36:24,034
♪ When the lights go down,
and there's no one left ♪
763
00:36:24,034 --> 00:36:27,667
♪ I can go on and on and on ♪
764
00:36:27,667 --> 00:36:30,200
♪ Give it to me ♪
765
00:36:30,200 --> 00:36:31,434
♪ Yeah ♪
766
00:36:31,434 --> 00:36:34,734
♪ No one's gonna show me how ♪
767
00:36:34,734 --> 00:36:37,234
She was sort of
Our Divine Miss M, Madonna.
768
00:36:37,234 --> 00:36:39,367
We were sort of born
at the same time.
769
00:36:39,367 --> 00:36:42,834
And, you know, she was
the consummate video artist
770
00:36:42,834 --> 00:36:44,600
who could reinvent herself.
771
00:36:44,600 --> 00:36:46,234
She put money and thought
into this.
772
00:36:46,234 --> 00:36:50,734
♪ Never lasts
and then it has to fall ♪
773
00:36:50,734 --> 00:36:53,200
Madonna made me.
She made guys like me.
774
00:36:53,200 --> 00:36:55,800
She made MTV,
to a certain extent,
775
00:36:55,800 --> 00:36:58,834
because she understood
the power of what she was doing.
776
00:36:58,834 --> 00:37:01,067
♪ Give me the bassline ♪
777
00:37:01,067 --> 00:37:05,300
Madonna, in particular,
whose entire brand as an artist
778
00:37:05,300 --> 00:37:06,634
is to be a chameleon
779
00:37:06,634 --> 00:37:08,400
and to be protean
and keep changing herself.
780
00:37:08,400 --> 00:37:11,267
She just changed the whole
notion that your identity
781
00:37:11,267 --> 00:37:13,434
as a recording artist
is singular and fixed.
782
00:37:13,434 --> 00:37:16,800
♪ Don't stop me now,
don't need to catch my breath ♪
783
00:37:16,800 --> 00:37:19,867
♪ I can go on and on and on ♪
784
00:37:19,867 --> 00:37:21,634
AYEROFF: Once you get on MTV
and you do well,
785
00:37:21,634 --> 00:37:22,900
you got to do better.
786
00:37:22,900 --> 00:37:24,600
And especially
for the artist's ego.
787
00:37:24,600 --> 00:37:26,634
An artist's ego is like...
788
00:37:26,634 --> 00:37:28,100
"Every song I write
789
00:37:28,100 --> 00:37:29,367
has gotta be better
than the last song I write.
790
00:37:29,367 --> 00:37:30,767
Every video I got to make,
791
00:37:30,767 --> 00:37:32,134
it's got to be better
than the last video."
792
00:37:32,134 --> 00:37:34,167
So you have
a multiplicity of combinations
793
00:37:34,167 --> 00:37:36,234
of both
audio and visual pressure.
794
00:37:39,399 --> 00:37:41,599
There was a lot of people
who didn't want to do it,
795
00:37:41,599 --> 00:37:43,899
a lot of the older artists.
796
00:37:43,899 --> 00:37:45,232
Bob Seger.
797
00:37:45,232 --> 00:37:47,166
Bruce Springsteen, for a while.
798
00:37:47,166 --> 00:37:49,266
A common complaint was
they didn't want to fix
799
00:37:49,266 --> 00:37:51,366
people's perceptions,
that this is a story.
800
00:37:51,366 --> 00:37:55,166
[ Tom Petty's "Don't Come
Around Here No More" plays ]
801
00:37:56,999 --> 00:38:00,632
It changed people's focus.
802
00:38:01,166 --> 00:38:02,866
And now they just had
something else
803
00:38:02,866 --> 00:38:04,099
that they had to concentrate on.
804
00:38:04,099 --> 00:38:05,932
"Oh, God,
I have to do the video."
805
00:38:05,932 --> 00:38:08,566
Tom Petty is notorious
for hating doing videos.
