Although little acknowledged outside Australia, it is arguable that the 1970s–1980s Australian TV pop show Countdown — and to a lesser extent its commercial competitors Sounds and Nightmoves — were important precursors to MTV.

Countdown, which was based on Top of the Pops, was successful in Australia and other countries quickly followed the format. At its highpoint during most of the 1980s it was to be aired in 22 countries including TV Europe. In 1978 the Dutch TV-broadcasting company Veronica started its own version of Countdown, which during the 1980s featured Adam Curry as its best known presenter. The program gained international significance in the recording industry in the late 1970s and early 1980s. Produced on a shoestring by the government-owned ABC national TV network, its low budget, and Australia's distance proved to be influential factors in the show's early preference for music video. The relative rarity of visits by international artists to Australia and the availability of high-quality, free promotional films meant that Countdown soon came to rely heavily on music videos in order to feature such performers.

The show's talent coordinator, Ian "Molly" Meldrum, and his producers realized that these music videos were becoming an important new commodity in music marketing. For the first time, pre-produced music videos gave TV the opportunity to present pop music in a format that rivaled or even exceeded the impact of radio airplay, and it was soon apparent that Countdown could single-handedly break new pop acts and new songs by established artists — a role that up until then been the exclusive preserve of radio.

Although Countdown continued to rely heavily on studio appearances by local and visiting acts, competing shows like Sounds lacked the resources to present regular studio performances, so they were soon using music videos almost exclusively. As the 1980s progressed, the ability to use music videos to give bands the best possible presentation saw record companies making more, and more lavish, promotional videos.

Realising the potential of music video, Countdown negotiated a controversial deal with local record labels, giving them first refusal and a period of exclusive use for any new video that came into the country, and with its nationwide reach and huge audience, the show was able to use music videos to break a number of important new local and overseas acts, notably ABBA, Queen, Meat Loaf, Blondie, Devo, Cyndi Lauper and Madonna. This early success in Australia in turn enabled these acts to gain airplay and TV exposure and score breakthrough hits in their home countries.

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Directors and creative rights

Since December 1992, when MTV began listing directors with the artist and song credits, music videos have increasingly become an auteur's medium. Few if any filmmakers train specifically to make music videos, and very few can afford to make them exclusively. Most split their time between videos and other film projects. Music video directors - who generally conceive, write, and direct their videos - currently receive no authorship, creative rights, profit participation or residual income from DVDs, iTunes, and other new media on which their work may appear.

However, those features of the industry that tend to make music video direction a less-than-lucrative profession, have also made the medium an exciting art-form, one defined by the cross-pollination of ideas and approaches from various disciplines. Music video directors, like most filmmakers in general, emerge from disparate backgrounds, and don't share much in the way of common thinking or set-in-stone pedagogy, bringing to the field a diversity of experience.

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Censorship

As the concept and medium of a music video is a form of artistic expression, artists have been on many occasions censored if their content is deemed offensive. What may be considered offensive will differ in countries due to censorship laws and local customs and ethics. In most cases, the record label will provide and distribute videos edited or provide both censored and uncensored videos for an artist. In some cases, it has been known for music videos to be banned in their entirety as they have been deemed far too offensive to be broadcast.

The first video to be rejected by Music Television was "Girls on Film" by Duran Duran in 1981 because it contained full frontal nudity; it was also rejected by the BBC. In 1989, Cher's "If I Could Turn Back Time" video (where the singer performs the song in an extremely revealing body suit surrounded by a ship full of cheering sailors) was restricted to late-night broadcasts on MTV.

In 1983, Entertainment Tonight ran a segment on censorship and "Rock Video Violence."^[7] The episode explored the impact of MTV rock video violence on the youth of the early 1980s. Excerpts from the music videos of Michael Jackson, Duran Duran, Kiss, Kansas, Billy Idol, Def Leppard, Pat Benatar and the Rolling Stones were shown. Dr. Thomas Radecki of the National Coalition on TV Violence was interviewed accusing the fledgling rock video business of excessive violence. Night Tracks producer Tom Lynch weighed in on the effects of the video violence controversy. Recording artists John Cougar Mellencamp, Gene Simmons and Paul Stanley of Kiss, along with directors Dominic Orlando and Julien Temple, provided a defense of their work. The episode's conclusion was that the controversy will continue to grow.

