How Did Video Kill The Radio Star
BAP220.2
1
Music Styles II Did Video Kill The Radio Star?
Student Name: Kirsty McWilliam
Student Number: 107310
BAP220.2
“TELEVISION”
2
Through research and development this essay will show how the introduction of television impacted the creation, production and performance of music from the early 20th Century to the present. In 1979 British band The Buggles released Video Killed The Radio Star. The lyrics talk about a time of technological transformation in the 60’s, the longing to recollect …show more content…
the past and the dissatisfaction that the modern generation youth would not value the past.
In the 50s and early 60s, radio was the key to entertainment through which "stars" were produced. I heard you on the wireless back in 52 lying awake intent a tuning in on you if I was young it didn 't stop you coming through They took the credit for your second symphony re-‐written by machine and new technology and now I understand the problems you can see Oh oh -‐-‐ I met your children oh oh -‐-‐ what did you tell them video killed the radio star video killed the radio star pictures came
and broke your heart we can 't rewind we 've gone too far The Buggles – Video Killed the Radio Star (1979) An intriguing idea that begs to ask the question, did video really kill the radio star? “Today, music and television are closely linked as components of cultural industry and artistic enterprise and it is standard practice that musicians contracts include obligations to appear in videos and other televised promotional
Student Name: Kirsty McWilliam
Student Number: 107310
BAP220.2
3
endeavors” (Forman, 2012). Set within an assortment of technological formats and performance styles (YouTube, Rage, etc.), the never-‐ending rotation of televised music, ranging all genres from pop, rock, rap, metal, emo, R&B, country and even opera, demonstrate the power of the medium and it’s extraordinary success. Prior to the release of television, “radio with pictures” dominated the public arena. Television was created by broadcasting signasl via high-‐powered radio-‐frequency transmitters to individual TV receivers, and it was inspired by the original radio broadcasting system. “Television (TV) Commercially available since the late 1920s, it acts as a vehicle for advertising, a source of entertainment, and news. Since the 1950s, television has been the main medium for moulding public opinion.” (Diggs-‐Brown, 2011) Although Television release into the commercial arena came during an economic depression and a world war, the industry was strong. It grew from just 250 sets in homes in New York to 2000 by the end of the 1940. (“RCA and NBC”, 1940). General TV sales were slow initially due to the high cost of television sets, the public needed to be convinced of the worth of paying $500 a TV set, when music and public performances could be had for free or cheaper over radio sets or at public theatres and nightclubs. “The first television era in the United States…. occurred between 1939 and 1945, for although programming and the industrial development of television was truncated by the war effort, the discourse on television remained lively during the war years” (No Author, 1999, p: 14). After the war (post 1945) there was a remarkable burst of invention with several crucial developments facilitating the convergence of popular music and television. An insight into how television influenced the shaping of music can be seen from this excerpt: “ In Dec 1930 corporate memorandum, George Engles, National Broadcasting Corporation (NBC) vice presidents in charge of programs, wrote that with the emergence of visual broadcast capabilities it would be increasingly necessary to review and vet the physical or telegenic attributes of the singers hired by the network. (Engles, 1930). To begin with the airing of programs was very experimental, as no one really understood what the audience would expect to see, how an aired product would look once broadcast etc. A musicians’ overall presentation became an essential theme as television grew. Through the early establishment of TV, the necessity for
Student Name: Kirsty McWilliam
Student Number: 107310
BAP220.2
4
musicians to basically sell themselves to audiences, through alluring performances and distinctive visual aesthetics was discussed. Programs and performances were focused toward consumerism, creating the foundation for what was to become the norm in television and the overall agenda of Pop music. Musicians were forced to rethink their entire direction as a reaction to the pressure of imminent irrelevance. Desperate to maintain their positions in the industry, many artists were branching out into performance/elocution instruction. Sadly such tactics simply opened the doors for second rate artists to obtain a foothold in the industry, as long as they had the right physical traits. After all, television initially could only be afforded by the middle class, so music on television was aimed at pleasing middle class values and tastes. Robert Lee wrote in 1944 “Everybody should know about television, because it’s going to be ‘everybody’s art’. Television belongs to the