806
00:38:08,566 --> 00:38:09,766
♪ Hey ♪
807
00:38:09,766 --> 00:38:12,332
♪ Don't come around here
no more ♪
808
00:38:12,332 --> 00:38:14,232
PETTY:
I remember having a record
809
00:38:14,232 --> 00:38:17,666
that had five hit singles.
810
00:38:17,666 --> 00:38:20,932
And I had to make five videos.
811
00:38:20,932 --> 00:38:23,432
‐♪ I've given up ♪
‐♪ Stop ♪
812
00:38:23,432 --> 00:38:25,499
It became another job.
813
00:38:25,499 --> 00:38:27,066
[ Vocalizing ]
814
00:38:27,066 --> 00:38:29,266
‐♪ I've given up ♪
‐♪ Stop ♪
815
00:38:29,266 --> 00:38:32,032
♪ On waiting any longer ♪
816
00:38:32,032 --> 00:38:35,266
And not only did I have to make
five videos,
817
00:38:35,266 --> 00:38:37,032
they were getting expensive.
818
00:38:37,032 --> 00:38:39,966
And the record company
819
00:38:39,966 --> 00:38:43,499
only would pay
for maybe half the expense.
820
00:38:43,499 --> 00:38:46,166
So I'm spending millions
821
00:38:46,166 --> 00:38:50,199
by the time I've done, you know,
five, six videos.
822
00:38:51,732 --> 00:38:55,832
♪ Don't come around here
no more ♪
823
00:38:57,766 --> 00:39:01,499
♪ Don't come around here
no more ♪
824
00:39:03,032 --> 00:39:06,232
♪ I don't feel you anymore ♪
825
00:39:06,232 --> 00:39:09,299
The biggest complaint
I had with it
826
00:39:09,299 --> 00:39:14,999
was it really nailed down
the movie to the song.
827
00:39:15,899 --> 00:39:19,966
♪ Whatever you're looking for ♪
828
00:39:20,466 --> 00:39:21,599
♪ Hey! ♪
829
00:39:21,599 --> 00:39:23,866
No one hears
"Don't Come Around Here No More"
830
00:39:23,866 --> 00:39:26,866
and doesn't see
"Alice in Wonderland."
831
00:39:26,866 --> 00:39:29,199
‐♪ I've given up ♪
‐♪ Stop ♪
832
00:39:29,199 --> 00:39:31,199
Except me.
833
00:39:31,199 --> 00:39:33,799
MTV, like David Bowie
and Madonna,
834
00:39:33,799 --> 00:39:37,199
knew that they had to morph
and change and morph and change,
835
00:39:37,199 --> 00:39:38,799
which is, if you think about it,
836
00:39:38,799 --> 00:39:41,899
it is the psyche
of a young person.
837
00:39:42,466 --> 00:39:44,666
‐New concerts, new guest...
‐VJ.
838
00:39:44,666 --> 00:39:45,999
New specials.
839
00:39:45,999 --> 00:39:48,099
There's always something new
on MTV,
840
00:39:48,099 --> 00:39:50,399
24 hours a day on cable TV.
841
00:39:50,399 --> 00:39:53,299
‐Too much?
‐Too much is never enough.
842
00:39:53,299 --> 00:39:57,132
And as soon as MTV comes along
with its fast‐cutting videos,
843
00:39:57,132 --> 00:39:58,866
and its different
kind of lifestyle
844
00:39:58,866 --> 00:40:01,132
and its VJs
and all of that stuff,
845
00:40:01,132 --> 00:40:04,232
there becomes
a saturation point.
846
00:40:04,232 --> 00:40:08,732
So when you all of a sudden
slow down, you make that turn,
847
00:40:08,732 --> 00:40:12,666
and you go, "Now for something
completely different."
848
00:40:12,666 --> 00:40:14,032
[ Cheers and applause ]
849
00:40:14,032 --> 00:40:17,166
Here's an intimate look
at Eric Clapton.