In 1991 the dance segment of Michael Jackson's "Black or White" was cut because it showed Michael Jackson "inappropriately" touching himself in it. Michael Jackson's most controversial video, "They Don't Care About Us" was banned from MTV, VH1, and BBC because of the alleged anti-Semitic message in the song and the visuals in the background of the "Prison Version" of the video.^{[citation needed]}

Madonna is the artist most associated with music video censorship. The controversy surrounding her marketing of sexuality began with the video for "Lucky Star", and amplified over time due to clips such as "Like a Virgin". Outcry occurred over the subject matter discussed in "Papa Don't Preach", although the video is tastefully done.^{[citation needed]} "Like a Prayer" courted heavy criticism due to its religious, sexual, and racially-oriented imagery.

In 1990, Madonna's music video for the song "Justify My Love" was banned by MTV due to its depiction of sadomasochism, homosexuality, cross-dressing, and group sex, generating a media firestorm. The debate over the banning of "Justify My Love" by the Canadian music video network MuchMusic led to the launching in 1991 of Too Much 4 Much, a series of occasional, late-night specials (still being aired in the early 2000s) in which videos officially banned by MuchMusic were broadcast, followed by panel discussion regarding why they were removed.

Madonna's video for "Erotica" was aired only three times (each time after midnight) due to its sexual depictions of sadomasochism. More recently, Madonna's "What It Feels Like for a Girl" was banned in 2001 due to its graphic depiction of violence. She also pulled her "American Life" video because of its controversial military imagery that seemed inappropriate once the War in Iraq began; subsequently, a new video was made for the song.

Prodigy's video for "Smack My Bitch Up" was banned in some countries^[specify] due to depictions of drug use and nudity. The Prodigy's video for "Firestarter" was banned by the BBC because of its references to arson. Thursday's video for "War All the Time" was banned by MTV because of its supposedly controversial nature.

As of 2005^{[citation needed]}, the Egyptian state censorship committee has banned at least 20 music videos which featured sexual connotations due to Muslim moral viewpoints. The Sex Pistols' video for "God Save the Queen" was banned by the BBC for calling the United Kingdom a fascist regime. In 2004, many family groups and politicians lobbied for the banning of the Eric Prydz video "Call on Me" for containing women dancing in an sexually suggestive way, however, the video was not banned. At some point in the past, the video for "(s)AINT" by Marilyn Manson was banned by that artist's label due to its violence and sexual content. In 2008, Justice's video for their song Stress was boycotted by several major music television channels due to allegations of racism and violence; the video depicts several youths committing various crimes throughout the streets of Paris, with the youths mainly being of North African and Algerian descent. ^[8]

[

Internet

The earliest purveyors of music videos on the internet were members of IRC-based groups^{[citation needed]}, who recorded them as they appeared on television, then digitised them, exchanging the .mpg files via IRC channels. As broadband Internet access has become available more widely, various initiatives have been made to capitalise on the continued interest in music videos. MTV itself now provides streams of artists' music videos, while AOL's recently launched AOL Music features a vast collection of advertising supported streaming videos. The internet has become the primary growth income market for Record Company produced music videos.^{[citation needed]} At its launch, Apple's iTunes Store provided a section of free music videos in high quality compression to be watched via the iTunes application. More recently the iTunes Store has begun selling music videos for use on Apple's iPod with video playback capability.

Another new phenomenon, deriving from the popularity of blogging, is the use of so-called music video "codes", lines of HTML code including links to music videos that the individual can simply copy and paste into their blog in order to feature a given video streaming on it. YouTube, Google Video, IFilm and MySpace have become primary venues for viewing videos.