people-‐more than motion pictures, or even radio. There isn’t one person in the United States who won’t be affected by television” (Lee, 1944) Television was an opportunity for artists. To make your break you had to be on TV! “In several cases, previously unknown or struggling artists gained new-‐ found prestige as a direct result of their television appearances,” (Forman, 2012). The Kirby Stone Quintette was one such recipient of television’s opportunity for success. The band had a guest appearances on several early television shows in the 1940’s. Dinah Shore was also a recipient of the same such opportunities and even wrote a song in dedication to it “If you wanna have fun come home with me, you can stay all night and play with my TV. TV is the thing this year, this year TV is the thing this year. Radio was great, now it’s out of date. TV is the thing this year” (Shore, 1953) Elvis Presley’s television debut in January 1956 on The Ed Sullivan Show attracted a whopping 60 million viewers, 82% of the television viewing audience in America. It is this national event that is often referred to as the moment when popular music and television infused. “This young man, whose sound and raw, energetic performances went against everything the conservative Eisenhower era stood for, captivated the youth of America. That night on the Sullivan show, Elvis entered living rooms across the country and created a cultural revolution that changed musical tastes and entertainment forever”. (Sullivan, N.D)
Student Name: Kirsty McWilliam
Student Number: 107310
BAP220.2
5
Presley’s TV performances in the late 1950’s introduced a unique style that moved away from many of TV’s conventional forms. The opportunities for new artists on television were quickly being realised, Elvis Presley’s series of TV performances in the mid 1950’s, the Beatles’ first guest appearances on the Ed Sullivan Show in 1964, or Presley’s engaging 1968 NBC “comeback” special provide perfect examples. Television programming of musical performances was unquestionably driven towards the popular mainstream. TV as a medium was strongly believed to be an fundamental influence in the progression of other musical genres like Rock’N’Roll. “It certainly could be argued that the visual conventions of rock performance were shaped by television” (No Author, 2002, p: 283). Television not only had significant influences on rock n roll but also pop music since then. The image of rock n roll is often related to the sex and with television now in homes to allow viewers to witness the swinging and jutting of Presley’s’ hips it’s no wonder rock n roll developed into what it did. Other genres that could not be what they were without the visual medium that TV provided include Glam Rock (all glitter and satin) which developed from English psychedelic rock from the late 1960s. Also influencing other sub-‐genres of Rock such as gothic rock, which was completely dependent on make-‐up, costuming, theatricality and sound, and even on punk rock which was styled around the same aesthetic visual features. Since the 1970s the availability of video cassettes, laserdiscs, DVDs and now Blu-‐ray Discs, have resulted in the television set frequently being used for viewing recorded as well as broadcast material. In recent years, Internet television has seen the rise of television available via the Internet, e.g. YouTube. And of course one can not dismiss the ever popular stream of music TV programs that have aired all over the world. Programs like MTV, Rage, Video Hits, Top of the Pops and many more. It has provided artists a platform to perform and promote their music.
Student Name: Kirsty McWilliam
Student Number: 107310
BAP220.2
6
References
(1) Diggs-‐Brown, B. (2011) Strategic Public Relations: Audience Focused Practice p.48 (2) (No Author). (1999). Critical Ideas in Television Studies. New York: Oxford University Press (3) Engles, G. (1930) NBC Interdepartmental Correspondence, December 15. (4) RCA and NBC Present Television (1940). New York: Radio Corporation of America (5) (No Author) (1992). Is There a Fan in the House?: The Affective Sensibility of Fandom. In The Adoring Audience: Fan Culture and Popular Media, edited by Lisa A. Lewis. New York: Routledge p138-‐39. (6) Lee, R. E. (1944) Television: The Revolution. New York: Essential Books p6 (7) Medley, P & Stanford, W. (1953) Recorded by Dinah Washington on Mercury Records. (8) Sullivan (N.D) [Online Source] Retrieved From http://www.edsullivan.com/artists/elvis-‐presley/ (9) (No Author) (2005). Teenagers and Television in the United States. In Encyclopedia of Television. 2nd ed. Chicago: Fitzroy Dearbon. (10) (No Author) (2002). Look! Hear! The Uneasy Relationship of Music and Television. Popular
Music 21, no.3, p.277-‐90. (11) Moore, R. (2009) Sells Like Teen Spirit: Music, Youth Culture, and Social Crisis. New York:
New York University Press p. 105 (12) Auslander, P (2006) Watch that man David Bowie: Hammersmith Odeon, London, July 3, 1973.
In I. Inglis, ed., Performance and Popular Music: History, Place and Time. Aldershot: Ashgate p. 79. (13) Forman, M (2012) One Night On TV Is Worth Weeks At The Paramount. Duke University Press.
