Occasionally videos were made in a non-representational form, in which the musical artist was not shown. One notable later example of the non-representational style is Bill Konersman's innovative video for Prince 's " Sign o' the Times "  — influenced by Dylan's "Subterranean Homesick Blues" clip, it featured only the text of the song's lyrics. In the early s, music videos also began to discover political and social themes. Examples include the music videos for David Bowie's " China Girl " and " Let's Dance " which both discovered race issues.
In , one of the most successful, influential and iconic music video of all time was released: the nearly minute-long video for Michael Jackson 's song " Thriller ", directed by John Landis. Prior to Jackson's success, videos by African-American artists were rarely played on MTV: according to MTV, this was because it initially conceived itself as a rock-music-oriented channel, although musician Rick James was outspoken in his criticism of the cable channel, claiming in that MTV's refusal to air the music video for his song " Super Freak " and clips by other African-American performers was "blatant racism".
The MuchMusic video channel was launched in Canada in The inaugural event rewarded the Beatles and David Bowie with the Video Vanguard Award for their work in pioneering the music video. This was a program that composed entirely of music videos the only outlet many videos had on British TV at the time [ citation needed ] , with no presenters.
Instead, the videos were linked by then state of the art computer graphics. The show moved to ITV in The video for the Dire Straits song " Money for Nothing " made pioneering use of computer animation, and helped make the song an international hit. The song itself was a wry comment on the music-video phenomenon, sung from the point of view of an appliance deliveryman both drawn to and repelled by the outlandish images and personalities that appeared on MTV.
In , Peter Gabriel 's song " Sledgehammer " used special effects and animation techniques developed by British studio Aardman Animations. In , the MTV show Yo! MTV Raps debuted; the show helped to bring hip hop music to a mass audience for the first time. In November , MTV began listing directors with the artist and song credits, reflecting the fact that music videos had increasingly become an auteur 's medium.
Some of these directors, including, Gondry, Jonze, Sigismondi,  and F. Gary Gray , went on to direct feature films. From this, "Scream" is the most expensive video to date. MTV2 , originally called "M2" and meant to show more alternative and older music videos, debuted in The website iFilm , which hosted short videos, including music videos, launched its service in Napster , a peer-to-peer file sharing service which ran between and , enabled users to share video files, including those for music videos.
By the mids, MTV and many of its sister channels had largely abandoned showing music videos in favor of reality TV shows, which were more popular with its audiences, and which MTV had itself helped to pioneer with the show The Real World , which premiered in Video , Facebook and Myspace 's video functionality use similar technology.
Such websites had a profound effect on the viewing of music videos; some artists began to see success as a result of videos seen mostly or entirely online.
The band OK Go capitalized on the growing trend, having achieved fame through the videos for two of their songs, " A Million Ways " in and " Here It Goes Again " in , both of which first became well-known online OK Go repeated the trick with another high-concept video in , for their song " This Too Shall Pass ". 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. The video for Weezer 's " Pork and Beans " also captured this trend, by including at least 20 YouTube celebrities ; the single became the most successful of Weezer's career, in chart performance. In , 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. To further signify the change in direction towards Music Video airplay, MTV officially dropped the Music Television tagline on February 8, from their logo in response to their increased commitment to non-scripted reality programming and other youth-oriented entertainment rising in prominence on their live broadcast.
Vevo , a music video service launched by several major music publishers, premiered in December Following the shift toward internet broadcasting and the rising popularity of user-generated video sites such as YouTube around , various independent filmmakers began films recording live sessions to present on the Web. Examples of this new way of creating and presenting a music video include Vincent Moon 's work with The Take-Away Shows; In the Van sessions, a similar platform;  and the Dutch VPRO 3VOOR12 , which puts out music videos recorded in elevators and other small, guerrilla filmmaking type locations in a similar tradition called Behind.
Offering freedom from the increasingly burdensome financial requirements of high-production movie-like clips, it began as the only method for little-known indie music artists to present themselves to a wider audience, but increasingly this approach has been taken up by such major mainstream artists as R.