In 2007 the RIAA issued cease-and-desist letters to YouTube users to prevent single users from sharing videos, which are the property of the music labels. After its merger with Google, YouTube assured the RIAA that they would find a way to pay royalties through a bulk agreement with the major record labels.^{[citation needed]} This was complicated by the fact that not all labels share the same policy toward music videos. Some welcome the development and upload music videos to various online outlets themselves, viewing the music videos as free advertising for their catalog artists. Other labels view music videos not as an advertisement, but as the product itself.

[

Unofficial music videos

Unofficial, fan-made music videos ("bootleg" tapes) are typically made by synchronizing existing footage from other sources, such as television series or movies, with the song. The first known fan video, or songvid, was created by Kandy Fong in 1975 using still images from Star Trek loaded into a slide carousel and played in conjunction with a song. Fan videos made using videocassette recorders soon followed. ^[9] With the advent of easy distribution over the internet and cheap video-editing software, fan-created videos began to gain wider notice in the late 1990s.

Such videos are sometimes known as OPV, Original Promotional Videos (or sometimes Other People's Videos). In the case of anime music videos, the source material is drawn from Japanese anime or from American animation series. Since neither the music nor the film footage is typically licensed, distributing these videos is usually copyright infringement on both counts. Singular examples of unofficial videos include one made for Danger Mouse's illegal mash-up of the Jay-Z track "Encore" with music sampled from The Beatles' White Album, in which concert footage of The Beatles is remixed with footage of Jay-Z and rap dancers, as well as a recent politically charged video by Franklin Lopez of subMedia^{[citation needed]}, cut from television footage of the Katrina aftermath, set to an unofficial remix of Kanye West's "Gold Digger", inspired by the rap-artist's comment "George Bush doesn't care about black people." Fans gave P!nk an unofficial music video for the song "Dear Mr. President" (in which she criticizes George W. Bush's administration), since she stated that will not be released as an official single from her I'm Not Dead album.^{[citation needed]}

In 2007 a new form of lip sync-based music video called lip dub became popular in which a group of people are filmed lip singing in a seemingly random spot then dubbing over it in post editing with the original audio of the song. These videos have the feeling of being spontaneous and authentic and are spread virally through mass participatory video sites like YouTube.

[

Timeline

This section overlaps with other sections; it should be combined with the rest of the article. Please post any comments on this issue on the talk page.

The quality of this article or section may be compromised by wording which promotes the subject in a subjective manner without imparting real information. You can help Wikipedia by removing peacock terms or finding content which backs the claims.