850
00:40:19,766 --> 00:40:22,232
Who some people in England
call God.
851
00:40:22,232 --> 00:40:25,966
"Eric Clapton Unplugged."
What a genius thing.
852
00:40:25,966 --> 00:40:27,566
[ Cheers and applause continue ]
853
00:40:27,566 --> 00:40:29,966
LEAVELL: You know, I recall
that Eric was a bit nervous
854
00:40:29,966 --> 00:40:32,266
before that performance.
855
00:40:32,266 --> 00:40:35,899
You're used to playing
in big arenas or stadiums,
856
00:40:35,899 --> 00:40:38,932
and it's kind of easy
to hide in that mass.
857
00:40:38,932 --> 00:40:41,566
‐Thank you very much.
‐[ Applause ]
858
00:40:41,566 --> 00:40:43,066
LEAVELL: But when you are
859
00:40:43,066 --> 00:40:46,532
in front of a hundred people,
maybe, in that room,
860
00:40:46,532 --> 00:40:49,332
and you're stripped down, you
don't have the loud amplifiers,
861
00:40:49,332 --> 00:40:53,532
it's just you
and your acoustic instrument,
862
00:40:53,532 --> 00:40:55,766
you got to come up
with the goods, baby.
863
00:40:55,766 --> 00:40:58,166
[ Intro to "Layla" plays ]
864
00:40:58,166 --> 00:41:02,699
♪ What will you do
when you get lonely? ♪
865
00:41:03,266 --> 00:41:07,666
♪ No one waiting by your side ♪
866
00:41:08,399 --> 00:41:13,532
♪ You've been running
and hiding much too long ♪
867
00:41:13,532 --> 00:41:16,999
♪ You know it's just
your foolish pride ♪
868
00:41:16,999 --> 00:41:19,132
♪ Layla ♪
869
00:41:19,132 --> 00:41:21,432
CLAPTON: When I started
recording in this country
870
00:41:21,432 --> 00:41:24,132
with people like the Yardbirds
and I was introduced to,
871
00:41:24,132 --> 00:41:26,432
like, a studio
with lots of microphones,
872
00:41:26,432 --> 00:41:29,499
every amplifier, every
instrument had a microphone on,
873
00:41:29,499 --> 00:41:33,099
it had become so complicated
and sophisticated
874
00:41:33,099 --> 00:41:34,999
that it was almost impossible
875
00:41:34,999 --> 00:41:36,766
to hear the room anymore,
you know?
876
00:41:36,766 --> 00:41:39,832
And people were adding effects.
877
00:41:39,832 --> 00:41:42,866
♪ Tried to give you
consolation ♪
878
00:41:42,866 --> 00:41:45,499
So I was always going
for simplicity
879
00:41:45,499 --> 00:41:47,232
in my own work, if I can,
880
00:41:47,232 --> 00:41:49,932
and my journey was always about
going backwards, anyway.
881
00:41:49,932 --> 00:41:54,932
♪ Like a fool,
I fell in love with you ♪
882
00:41:54,932 --> 00:41:58,499
♪ You turned my whole world
upside down ♪
883
00:41:58,499 --> 00:42:01,366
♪ Layla ♪
884
00:42:01,366 --> 00:42:06,399
He did the show not thinking
about releasing it as a CD.
885
00:42:06,399 --> 00:42:10,932
And so when the label said,
"Why don't we put this out?"
886
00:42:10,932 --> 00:42:12,266
he didn't want to do it.
887
00:42:12,266 --> 00:42:16,466
♪ Darling, won't you ease
my worried mind ♪
888
00:42:16,466 --> 00:42:19,066
I'd done videos for Eric,
and they were pretty good,
889
00:42:19,066 --> 00:42:20,532
but they weren't
breakthrough videos.
