On August 1, 2011, Bob Pittman, the original programming boss, visionary, and indeed, soul of MTV (and one of my mentors), generously threw the party of reunion parties for MTV’s 30th Anniversary at his compound in Mexico. (Yes, it was John Lack's idea for WASEC to launch a 24 hour music channel, but it Bob who completely realized its execution.) I had couldn’t make it, but a couple dozen of our original colleagues showed up (including my long time creative partner, Alan Goodman) made the trek to Bob’s town, location of the tequila company he owns, for 48 hours of memories of rock’n’roll, media revolution, and debauchery.
Bob put together this reunion booklet (that’s my oldest friend, Frank Olinsky, one of the MTV logo designers, on the front cover), and to my delight, not only did it have a lot of my great friends, but a picture of my wife-to-be (we didn’t meet until 11 years later), Robin Sloane, who put on a party at her employer, Epic Records, for the first Gold Record (yes, it was Adam Ant) spawned by an MTV video.
In the immortal words of John Lack: Ladies and Gentlemen…rock and roll! The people here are the ones who remember what the first hour really looked like after those words, vs. the doctored tape we quickly put together. I can still feel the panic all these years later, and I’m sure you can too. That said, it was 30 years ago — and some of you are older now, so your memories may not be that good. (Sykes and Garland, I’m looking at you.)
30 years ago, we launched something that did what very few have ever done — we created the most powerful cable network in history, and a brand that’s become a familiar part of popular culture around the world. We didn’t set out to do that, of course, but it’s amazing what you can accomplish when you connect with a group of people who share a belief and a vision in the strength and promise of an idea. Our historical legacy was this shared creative vision, one that set the course for the wildly inventive MTV brand and set the culture for its decade of success.
There aren’t many people who can honestly say they had a profound impact on everything from the music industry to popular culture, embedded with a slogan — “I Want My MTV!”— into the public consciousness, created a cultural and media icon, changed graphic design and video production and reinvented the idea of what television could be.
Indeed, we even changed ad sales and marketing — we broke every rule of that time and usher in a whole new way for advertisers to use television. We’d love to claim that yeah, that’s exactly how we planned it! But all we knew was that we were part of a unique culture, working with people we loved, and combining our fresh approach to entertainment with a dedication to our mission. That combination enabled MTV to push the boundaries of what television could be, and reinvented youth culture while we were at it. We had no respect for experience and most of us had never done the jobs we were given. And remember how often we said, only half-jokingly, no one over thirty has any good ideas? Ahhh, the confidence of youth!
What an incredible moment in time. And even today, with so much time having passed and so many more work experiences under our collective belt, I can honestly say that our team and what we accomplished was (and still is) amazing. We are bound together forever as “the MTV family.”
Although we’ll definitely have a lot of fun this weekend —driven at least in part with what I promise you is the smoothest tequila in the world— I hope we’ll also take a minute to reflect on the memory of a few who were essential to our success. Steve Ross, the CEO of Warner Communications, believed in us every minute from the moment we first showed him the idea. For me personally, he guided an important part of my career, at MTV and after, that I can only repay him by showing that same kind of attention to others on the front side of their career curve. David Horowitz, Co-COO of WCI and then CEO of MTV Networks was our rabbi. Patiently listening, counseling and supporting us all along the way, he seemed to know everything — except how to push the correct button on his phone to pick up calls! And finally, there JJ. One of the 5 faces of MTV to the world — how many people connected to MTV thru him? And how many people in the music industry instantly respected us because of his strong and long background in the business? I know we’ll raise a glass —or two, or three— this weekend to all of these men, critical parts of our MTV family, whom we think of often and miss sincerely.
I’m also delight that my “MTV soul mates,” the two other former CEO’s of MTV Networks still hanging around, are here with us this weekend. Tom and Judy took the original idea we built and brought it to heights none of us could have imagined. Finally, I have to thanks John Lack, my first boss at WASEC and the man who found me in radio, fought his boss to get me to the company, and consistently support me with faith and confidence. Without him, I might still be in radio. Hmmm, wait a minute…
Thanks for joining us in Mexico to celebrate MTV’s 30th — and to celebrate all of you. You are the team that made it all happen, and I am forever grateful and honored to have been part of it. It certainly changed my life — and I suspect yours as well.
Enjoy the weekend — and please promise me that, for 48 hours, you’ll listen to nothing but Stray Cats, Flock of Seagulls, Duran Duran, Tears for Fears, Michael Jackson, Madonna, Tina Turner, Howard Jones, ABC, Thompson Twins, Specials, Madness, Pretenders and all those other artists burned into our memories!