• 1941: A new invention hits clubs and bars in the USA: The Panoram Soundie is a jukebox that plays short videoclips along with the music.
• 1956: Hollywood discovers the genre of music-centered films. A wave of rock'n'roll films begins (Rock Around the Clock, Don't Knock the Rock, Shake, Rattle and Rock, Rock Pretty Baby, The Girl Can't Help It, and the famous Elvis Presley movies). Some of these films integrate musical performances into a story, others are simply revues.
• 1960: In France a re-invention of the Soundie, the Scopitone, gains limited success.
• 1961: Ricky Nelson's Travelin' Man video is shown on television.
• 1962: British Television invents a new form of music television. Shows like Top Of The Pops, Ready! Steady! Go! and Oh, Boy start as band vehicles and become huge hits.
• 1964: The US-Television market adapts the format. Hullabaloo is one of the first US shows of this kind, followed by Shindig! (NBC) and American Bandstand; The Beatles star in A Hard Day's Night
• 1965: Bob Dylan films Subterranean Homesick Blues as a segment for D. A. Pennebaker's film, Dont Look Back, with two alternate takes.
• 1966: The first conceptual promos are aired, for the Beatles' "Paperback Writer" and "Rain". Early in 1967, even more ambitious videos are released for "Penny Lane" and "Strawberry Fields Forever".
• 1968: The Rolling Stones collaborate with Jean-Luc Godard on Sympathy for the Devil
• 1970: The record industry discovers these TV-Shows as a great opportunity to promote their artists. They focus on producing short "Promos", early music videos which started to replace the live performance of the artist on the TV-stage. Also, the Atlanta-produced Now Explosion starts a 26-week run in syndication.
• 1973: The first of forty-six different Schoolhouse Rock music videos begin airing during Saturday morning cartoons on ABC.
• 1974: ABBA pioneer the use of "Promos" with their clips, directed by Lasse Hallström. These contain innovative effects, camera angles, and a less static look than is the norm at the time. The band continue using such videos throughout the 1970s.
• 1975: "Bohemian Rhapsody", a groundbreaking video released by Queen, marks the beginning of the video era and sets the language for the modern music video. The video is considered one of the first to use advanced visual effects.
  • "Tommy", the film adaptation of The Who's rock opera is released.
• 1979: Devo releases "The Day My Baby Gave Me a Surprise", which is the first music video to include computer animation, as well as traditional animation.
  • Another 1979 video with computer animation is "Computer Games", by New Zealand band MiSex.
• 1980: "Ashes to Ashes", considered a groundbreaking video, is released by David Bowie.
• 1981: MTV, the first 24-hour satellite music channel, launches in August. Initially few cable TV operators carry it, but it rapidly becomes a major hit and cultural icon.
  • "Shock Treatment" is released in theatres.
• 1981: Michael Nesmith wins the first ever music video Grammy, for Elephant Parts.
  • Pink Floyd The Wall is released in theatres.
• 1983: Night Tracks debuts on Superstation WTBS (later known as TBS) with up to 14 hours of music videos each weekend by 1985. This allows nearly all U.S. households with Cable TV to view music videos regularly, as MTV still isn't widely available at this point in time compared to WTBS.
• 1983: Friday Night Videos debuts on the NBC television network, allowing nearly all U.S. households to view music videos regularly. Michael Jackson's Billie Jean video is released on TV, and for the first time a black artist's video is featured in heavy rotation on MTV with the video for his Beat It hit single.
• 1984: Laura Branigan's video for her hit song "Self Control" is refused airplay by MTV, who demand certain cuts be made to remove content they find objectionable.
• 1984: Prince releases Purple Rain, a cheesy and low-rated movie, but its soundtrack is nominated for an Oscar. But it is successful, selling 15 million copies.
• 1984: Michael Jackson's short film Thriller is released, changing the concept of music videos forever. The Making of Thriller home video is also released in 1984. It is the first ever video about the making of a music video and it becomes the best selling VHS to date.
  • MTV presents its first Video Music Awards, hosted by Dan Aykroyd and Bette Midler.
  • The Grammys award Best Short Form Music Video, as well as Best Long Form Music Video.
• 1985: a-ha find instant stardom with their hit song "Take On Me", significantly due to heavy rotation play of the song's video, which features a combination of live action and rotoscoping animation. The groundbreaking video wins several awards and is consistently rated as one of the best for decades to come.
• 1985: Madonna's video for her hit single "Material Girl" is released. It is largely based on Marilyn Monroe's performance of "Diamonds Are a Girl's Best Friend" in the film Gentlemen Prefer Blondes A huge storm of interest explodes for the video. The video is considered one of the most memorable and always comes up in "The Best Videos" lists.
• 1986: "Sledgehammer", the groundbreaking video from Peter Gabriel, furthers the revival of animation in music video, utilizing stop-motion photography and winning several awards.
• 1989: MTV renames its "Video Vanguard Award" the "Michael Jackson Vanguard Award" in honor of the pop star's contributions to the art of music video.
• 1989: Madonna's controversial video for "Like a Prayer" is released.
• 1990: MTV bans Madonna's Justify My Love video. It is released as a video single, the first of its kind.
• 1991: Nirvana release the "Smells Like Teen Spirit" video, catapulting Kurt Cobain - and the grunge genre - into the American and Worldwide mainstream.
  • First use of the now-familiar morphing special effect in a music video, with Michael Jackson's "Black or White" (directed by John Landis), from his album Dangerous.
• 1992: MTV begins to credit music video directors.
• 1995: Release of the most expensive music video ever "Scream", from Michael Jackson's HIStory album, a duet with his sister Janet.
• 1996: Pop-up Video is first aired on VH1.
• 1996: M2 is launched as a 24-hour music video channel, as MTV has largely replaced videos with other content.
• 1999: M2 is renamed to MTV2.
  • Making the Video, a series chronicling the production of a music video, premieres on MTV.
• 2001: Bjork releases the video for Pagan Poetry which was controversial for its depictions of sexual acts and body piercings.
• 2002: MTV Hits is launched, as MTV2 is gradually showing fewer music videos (now virtually non-existent on MTV).
• 2005: Grandaddy fan Stewart Smith releases unofficial "Jed's Other Poem" music video online along with the source code that created it. It is the first open source music video and is later sanctioned by Grandaddy's label, V2 Records.
• 2007: Musicbox (URL: musicbox.sonybmg.com) is launched by Sony BMG. This online portal signifies the first free streaming effort owned and operated by a major label.
• 2007: The Music video "Girlfriend" by Avril Lavigne, becomes the all-time most-viewed video on the internet.
• 2008: The first 3D video ever is made by Dave Meyers and Missy Elliott for her single Ching-a-Ling / Bjork also makes one for Wanderlust.