890
00:42:20,532 --> 00:42:22,632
♪ Make the best
of the situation ♪
891
00:42:22,632 --> 00:42:24,799
It wasn't
till Eric did "Unplugged"
892
00:42:24,799 --> 00:42:27,499
that Eric's career
just skyrocketed.
893
00:42:27,499 --> 00:42:29,932
♪ ... go insane ♪
894
00:42:30,566 --> 00:42:31,966
♪ Please don't... ♪
895
00:42:31,966 --> 00:42:35,599
"Eric Clapton Unplugged"
sells 5 million copies.
896
00:42:35,599 --> 00:42:36,999
[ Guitar strums ]
897
00:42:36,999 --> 00:42:38,466
‐MAN: Huh?
‐Ch...
898
00:42:38,466 --> 00:42:40,032
MAN: Isn't that weird?
I've never used it before,
899
00:42:40,032 --> 00:42:41,366
but they're a lot lighter
than sticks...
900
00:42:41,366 --> 00:42:43,499
Check, check, check,
check, check, check.
901
00:42:43,499 --> 00:42:45,966
LITT: MTV was powerful enough
at the time
902
00:42:45,966 --> 00:42:47,332
that you didn't say no to them.
903
00:42:47,332 --> 00:42:49,666
You can't imagine
what the climate was then.
904
00:42:49,666 --> 00:42:51,099
It was so different.
905
00:42:51,099 --> 00:42:54,132
Can we get on with this?
We're like an hour late.
906
00:42:54,132 --> 00:42:56,499
LITT: You know, I think
it was like pop radio,
907
00:42:56,499 --> 00:42:59,966
you know, back in the '50s
and stuff with payola.
908
00:42:59,966 --> 00:43:03,432
If you didn't play ball,
you know, good luck.
909
00:43:03,432 --> 00:43:05,499
‐[ Instruments tuning ]
‐MAN: What are we doing?
910
00:43:05,499 --> 00:43:07,999
They're hearing
some kind of buzz from this.
911
00:43:07,999 --> 00:43:10,932
And a band
that might not want to do it.
912
00:43:10,932 --> 00:43:12,266
Is Scott ready now?
913
00:43:12,266 --> 00:43:14,232
There's management,
there's the record label
914
00:43:14,232 --> 00:43:16,232
that says, "You got to do this."
915
00:43:16,232 --> 00:43:17,966
‐Yes.
‐LITT: Okay, I'm here.
916
00:43:17,966 --> 00:43:19,432
Okay, we're ready.
917
00:43:19,432 --> 00:43:23,066
LITT: Kurt saw it as
an interesting thing to do,
918
00:43:23,066 --> 00:43:26,132
as an experiment, as a one‐off.
919
00:43:26,132 --> 00:43:29,532
Fuck you all. This is
the last song of the evening.
920
00:43:29,532 --> 00:43:31,632
‐[ Laughter ]
‐GROHL: No one was doing it
921
00:43:31,632 --> 00:43:34,399
for, like, any sort
of career opportunity.
922
00:43:34,399 --> 00:43:35,966
There was the passion
and the energy
923
00:43:35,966 --> 00:43:37,899
of what everyone was doing
because...
924
00:43:37,899 --> 00:43:40,699
it was all
for the thrill of playing.
925
00:43:40,699 --> 00:43:42,066
[ Guitar tuning ]
926
00:43:42,066 --> 00:43:46,399
COBAIN: Scott,
how out of tune is my vocal?
927
00:43:46,399 --> 00:43:50,366
‐LITT: No more than normal.
‐COBAIN: Meaning what?
928
00:43:50,366 --> 00:43:51,899
LITT: It's fine.
929
00:43:51,899 --> 00:43:53,632
COBAIN: Swear to God?