Student Name: Kirsty McWilliam
Student Number: 107310
1
Music Styles II Did Video Kill The Radio Star?
Student Name: Kirsty McWilliam
Student Number: 107310
BAP220.2
“TELEVISION”
2
Through research and development this essay will show how the introduction of television impacted the creation, production and performance of music from the early 20th Century to the present. In 1979 British band The Buggles released Video Killed The Radio Star. The lyrics talk about a time of technological transformation in the 60’s, the longing to recollect …show more content…
the past and the dissatisfaction that the modern generation youth would not value the past.
In the 50s and early 60s, radio was the key to entertainment through which "stars" were produced. I heard you on the wireless back in 52 lying awake intent a tuning in on you if I was young it didn 't stop you coming through They took the credit for your second symphony re-‐written by machine and new technology and now I understand the problems you can see Oh oh -‐-‐ I met your children oh oh -‐-‐ what did you tell them video killed the radio star video killed the radio star pictures came
and broke your heart we can 't rewind we 've gone too far The Buggles – Video Killed the Radio Star (1979) An intriguing idea that begs to ask the question, did video really kill the radio star? “Today, music and television are closely linked as components of cultural industry and artistic enterprise and it is standard practice that musicians contracts include obligations to appear in videos and other televised promotional
Student Name: Kirsty McWilliam
Student Number: 107310
BAP220.2
3
endeavors” (Forman, 2012). Set within an assortment of technological formats and performance styles (YouTube, Rage, etc.), the never-‐ending rotation of televised music, ranging all genres from pop, rock, rap, metal, emo, R&B, country and even opera, demonstrate the power of the medium and it’s extraordinary success. Prior to the release of television, “radio with pictures” dominated the public arena. Television was created by broadcasting signasl via high-‐powered radio-‐frequency transmitters to individual TV receivers, and it was inspired by the original radio broadcasting system. “Television (TV) Commercially available since the late 1920s, it acts as a vehicle for advertising, a source of entertainment, and news. Since the 1950s, television has been the main medium for moulding public opinion.” (Diggs-‐Brown, 2011) Although Television release into the commercial arena came during an economic depression and a world war, the industry was strong. It grew from just 250 sets in homes in New York to 2000 by the end of the 1940. (“RCA and NBC”, 1940). General TV sales were slow initially due to the high cost of television sets, the public needed to be convinced of the worth of paying $500 a TV set, when music and public performances could be had for free or cheaper over radio sets or at public theatres and nightclubs. “The first television era in the United States…. occurred between 1939 and 1945, for although programming and the industrial development of television was truncated by the war effort, the discourse on television remained lively during the war years” (No Author, 1999, p: 14). After the war (post 1945) there was a remarkable burst of invention with several crucial developments facilitating the convergence of popular music and television. An insight into how television influenced the shaping of music can be seen from this excerpt: “ In Dec 1930 corporate memorandum, George Engles, National Broadcasting Corporation (NBC) vice presidents in charge of programs, wrote that with the emergence of visual broadcast capabilities it would be increasingly necessary to review and vet the physical or telegenic attributes of the singers hired by the network. (Engles, 1930). To begin with the airing of programs was very experimental, as no one really understood what the audience would expect to see, how an aired product would look once broadcast etc. A musicians’ overall presentation became an essential theme as television grew. Through the early establishment of TV, the necessity for
Student Name: Kirsty McWilliam
Student Number: 107310
BAP220.2
4
musicians to basically sell themselves to audiences, through alluring performances and distinctive visual aesthetics was discussed. Programs and performances were focused toward consumerism, creating the foundation for what was to become the norm in television and the overall agenda of Pop music. Musicians were forced to rethink their entire direction as a reaction to the pressure of imminent irrelevance. Desperate to maintain their positions in the industry, many artists were branching out into performance/elocution instruction. Sadly such tactics simply opened the doors for second rate artists to obtain a foothold in the industry, as long as they had the right physical traits. After all, television initially could only be afforded by the middle class, so music on television was aimed at pleasing middle class values and tastes. Robert Lee wrote in 1944 “Everybody should know about television, because it’s going to be ‘everybody’s art’. Television belongs to the people-‐more than motion