[

Music video stations

Here are some of the most popular music video stations from around the world:

40 TV Blastro BET BET J bpm:tv Bubble Hits C4 Channel O Channel [V] Channel [U] CMC-TV CMT Fly Music Fuse TV Gospel Music Channel GAC IMF JCTV Juice TV Kerrang! TV MAD (Music All Day) MCM

MTV MTV2 MTV Adria MTV Arabia MTV Asia MTV Australia MTV Base MTV Base Africa MTV Brasil MTV Central MTV Chi MTV Dance MTV Desi MTV en Español MTV Europe MTV Hits MTV Hungary MTV India MTV Jams MTV Japan MTV K MTV Latin America MTV Pakistan MTV Philippines MTV Portugal MTV Puerto Rico MTV Spain MTV Tempo MTV Turkey MTVU

Music Choice MuchMusic MuchVibe MuchLOUD PunchMuch MuchMoreMusic MuchMoreRetro Music 24 Vlaze.com Musique Plus MusiMax MusicMAX MYX PMC PMC Q TV rage Roxwel Scuzz

Soundpedia Space Shower TV Spirit TMF TeleHit The Box The Tube The Voice TV TVU VH1 VH1 Classic VH1 Country VH1 Soul VH1 Uno VH1 UK VIVA Worship Yallwire ZTV

[

Music video shows

ABC Rocks (ABC) 106 & Park (BET) CD:UK Hotshots (ITV1) Top Of The Pops (BBC 2) The Click List: Top 10 Videos (Logo) Countdown (Australian ABC) Friday Night Videos (NBC) Headbanger's Ball (MTV2) Kidsongs Los 10+ Pedidos (MTV Latin America) Night Tracks (TBS) Pop 4 (TG4) Rage (Australian ABC)

Sidewalks: Video Nite (syndication) Schoolhouse Rock (ABC) Video Hits Australia (Network Ten) Video Hits Canada (CBC Television) TRL (MTV) Power Fuse (Fuse) MuchOnDemand (MuchMusic) Music Station (TV Asahi) UVTV - Underground Video Television (UVTV - Underground Video Television) Worlds Best Videos (IMF - International Music Feed) VSpot Top 20 Countdown VH1

[

See also

• List of most expensive music videos
• Music video director
• Video art
• Video clip
• One shot (music video)
• Concert video design