930
00:43:54,166 --> 00:43:55,366
LITT:
I think they chose to do
931
00:43:55,366 --> 00:43:57,932
some songs
that were not originals,
932
00:43:57,932 --> 00:44:00,466
even though MTV at the time
was like,
933
00:44:00,466 --> 00:44:02,766
"Play the hits,
play the hits, play the hits."
934
00:44:02,766 --> 00:44:06,132
♪ In the pines, in the pines ♪
935
00:44:06,132 --> 00:44:09,499
♪ Where the sun
don't ever shine ♪
936
00:44:09,499 --> 00:44:11,599
♪ I would shiver ♪
937
00:44:11,599 --> 00:44:16,099
♪ The whole night through ♪
938
00:44:16,099 --> 00:44:19,566
♪ My girl, my girl ♪
939
00:44:19,566 --> 00:44:22,599
♪ Where will you go? ♪
940
00:44:22,599 --> 00:44:28,699
♪ I'm going where
the cold wind blows ♪
941
00:44:29,199 --> 00:44:33,132
♪ In the pines, the pines ♪
942
00:44:33,132 --> 00:44:35,799
♪ The sun don't shine ♪
943
00:44:35,799 --> 00:44:40,766
♪ And I shiver ♪
944
00:44:40,766 --> 00:44:44,399
♪ The whole ♪
945
00:44:44,399 --> 00:44:45,632
[ Exhales ]
946
00:44:45,632 --> 00:44:55,232
♪ Night thr‐o‐o‐o‐ough ♪
947
00:44:55,932 --> 00:44:59,032
LITT:
That song showed all the torment
948
00:44:59,032 --> 00:45:02,232
that Kurt was going through.
949
00:45:06,266 --> 00:45:09,132
I still get chills
thinking about it.
950
00:45:12,332 --> 00:45:16,099
And Kurt loved how it came out.
951
00:45:16,566 --> 00:45:18,099
Which is really important
952
00:45:18,099 --> 00:45:21,332
because later on when
they put it out as a record,
953
00:45:21,332 --> 00:45:24,666
it wasn't putting out something
that he wouldn't have liked.
954
00:45:24,666 --> 00:45:27,699
It was actually ‐‐ He loved it.
955
00:45:27,699 --> 00:45:32,099
After Kurt died, when
it was decided to put that out
956
00:45:32,099 --> 00:45:38,799
as an album, the powers that be
had me remix it for a CD.
957
00:45:38,799 --> 00:45:40,399
Having to revisit that
958
00:45:40,399 --> 00:45:43,732
‐and remix it after his death...
‐♪ I'm going where the cold
959
00:45:43,732 --> 00:45:47,066
‐wind blows ♪
‐... was haunting.
960
00:45:47,066 --> 00:45:50,332
♪ In the pines, in the pines ♪
961
00:45:50,332 --> 00:45:53,566
♪ Where the sun
don't ever shine ♪
962
00:45:53,566 --> 00:45:59,732
♪ I would shiver
the whole night through ♪
963
00:46:00,466 --> 00:46:03,032
FRESTON: TV is the most powerful
promotional tool
964
00:46:03,032 --> 00:46:04,599
that's ever been made
965
00:46:04,599 --> 00:46:08,032
and, for the period of time,
MTV was in its prime
966
00:46:08,032 --> 00:46:11,532
in terms of exposing new music
and playing it a lot
967
00:46:11,532 --> 00:46:13,866
and creating excitement
in the industry.
968
00:46:13,866 --> 00:46:15,532
♪ His head... ♪
969
00:46:15,532 --> 00:46:17,466
It was the strongest time the
record business had ever seen.
970
00:46:20,799 --> 00:46:22,032
[ Doorbell rings ]
971
00:46:22,032 --> 00:46:23,699
WOMAN:
Bruno, your brother's here.
972
00:46:23,699 --> 00:46:26,732
‐[ Woman shouts indistinctly ]
‐♪ Do something crazy ♪
973
00:46:26,732 --> 00:46:28,299
MAN:
Find out what happens...