In the late s, some artists began releasing alternative vertical videos tailored to mobile devices in addition to music videos; these vertical videos are generally platform-exclusive. A lyric video is one in which the words to the song are the main element of the video. Lyric videos rose to prominence in the s, with it becoming relatively easy for artists to disperse videos through websites such as YouTube.
Despite its rise to prominence in the s, the idea had still been used much earlier. The music video for R. In , Prince released a video for his song " Sign o' the Times ". The video featured the song's words pulsing to the music presented alongside abstract geometric shapes; an effect created by Bill Konersman. He had refused to make a traditional music video, so his label released a simple clip that displayed the song's lyrics on a black screen.
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.
Due to thinly veiled homoerotic undertones plus much skin and sweat but apparently not enough clothing, save that worn by the fully clothed members of Queen themselves , it was deemed unsuitable for a television audience at the time.
However, the channel did air Olivia Newton-John 's video for the hit song " Physical ", which lavished camera time on male models working out in string bikinis who spurn her advances, ultimately pairing off to walk to the men's locker rooms holding hands, though the network ended the clip before the overt homosexual "reveal" ending in some airings. Even though he was working at Brunswick, Carl Davis started another record label called Dakar in Jackie Wilson had a severe heart attack while performing in He went into a coma, and when he came out of it, had severe brain damage.
He spent the next 9 years in nursing homes and died in at 50 years of age. In March , Nat Tarnopol and three other Brunswick executives were convicted of fraud and conspiracy charges.
The government claimed this defrauded the artists and writers of rightful royalties and the government of tax money. In December , the convictions were thrown out and a new trial ordered. In the retrial, the judge declared a mistrial and threw the case out. Tarnopol was free but the damage to Brunswick was immense; the label hung on until , but after that the only Brunswick activity was licensing previously recorded material to other labels. Nat Tarnopol died in A great deal of the catalogue is being restored and remastered for the very first time on CD using 24 Bit technology.
Brunswick is looking to the future with new artists. The Brunswick label used for the inch albums far left was black with gold print. When you were writing that humor column back in Norfolk high school, what was the climate? I emulated a lot of people when I first started. I think everybody, when they first find out they can get laughs as a kid, they steal deliveries, steal the jokes that are kind of current at that time. I was writing jokes more or less in the style of a Bob Hope.
And then sometimes I would copy Fred Allen. I loved Fred Allen because he was one of the true natural wits, a man who could sit around and say amusing things and not make jokes. There are a lot of good deliverers and there are a lot of good stylists, but the genuine wits are few. But Fred Allen, to take a specific example, was a man who wrote very funny.
I remember I used to have a few letters from him, and in his letters he would really take time—he was a laborious kind of writer—to write amusing things.
Well, Fred Allen was one of the great wits, but he was very critical of TV throughout his career, even when he was on TV. And Fred was not a particularly attractive man, in that he was kind of sour-faced.
His sense of humor had more appeal than his appearance, and he sensed that. I think Fred would be much more acceptable nowadays, especially his cynical observations of what the hell is going on. He was ahead of his time in a lot of things he did. Berle was very big on using TV in a very flamboyant way with relatively big productions and outlandish pratfalls, but Allen remained a true wit in a simple setting.
I can tell you a joke that Fred Allen did about Milton Berle when Berle, at the time, was on television on Tuesday nights; that was the big night, and people would stop in at bars to watch The Milton Berle Show.
He later became a writer and a wit. He wrote a good deal of the shows himself; I think Fred Allen would have a resurgence if he were still around. Speaking of Fred Allen and his work as a juggler, you worked a Midwestern circuit as a magician when you were a young man.
Did you ever read and employ comic tools in your act. I remember buying some Fun Master gag files at one time. Then you realize very quickly that most of it is stock type of humor. But until you learn to write what you can do and what works for you, you grab a little of this and a little of that. My magic really became comedy. I played it more for laughs. I did all the sucker type of tricks with the audience, doing jokes along with them.