[

Notes

[

References

• Banks, Jack (1996) Monopoly Television: Mtv's Quest to Control the Music Westview Press ISBN 0-8133-1820-3
• Clarke, Donald (1995) The Rise and Fall of Popular Music St. Martin's Pressy ISBN 0-312-11573-3
• Denisoff, R. Serge (1991) Inside MTV New Brunswick: Transaction publishers ISBN 0-88738-864-7
• Durant, Alan (1984). Cited in Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0-335-15275-9.
• Frith, Simon, Andrew Goodwin & Lawrence Grossberg (1993) Sound & Vision. The music video reader London: Routledge ISBN 0-415-09431-3
• Goodwin, Andrew (1992) Dancing in the Distraction Factory : Music Television and Popular Culture University of Minnesota Press ISBN 0-8166-2063-6
• Kaplan, E. Ann (1987) Rocking Around the Clock. Music Television, Postmodernism, and Consumer Culture London & New York: Routledge ISBN 0-415-03005-6
• Kleiler, David (1997) You Stand There: Making Music Video Three Rivers Press ISBN 0-609-80036-1
• Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0-335-15275-9.
• Shore, Michael (1984) The Rolling Stone book of rock video New York: Quill ISBN 0-688-03916-2
• G.Turner, Video Clips and Popular Music, in Australian Journal of Cultural Studies 1/1,1983, 107-110
• Vernallis, Carol (2004) Experiencing Music Video: Aesthetics and Cultural Context Columbia University Press ISBN 0-231-11798-1
• Altrogge, Michael: Tönende Bilder: interdisziplinäre Studie zu Musik und Bildern in Videoclips und ihrer Bedeutung für Jugendliche. Band 1: Das Feld und die Theorie. Berlin: Vistas 2001
• Altrogge, Michael: Tönende Bilder. Das Material: Die Musikvideos. Bd 2. Berlin: Vistas 2001
• Altrogge, Michael: Tönende Bilder: interdisziplinäre Studie zu Musik und Bildern in Videoclips und ihrer Bedeutung für Jugendliche. Band 3: Die Rezeption: Strukturen der Wahrnehmung. Berlin: Vistas 2001
• Bühler, Gerhard (2002): Postmoderne auf dem Bildschirm – auf der Leinwand. Musikvideos, Werbespots und David Lynchs WILD AT HEART
• C.Hausheer/A.Schönholzer (Hrsg.), Visueller Sound. Musikvideos zwischen Avantgarde und Populärkultur, Luzern 1994
• Helms, Dietrich; Thomas Phleps (Hrsg.): Clipped Differences. Geschlechterrepräsentation im Musikvideo. Bielefeld: Transcript 2003
• Keazor, Henry / Wübbena, Thorsten: Video Thrills The Radio Star. Musikvideos: Geschichte, Themen, Analysen. Bielefeld: 2007 (Revised Edition), ISBN 3-899-42728-9
• Kirsch, Arlett: Musik im Fernsehen. Eine auditive Darstellungsform in einem audiovisuellen Medium. Berlin: Wiku 2002
• Kurp, Matthias / Huschild, Claudia & Wiese, Klemens (2002): Musikfernsehen in Deutschland. Politische, soziologische und medienökonomische Aspekte
• Neumann-Braun, Klaus / Schmidt, Axel / Mai, Manfred (2003): Popvisionen. Links in die Zukunft
• Neumann-Braun, Klaus / Mikos, Lothar: Videoclips und Musikfernsehen. Eine problemorientierte Kommentierung der aktuellen Forschungsliteratur; Berlin: Vistas 2006
• Quandt, Thorsten (1997). Musikvideos im Alltag Jugendlicher. Umfeldanalyse und qualitative Rezeptionsstudie. Deutscher Universitätsverlag

[

External links

• High Quality Hindi/English MP4 Music Videos - Free
• Music on Television a brief history
• Music Video
• Watch and download official music videos
• AboveTheLine.TV Music Video Social Community Where Bands Can Find Music Video Directors
• Mvdbase.com
• Videoville.org a music video wiki

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