974
00:46:28,299 --> 00:46:30,266
WOMAN:
When people stop being polite.
975
00:46:30,266 --> 00:46:32,666
‐Could you get the phone?
‐MAN: And start getting real.
976
00:46:32,666 --> 00:46:34,266
MAN #2:
"The Real World."
977
00:46:34,266 --> 00:46:37,466
If you turn on MTV now,
good luck seeing a music video.
978
00:46:37,466 --> 00:46:40,366
This Tuesday, can anyone putout Tony and Madison's fire?
979
00:46:40,366 --> 00:46:43,499
I mean, a long time ago,
MTV started doing
980
00:46:43,499 --> 00:46:46,332
original programming
that wasn't just music video.
981
00:46:46,332 --> 00:46:49,666
Is this chicken, what I have,
or is this fish?
982
00:46:50,666 --> 00:46:56,866
I know it's tuna, but it says
"Chicken... by the Sea."
983
00:46:56,866 --> 00:46:59,966
[ Laughs ] Is that stupid?
984
00:46:59,966 --> 00:47:01,899
FRESTON:
MTV had gotten a bit stale,
985
00:47:01,899 --> 00:47:03,932
and we decided we were
in many ways stuck
986
00:47:03,932 --> 00:47:06,732
to the vibrancy
of the music business.
987
00:47:06,732 --> 00:47:08,199
‐Shut up!
‐Take it easy, big guy.
988
00:47:08,199 --> 00:47:10,699
So we said maybe we could be
not just about music
989
00:47:10,699 --> 00:47:12,966
but we can be a lot of the
things that the music's about ‐‐
990
00:47:12,966 --> 00:47:14,566
fashion, you know ‐‐
991
00:47:14,566 --> 00:47:17,332
We can beef up news,
we could talk about movies.
992
00:47:17,332 --> 00:47:19,166
Don't miss an all‐new"Real World Skeletons"
993
00:47:19,166 --> 00:47:21,399
this Tuesday at 10:00,
followed by "The Challenge."
994
00:47:21,399 --> 00:47:23,799
I always thought we
couldn't rip music out from MTV
995
00:47:23,799 --> 00:47:25,532
and just become something else
entirely.
996
00:47:25,532 --> 00:47:29,699
And, you know,
but they have ripped music out.
997
00:47:29,699 --> 00:47:33,166
[ Tranquil music plays ]
998
00:47:37,266 --> 00:47:41,132
The music business
is a whole different thing now
999
00:47:41,132 --> 00:47:42,799
in terms of its economics.
1000
00:47:42,799 --> 00:47:47,099
♪ Swinging in the backyard,
pull up in your fast car ♪
1001
00:47:47,099 --> 00:47:49,866
♪ Whistling my name ♪
1002
00:47:50,632 --> 00:47:54,299
♪ Open up a beer
and you say, "Get over here" ♪
1003
00:47:54,299 --> 00:47:57,599
♪ And play your video games ♪
1004
00:47:57,599 --> 00:48:00,966
The communal experience of
listening to music in a group,
1005
00:48:00,966 --> 00:48:02,666
listening to a radio station
1006
00:48:02,666 --> 00:48:04,599
or watching MTV with a group of
friends is kind of diminished.
1007
00:48:04,599 --> 00:48:07,366
I mean, people are watching
online, not on a TV screen,
1008
00:48:07,366 --> 00:48:11,299
but leaning forward and
seeing it on their smartphone.
1009
00:48:11,299 --> 00:48:13,699
But music videos
still play a big role.
1010
00:48:13,699 --> 00:48:16,899
♪ ...play your video game ♪
1011
00:48:16,899 --> 00:48:19,266
With this technology
that even 20 years ago
1012
00:48:19,266 --> 00:48:20,932
we could scarcely
have dreamed of,
1013
00:48:20,932 --> 00:48:24,099
the possibilities
are kind of limitless.