Humor also serves as a convenient form of distraction to help carry the magic off. The use of humor as a counterbalance or a saving device became a matter of experimentation. I do a lot of reaction type of comedy I guess. You react to the situation. You play off what is happening, trying to make something out of a disaster. I think that one of the things that is the most innovative about The Tonight Show is the way that you work with the camera.
The camera and, as a result, the audience become accomplices or conspirators with you. I think about George Bums and Jack Benny referring to the camera and using the camera as sort of a confidant, but that was always in a scripted context.
Well, television is an intimate medium. I use it like another person and do a reaction at it—lift an eyebrow or shrug or whatever. There is a real sense of… naturalness in the way you work with the camera that makes the air of intimacy so convincing. Sometimes you cannot penetrate them. You know they will do what they want to do.
Yet, there is a topicality to your show. And it does get a strong reaction—especially in the political arena. We sense the mood of the country very quickly.
For example, I remember when Agnew was first selected as vice-president, it was easy to do jokes about him; nobody knew who he was, and he was good fodder for material. Then, when Agnew became the voice of so-called Middle America, all of a sudden the jokes were not particularly funny. When he fell into disfavor, then again you found out that the people would buy the caustic material.
Same thing with Nixon. To take another example: when Wilbur Mills was in trouble with the infamous Fanne Foxe and the Tidal Basin thing, it was funny until people found out he was an alcoholic. And then you knew immediately to stay away from it, because you were taking advantage of someone after the man came out and admitted it. Has there ever been a joke you felt uncomfortable doing, either at the time or in retrospect? NBC used to come to me years ago. And nobody sees the monologue outside of the writers and myself; they give me the stuff, and I add to it or edit it, and put it together.
Have there ever been any specific skits that you wanted to get on the air, but which you later thought better of? Although the material was funny, we might have offended somebody. If I do a joke about President Carter, people are going to get angry. If I do a joke about Amy Carter, or if I do a joke about Nixon, or if I do say something about Bert Lance, like when he was in trouble, certain people are going to get angry. In the old radio days, the record companies would send out these prepared interviews, and they would send you a script so you could interview the recording artist.
When did that start? Just these insane, wild, provocative questions, and then the engineer would play this innocent track with the prerecorded reply.
They quit sending them to us very soon. I recall watching Who Do You Trust? I think I have to. Who Do You Trust? The quiz at the end was just a device to bring people on and have some fun. It was a la Groucho. You also did a television show called Earn Your Vacation in God, that goes back, originally, to radio in the Fifties.
People came on the show to win a trip. That was more a game show because there was a big prize involved. What single person do you admire most or emulate to some extent? A lot of people say that you were very close to Jack Benny and that he was instrumental in helping you get going on TV. We were good friends.
Jack, yes, I admired very much. Fred Allen was another one. Jack was really one hell of an actor in playing a role, which I admired. If you had followed that show at all and you could write, you could almost write it yourself. The characters were so well identified and well established that it was wonderful and unique. He was always the target of the humor, and then in reaction he would build up sort of a vocabulary of facial quips in the same way that you have a familiar wink or a look of exasperation.
Yes, that image of put-upon frustration. Jack was very smart. He played off of his cast; they would put him down, and he would react. The show was the thing. It was always The Jack Benny Show. Somebody like Buck-Henry, who thinks funny and has got a rather bizarre sense of humor, brings out the craziness in me. Some of the best moments are times like that.
Who else is a favorite of yours? I like to have [Buddy] Hackett on. Hackett is a self-starter. Carl Reiner is fun to sit and verbalize with, because things sometimes will just take off. The outrageous moments on the show are the most memorable. Many of them are wonderful low humor. Low humor can be very effective. I can sit and talk with a Buck Henry and it can be intelligent and funny. The audience will buy it. And yet some of these things I started putting together years ago.