pictures, or even radio. There isn’t one person in the United States who won’t be affected by television” (Lee, 1944) Television was an opportunity for artists. To make your break you had to be on TV! “In several cases, previously unknown or struggling artists gained new-‐ found prestige as a direct result of their television appearances,” (Forman, 2012). The Kirby Stone Quintette was one such recipient of television’s opportunity for success. The band had a guest appearances on several early television shows in the 1940’s. Dinah Shore was also a recipient of the same such opportunities and even wrote a song in dedication to it “If you wanna have fun come home with me, you can stay all night and play with my TV. TV is the thing this year, this year TV is the thing this year. Radio was great, now it’s out of date. TV is the thing this year” (Shore, 1953) Elvis Presley’s television debut in January 1956 on The Ed Sullivan Show attracted a whopping 60 million viewers, 82% of the television viewing audience in America. It is this national event that is often referred to as the moment when popular music and television infused. “This young man, whose sound and raw, energetic performances went against everything the conservative Eisenhower era stood for, captivated the youth of America. That night on the Sullivan show, Elvis entered living rooms across the country and created a cultural revolution that changed musical tastes and entertainment forever”. (Sullivan, N.D)
Student Name: Kirsty McWilliam
Student Number: 107310
BAP220.2
5
Presley’s TV performances in the late 1950’s introduced a unique style that moved away from many of TV’s conventional forms. The opportunities for new artists on television were quickly being realised, Elvis Presley’s series of TV performances in the mid 1950’s, the Beatles’ first guest appearances on the Ed Sullivan Show in 1964, or Presley’s engaging 1968 NBC “comeback” special provide perfect examples. Television programming of musical performances was unquestionably driven towards the popular mainstream. TV as a medium was strongly believed to be an fundamental influence in the progression of other musical genres like Rock’N’Roll. “It certainly could be argued that the visual conventions of rock performance were shaped by television” (No Author, 2002, p: 283). Television not only had significant influences on rock n roll but also pop music since then. The image of rock n roll is often related to the sex and with television now in homes to allow viewers to witness the swinging and jutting of Presley’s’ hips it’s no wonder rock n roll developed into what it did. Other genres that could not be what they were without the visual medium that TV provided include Glam Rock (all glitter and satin) which developed from English psychedelic rock from the late 1960s. Also influencing other sub-‐genres of Rock such as gothic rock, which was completely dependent on make-‐up, costuming, theatricality and sound, and even on punk rock which was styled around the same aesthetic visual features. Since the 1970s the availability of video cassettes, laserdiscs, DVDs and now Blu-‐ray Discs, have resulted in the television set frequently being used for viewing recorded as well as broadcast material. In recent years, Internet television has seen the rise of television available via the Internet, e.g. YouTube. And of course one can not dismiss the ever popular stream of music TV programs that have aired all over the world. Programs like MTV, Rage, Video Hits, Top of the Pops and many more. It has provided artists a platform to perform and promote their music.
Student Name: Kirsty McWilliam
Student Number: 107310
BAP220.2
6
References
(1) Diggs-‐Brown, B. (2011) Strategic Public Relations: Audience Focused Practice p.48 (2) (No Author). (1999). Critical Ideas in Television Studies. New York: Oxford University Press (3) Engles, G. (1930) NBC Interdepartmental Correspondence, December 15. (4) RCA and NBC Present Television (1940). New York: Radio Corporation of America (5) (No Author) (1992). Is There a Fan in the House?: The Affective Sensibility of Fandom. In The Adoring Audience: Fan Culture and Popular Media, edited by Lisa A. Lewis. New York: Routledge p138-‐39. (6) Lee, R. E. (1944) Television: The Revolution. New York: Essential Books p6 (7) Medley, P & Stanford, W. (1953) Recorded by Dinah Washington on Mercury Records. (8) Sullivan (N.D) [Online Source] Retrieved From http://www.edsullivan.com/artists/elvis-‐presley/ (9) (No Author) (2005). Teenagers and Television in the United States. In Encyclopedia of Television. 2nd ed. Chicago: Fitzroy Dearbon. (10) (No Author) (2002). Look! Hear! The Uneasy Relationship of Music and Television. Popular
Music 21, no.3, p.277-‐90. (11) Moore, R. (2009) Sells Like Teen Spirit: Music, Youth Culture, and Social Crisis. New York:
New York University Press p. 105 (12) Auslander, P (2006) Watch that man David Bowie: Hammersmith Odeon, London, July 3, 1973.
In I. Inglis, ed., Performance and Popular Music: History, Place and Time. Aldershot: Ashgate p. 79. (13) Forman, M (2012) One Night On TV Is Worth Weeks At The Paramount. Duke University Press.
Student Name: Kirsty McWilliam
Student Number: 107310