1014
00:48:24,099 --> 00:48:27,432
Anybody can make a record
in their bedroom,
1015
00:48:27,432 --> 00:48:31,099
can turn on the camera
on their laptop
1016
00:48:31,099 --> 00:48:34,132
and suddenly they've got
a video on YouTube.
1017
00:48:34,132 --> 00:48:38,532
We've even seen
big pop stars made this way.
1018
00:48:38,532 --> 00:48:42,132
♪ Honey, is that true? ♪
1019
00:48:42,732 --> 00:48:49,766
You know, YouTube, the Internet
is just MTV on so many steroids,
1020
00:48:49,766 --> 00:48:52,166
they make Arnold Schwarzenegger
look like the puny guy
1021
00:48:52,166 --> 00:48:54,632
on the beach that got sand
kicked in his face.
1022
00:48:54,632 --> 00:49:00,466
Your first question ‐‐ What
is your aspiration in life?
1023
00:49:00,466 --> 00:49:04,232
Oh, my aspiration in life.
1024
00:49:04,766 --> 00:49:07,599
Wow.
That's a great question.
1025
00:49:08,332 --> 00:49:13,832
If you look at Beyoncé
releasing an all‐video album...
1026
00:49:14,599 --> 00:49:16,232
♪ Ghost in the sheets ♪
1027
00:49:16,232 --> 00:49:20,566
No one ever had the power
to not promote a record first,
1028
00:49:20,566 --> 00:49:22,366
just take the Internet
1029
00:49:22,366 --> 00:49:25,232
and, you know, carpe diem
to a certain extent,
1030
00:49:25,232 --> 00:49:28,066
seize that moment
and do it all at one time
1031
00:49:28,066 --> 00:49:29,799
and have a huge album
in one week ‐‐
1032
00:49:29,799 --> 00:49:33,099
‐No one had ever done that.
‐♪ Where will it be? ♪
1033
00:49:34,032 --> 00:49:36,799
♪ I know if I'm onto you ♪
1034
00:49:36,799 --> 00:49:39,099
♪ I'm onto you ♪
1035
00:49:39,099 --> 00:49:43,032
♪ Onto you, I'm onto you ♪
1036
00:49:43,032 --> 00:49:48,266
♪ Onto you,
you must be onto me ♪
1037
00:49:48,266 --> 00:49:52,932
If you look at Beyoncé
through the filter of Madonna,
1038
00:49:52,932 --> 00:49:54,399
through the filter
of David Bowie,
1039
00:49:54,399 --> 00:49:56,099
‐you go, zoop, zoop.
‐♪ You want me? ♪
1040
00:49:56,099 --> 00:49:58,132
You see the reinvention process.
1041
00:49:58,132 --> 00:49:59,132
♪ ... hallway ♪
1042
00:49:59,132 --> 00:50:00,399
♪ You lucky? ♪
1043
00:50:00,399 --> 00:50:01,866
She just basically looked
at her career
1044
00:50:01,866 --> 00:50:03,399
and said, "What haven't I done?"
1045
00:50:03,399 --> 00:50:06,399
♪ Slap me,
I'm pinned to the doorway ♪
1046
00:50:06,399 --> 00:50:08,232
What can we do
that no one has ever done?
1047
00:50:08,232 --> 00:50:12,599
[ Beyoncé's "XO" playing ]
1048
00:50:12,599 --> 00:50:13,999
♪ Your love is bright... ♪
1049
00:50:13,999 --> 00:50:15,966
BEYONCé:
When I'm connected to something,
1050
00:50:15,966 --> 00:50:21,599
I immediately see a visual
or a series of images
1051
00:50:21,599 --> 00:50:25,899
that are tied
to a feeling or an emotion,
1052
00:50:25,899 --> 00:50:28,466
a memory from my childhood,
1053
00:50:28,466 --> 00:50:30,199
♪ Before they
turn the lights out ♪
1054
00:50:30,199 --> 00:50:34,532
...thoughts about life,
my dreams, or my fantasies.