The old lady, the Aunt Blabby character, I had done years ago in Omaha. I did her on local television back there, and she just evolved over a period of time. Art Fern, the Tea Time Movie host, grew out of a local slickster salesman on TV; he had a little pencil mustache and a very bad toupee that looked like it had been painted on his head.
But usually it starts out as a one-time shot. In the early days, in that small-screen format, TV was trying to evince a flamboyance that would rival what was being done on the wide screen.
Yet The Tonight Show in its unique comedy context, is very simple, completely unadorned, not at all like a conventional variety show. Take the obligatory dance numbers they have in Broadway or variety stage shows. You see 20 dancers come out with a huge production number. The personality is more important than all of the dance numbers and the big production things. I always thought those things have been kind of lost on television, because they ignore the automatic focus that TV provides.
Well, pure television to me is also immediacy. So the immediacy of doing this kind of show, I think, has a certain value in it. Doing it the same day on tape is exactly the same thing as doing it live. You might bleep it out, but people can see that things were getting out of hand. How are they going to get out of this? Musicians are listed on the album's liner notes.
The line which reads "They'd never fight again" is replaced with a line which roughly translates to "there exists no more soldiers or rifles, and nobody has ever heard the term military. The performance was sold out, with an additional having to be scheduled. By mid, the Hep Stars had established themselves as a hugely successful recording artists, but also as great songwriters, with keyboardist Benny Andersson writing their number-1 hit " Sunny Girl " on February 10, This song was released in May of that year and reached number 1 on both charts as well.
The sound was soft, compared to the rhythm and blues sound that dominated their earlier singles. The Hep Stars had at the time changed their live repertoire as well, due to Hedlund breaking his foot, requiring him to sit still on a chair on stage. Unlike previous renditions, both in Swedish and English, is that the Hep Stars' version of it is electrical, featuring Janne Frisk playing electric guitar while Andersson is playing the Hammond B3 organ.
So on the night between August 22—23, , the group entered Phillips Studio in Stockholm, Sweden, successfully recording the song. Beyond the Swedish rendition of the song, the Hep Stars would also go on to record an english rendition of the song as well. The vocals were also taped during the night between August 22— The only difference between the Swedish and the English renditions is that due to the Swedish version only being put out as a single, and not on an LP record , it was never mixed to stereo, whereas the English rendition exists in both mono and stereo versions.
The Swedish rendition would be released as a single the following month, while the English version would be included on their second studio album The Hep Stars in December of that year. The band did not agree on releasing the song, as it further strayed the band away from their roots. However, they decided to release it anyway. The song entered Svensktoppen on January 7, , where it peaked at number 1, a position it held for an entire eight weeks. On December 9, it made a surprising jump from number 5 to number 9, where it stayed for two weeks in total.
It first exited the top on April 11 at a position of number 11, and was last spotted on the chart the following week at number Despite being sung in Swedish, the single also charted on Norway's sales chart, VG-lista. Everybody Loves Somebody 6. Dear Heart. Posted by Esther at PM No comments:. Labels: andy williams. Here's a wonderful gem that I found in the HPB bargain bin! I just love the Ventures and their awesome guitar playing!
Well, I definitely love this album! I was already familiar with some of the songs, but this "new" spin on them made me really like them. I think this album is a must for my next party - it's great for dancing! And it's also made me want to start practicing my guitar again!
Panhandle Rag 2. Wabash Cannonball 3. During the time when the black label was being used, the stereo labels were light green with black printing, the graphics were identical except for "STEREO" in green lettering in a black box at the top of the label. Atlantic used a transitional, or experimental label, for some of its issues in The label is white with black printing.
For the mono labels, there is an red, purple and black fan around the center hole of the record. On stereo releases, the band around the outside of the label is green and blue as is the fan colors in the center of the record. This label may not have been used on any new releases but only records that previously had the black label, or it may have been an experimental label and used at the same time the black labels were being released.Motown Album Discography, Part 1 () by David Edwards and Mike Callahan Last update: August 7, The first two dozen albums (), have been originally issued — with only a few exceptions — with either the car logo or Motown rectangular logo .