Once upon a long ago, aka the late ‘70s, children searched for treasure. We pedaled banana-seat bikes to discount department stores – a K-Mart or Montgomery Ward, say – in hopes of striking gold in the record bins. Everything was cheaper there, but the titles were sparse, so in time we rode instead to a nearby music shop whose proprietor let us browse for what seemed like hours on end. And when we settled on a simple single, he thanked us for our purchase and wished us a good day. Later, we set out up a long and steep hill for a rinky-dink mall that housed a Sam Goody’s. The worker-clerks were more gruff and dismissive, and never thanked us for our cash, but it stocked a wider selection.
In short, we sought the sounds we heard on the radio. Some stations were formatted Top 40, others rock, disco and R&B/soul. It never mattered. We turned the radio dial and were enthralled by almost everything we heard. We were lost in music. Caught in a trap…
“We” is me, of course, just as I am he as you are he as you are me and we are all together. Everything I heard, even the old, was new or new-to-me. But children grow into teens, 10-speeds replace banana seats, and the appetite for more (on the cheap, as we had limited budgets) led us to used-record stores.
But my record buying notwithstanding, in the late ‘70s and early ’80s the music industry suffered a major slump. Hand in hand with the downward spiral, radio retrenched. Few new artists were featured, and those who were – Dire Straits, for example – often sounded like the old. For the most part, punk and new wave could only be read about, not heard via the airwaves, on this shore. And though I liked much of the old, as this blog attests, I also wanted to hear a lot of the new.
That’s when the days of buying albums from reviews alone began.
About the same time, in the late ‘70s, I stumbled upon ITV’s The Kenny Everett Video Show. A British program, it aired throughout the U.S. thanks to the magic of syndication – in the Philly area, it was Saturday or Sunday afternoon. In addition to his outlandish (and not always funny) comedy, Everett – a British deejay by trade – featured a who’s who of established and rising British musicians. Paul McCartney & Wings were in the same episode as the Boomtown Rats, for example.
Yeah, listening to that song now, it sounds more Springsteen-esque than new wave, but that’s not the point. It was new. Everett’s show ran the gamut of cool to kitsch, mind you, but at least most of what he featured was different. Kate Bush, Nick Lowe, Elvis Costello, Dave Edmunds, Rachel Sweet and the Pretenders were among the showcased acts
That clip of the Pretenders, by the way, hails from March 15, 1979 – nine months prior to their self-titled debut album being released in the U.K. and 10 months before it was issued in the U.S.
The Midnight Special and Don Kirschner’s Rock Concert were among the other outlets for music on TV, though – like rock radio – they focused primarily on the tried and true, not the new and untested. Solid Gold was for the hits. America’s Top 10, too. Slump or not, the music industry had become a Big Business, and Big Business is often short-sighted when it comes to seeding future growth.
Unless they’re an upstart. Like MTV.
The channel began life on August 1, 1981, but at first was only available in a handful of markets (aka the swamps of Jersey). Many viewers, including myself, didn’t actually experience it until the following spring or summer, thanks in part to a smart public relations campaign.
My aunt visited us that summer of ‘82, and I remember her commenting about how the TV – thanks to 16-year-old me – was usually tuned to MTV.
Now, MTV received its share of criticism at the time – and some of it was deserved. The biggest issue: The lack of artists of color, which its programmers claimed was due to its AOR-like format. (AOR, of course, is album-oriented rock; and about the only artist of color featured in that format at the time was Jimi Hendrix.)
The reality, however, was that MTV’s approach to AOR wasn’t in keeping with AOR radio. Far from it. Duran Duran, for example, broke big in the U.S. because MTV played – and played, and played, and played – the videos for “Hungry Like a Wolf” and “Rio” in late ’82. Here’s the former:
I never heard that song on Philly’s twin pillars of rock radio, WMMR and WYSP. Only MTV. As the years progressed, however, they cast their net wider and began to reflect music fans like me, who enjoyed pretty much everything.
At the same time, MTV also deserves some credit. It played quite a few artists who didn’t get much (if any) play elsewhere. Here’s one example: Romeo Void, whose “Never Say Never” was a staple of its early days.
Joan Jett, the Go-Go’s, Michael Jackson, Madonna, Prince, Van Halen, and the Bangles are just a handful of the artists and acts whose success (or mega-success, in some cases) can be traced to their videos being placed in heavy rotation. John Cougar’s another.
Spicing the non-AOR AOR format: the “veejays” who introduced the clips.
The original five consisted of the always cool J.J. Jackson, formerly of WCBN in Boston and KLOS in L.A.; hip Mark Goodman, formerly of WMMR in Philadelphia and WPLJ in New York); struggling actor Alan Hunter, who appeared in David Bowie’s “Fashion” video; actor-model Nina Blackwood; and my favorite of the bunch, Martha Quinn, who once appeared in a McDonald’s commercial and later was cast as Bobby Brady’s wife in the short-lived The Bradys comedy-drama. (Fun fact: Like me, Martha spun folk records on college radio.)
All of which leads to this: In March or April 1983, I sent a letter to Martha. Maybe it was to share a piece of trivia. Or maybe it was to ask that one of my many favorites get more play. In turn, she wrote back…
Do kids still write fan letters? Do they get autographed keepsakes – for free – in return? So much has changed since 1983 – some for the better, some for the worse. The digitalization of memories, for instance, has its pluses, as everything is in the cloud just waiting to be browsed. But here’s a downside: Young folks today will never know the pleasure of coming across a long-forgotten autographed picture inside a manila envelope…