1055
00:50:34,532 --> 00:50:36,399
And they're all connected
to the music.
1056
00:50:36,399 --> 00:50:38,266
♪ ...is glowin' ♪
1057
00:50:38,266 --> 00:50:41,366
And I think it's one of
the reasons why I wanted to do
1058
00:50:41,366 --> 00:50:43,966
‐a visual album.
‐♪ Crashing into you ♪
1059
00:50:43,966 --> 00:50:46,466
I wanted people to hear
the songs
1060
00:50:46,466 --> 00:50:51,099
with the story that's in my head
'cause it's what makes it mine.
1061
00:50:51,099 --> 00:50:53,932
♪ Ooh, baby,
daylight's wasting ♪
1062
00:50:53,932 --> 00:50:56,799
[Echoing]
♪ Wasting, wasting, wasting ♪
1063
00:50:56,799 --> 00:50:59,132
♪ You better kiss me ♪
1064
00:50:59,132 --> 00:51:01,866
[Echoing]
♪ Kiss me, kiss me, kiss me ♪
1065
00:51:01,866 --> 00:51:04,999
♪ Before our time has run out ♪
1066
00:51:04,999 --> 00:51:08,599
♪ Mmm, yeah ♪
1067
00:51:08,599 --> 00:51:11,566
You make music and you make
decisions artistically
1068
00:51:11,566 --> 00:51:13,132
at the level of your ambition.
1069
00:51:13,132 --> 00:51:15,032
Beyoncé's an artist
who wants world domination.
1070
00:51:15,032 --> 00:51:16,499
She's not trying to just have
1071
00:51:16,499 --> 00:51:19,766
a couple of records
that play good in the hood.
1072
00:51:19,766 --> 00:51:22,132
Beyoncé wants to be played
in India.
1073
00:51:23,166 --> 00:51:24,766
WANG:
When someone like Beyoncé
1074
00:51:24,766 --> 00:51:28,199
puts out an album overnight
with no lead‐up whatsoever,
1075
00:51:28,199 --> 00:51:30,132
which is almost unheard of,
it's all about
1076
00:51:30,132 --> 00:51:32,132
the particular image
that they're trying to shape,
1077
00:51:32,132 --> 00:51:34,699
and I think more so
than sales numbers,
1078
00:51:34,699 --> 00:51:36,166
what artists are concerned about
1079
00:51:36,166 --> 00:51:39,266
in a day of social media
and 24/7 news coverage
1080
00:51:39,266 --> 00:51:42,066
is they're really self‐conscious
about image and about brand.
1081
00:51:42,066 --> 00:51:45,032
♪ Pretty hurts ♪
1082
00:51:45,032 --> 00:51:46,766
♪ Pretty ♪
1083
00:51:46,766 --> 00:51:48,199
‐♪ Pretty hurts ♪
‐AYEROFF: It's no different
1084
00:51:48,199 --> 00:51:50,232
than Michael Jackson
doing "Thriller."
1085
00:51:50,232 --> 00:51:53,799
You know, everybody takes a look
at what happened before,
1086
00:51:53,799 --> 00:51:57,832
they absorb it, they morph it,
they put it through the machine,
1087
00:51:57,832 --> 00:51:59,532
and they make it their own.
1088
00:51:59,532 --> 00:52:02,732
They regurgitate it
as some other genius piece,
1089
00:52:02,732 --> 00:52:04,332
some other idea no one had,
1090
00:52:04,332 --> 00:52:07,399
and that's what I think
a lot of artists do today.
1091
00:52:07,399 --> 00:52:13,266
And they all know
what visuals mean to them.
1092
00:52:16,066 --> 00:52:19,366
♪ Yeah, yes ♪
1093
00:52:19,366 --> 00:52:21,332
[ Static crackles ]
87675
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