30 Years of The Best MTV Videos

Posted on August 16, 2011 at 3:55 pm

Time Magazine has a great list of the best music videos in the first three decades of MTV. It’s hard to believe now that MTV’s arrival was controversial because some people thought it would take away from the purity of audio-only enjoyment of music. It was more appropriately controversial because, incredibly, MTV overlooked black performers in its early days. But videos from the “King of Pop,” Michael Jackson, became among the most popular ever and its “Yo! MTV Raps” program was influential in the genre’s early days.

I’ve been watching MTV long enough to remember when their “we’ll try anything” attitude had them playing Madonna’s “True Blue” for 24 hours straight (as the VJ noted, it could have been worse — it could have been “In-A-Gadda-Da-Vida“). That means I remember the days when it really was “music television” with music videos back-to-back.

Music videos have turned out to be as creative and boundary-shattering as the music that inspires them. Time has some of my favorites, including “A-Ha’s” great “Take On Me,” Peter Gabriel’s amazing “Sledgehammer,” Jamiroquai’s mind-bending “Virtual Insanity,” Fatboy Slim’s “Weapon of Choice” featuring a sensational dance performance from Christopher Walken, OK Go’s treadmill dance number in “Here It Goes Again,” and, of course, Michael Jackson’s “Thriller” and Beyonce’s “Single Ladies,” probably the two most famous videos of all time.

Here are a few of my favorites they missed:

http://www.youtube.com/watch?v=4i9Mba9keHA&feature=related

Related Tags:

Music Television

Ludacris at the National Press Club

Posted on October 25, 2009 at 10:00 am

My good friend and fellow critic Tim Gordon and I went to hear hip-hop artist/actor/philanthropist Ludacris speak at the National Press Club on Friday. He was there to talk about his foundation and the work it does in Atlanta and around the world to help provide opportunities, guidance, and inspiration for young people. His opening remarks were impressive as he described programs that provided 20 cars to people who needed them in order to do their jobs and take care of their families and described his goal: “Not so much to see what nobody has seen as to think what nobody has thought about what everybody sees.” He spoke about his family’s “deep-rooted tradition of service that underscores the responsibility we all have.” He was grateful that his own commitment to giving back was underscored is his first job, working for Radio One. Boss Cathy Hughes insisted on community service from her employees each week, establishing a precedent for what Ludacris would do after he became a successful recording artist.
The best part was his responses to the questions from the audience, which included local teenagers and fans as well as seasoned reporters. He told the audience not to attribute violence to hip-hop but to ignorance. And he spoke of the way the hip-hop community came together in a matter of hours to help him when one of his projects needed support. My favorite moment was his answer to a question about the most important lessons he learned from his mother, Roberta Shields, who now serves as president of the foundation. He said he could not count the important lessons he learned from her but he would tell us one. He always did well in school, especially in math, but she would give him extra work to do and he did not like it, especially one annual assignment to write down his expectations and goals. He hated it at the time, but Ludacris (born Chris Bridges) attributes his success to her insistence that he be specific and concrete and accountable for his aspirations. He learned from that to “stop quitting.” If he did not achieve the previous year’s goals, he had to think about why he did not and how to do better next time. I looked over at her and saw her beaming with pride.

Related Tags:

Actors Parenting

Notorious

Posted on January 15, 2009 at 6:00 pm

B-

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for pervasive language, some strong sexuality including dialogue, nudity, and for drug content
Profanity:	Constant extremely strong and crude language
Alcohol/ Drugs:	Drinking, smoking, characters sell drugs, reference to drug use
Violence/ Scariness:	Gang-related violence, characters shot and killed
Diversity Issues:	A theme of the movie
Date Released to Theaters:	January 16, 2009

Christopher George Latore Wallace lived fast, died young, and left a very big corpse. He started dealing drugs as a young kid in Brooklyn, went to prison, and was killed at age 24 in a gang-style shooting that is still unsolved. What makes him worthy of a biopic is that in between all of this he made two rap albums as Biggie Smalls/Notorious B.I.G. that were and continue to be enormously successful.

This movie will inevitably come up short when compared to documentaries like the one about the similarly brief life of the far more prolific rapper Tupac Shakur or full-scale Hollywood biopics like “Ray” and “Walk the Line.” It is produced by Wallace’s biggest promoters, his mother and impresario Sean Combs, who was then known as Puff Daddy and it has the soft edges of a hagiography. And its star, newcomer Jamal Woolard, evokes Biggie’s flattish affect without making the story’s main character particularly dynamic. The film benefits from very strong performances by the supporting cast, including Angela Bassett as Wallace’s mother, Derek Luke as Combs, Naturi Naughton as protege/girlfriend Li’l Kim, Anthony Makie as Shakur, and Antonique Smith as his wife, Faith Evans. But there is not enough in it to engage anyone who is not already a knowledgeable fan. It does not provide any context about why Wallace was different or important or how his experience informed his lyrics or what it was about his performances that connected with such a wide audience. It does not explore the notion of authenticity and “keeping it real” and the inability to understand how legitimate success was different by almost everyone but Puff Daddy that made the tragic outcomes almost inevitable. It is superficial and overly commercial, something the really Biggie never was.