To everyone who, in the spirit of our 30th reunion celebration, has contributed to this book. Many thanks to Leslie Leventman, who volunteered her time and talent to work on this project as a labor of love. And a special thanks to my lifelong business partner, Mayo Stunty, who I met at MTV.
Editor-in-Chief/Class Historia: Leslie Leventman Art Direction/Design: Darlene Cordero; MTV Class of 1993-1998 Editorial/Photo Coordinator: Jackie Tigue Production Resources: Leslye Schaefer, Leigh Valesquez Contributor: Wendy Goldberg Administrative Assistant: Laurie Scollar0 comments Tagged: MTV 30th, MTV, MTVposts,.
In honor of MTV’s 30th, an animation frame from MTV’s 1st birthday.
Produced for MTV by Alan Goodman0 comments Tagged: MTV, MTV 30th, MTVposts, animation, logo, MTV 1st,.
It’s MTV’s 30th birthday, so I’ll be reblogging some pertinent posts from around the internets. This one’s from Rolling Stone magazine (an early detractor, I should add; they were scared MTV would usurp their postion in the music business firmament):
MTV Turns 30
Original VJ Mark Goodman recalls network’s first days: “I think we only had 300 videos”
By ANDY GREENE
JULY 28, 2011 4:05 PM ET
For original MTV VJ Mark Goodman, the news that music network is celebrating its 30th anniversary this weekend is hard to fathom. “It’s freaking weird,” he tells Rolling Stone. “I’ve lived like three lifetimes since then. It’s just so long ago, and yet it also seems like yesterday. It’s a weird number – and it’s hard to believe that we’re still talking about this 30 years down the road.”
MTV launched on August 1st, 1981 at 12:01 a.m. The first images broadcast were the launch of the Apollo 11, followed by a video for the Buggles song “Video Killed The Radio Star.” The network has gone through countless permutations since then, but this weekend VH1 Classic will commemorate MTV’s founding with a three-day marathon of footage from the 1980s, including a re-broadcast of the network’s first hour, starting Saturday at 6 a.m.
Photo by MTV, 1981, left to right: J.J.Jackson, Nina Blackwood, Mark Goodman, Martha Quinn, Alan Hunter0 comments Tagged: MTV, MTV 30th, MTVposts, Vjs,.
It’s MTV’s 30th birthday, so I’ll be reblogging some pertinent posts from around the internets.
This one is from my friend, producer David Levin's unpublished introduction to the 20th birthday MTV book (in fact, David and I actually met for the first time when he was putting this book and the companion special together 11 years ago). I’d never read it before, maybe you haven’t either:
"You’ll never look at TV the same way again."
When VJ Mark Goodman first said those words, in the very first segment in the very first minute on the very first day of MTV, no one knew that it wasn’t just hype. That ultimately, television would, indeed, change forever.
If you’re under the age of 25, it is probably hard to imagine a world without MTV. That big blocky M with the graffiti TV added almost as an afterthought is known internationally - once voted among the top ten logos ever - along with the CBS eye, the swastika, the Star of David and the Cross.
But until MTV launched on August 1st, 1981, just a handful of people knew what it was - and even THEY didn’t quite agree on what it should be - or even what it should be called. That small group spent the next few years creating and recreating a television channel unlike anything that had come before: 24 hours a day - unheard of! - devoted to (of all things) rock music - more like a radio station than a TV station.
Music. Television. MTV.
Absurd. And yet it worked.
Younger viewers embraced the fledgling network. They quickly caught on to the fast-paced cutting, the sexy visuals, the vivid colors, the hard-thumping early 80’s techno music. And why not? This was a generation that had grown up on the fast-paced cutting, vivid colors and rocking music of Sesame Street.
MTV was the next logical step.
For all of the revolutionary television and music video techniques that emerged and were credited to MTV in the early 80’s, they had their roots in films like HELP!, A HARD DAY’S NIGHT and television shows like the MONKEES, PARTRIDGE FAMILY and yes, Sesame Street. Is it really that great a leap of logic to get from Big Bird to Jesse Camp?
In turn, the MTV “look” during the 80’s influenced movies, commercials, television and design.
For the young professionals who worked at MTV back then, those were heady days. A time to learn their craft, stretch creative muscles and try doing television in a way no one had imagined. Without the sky-high budgets of most network television at the time, producers, directors and the hundred of people who put the shows together learned to fend for themselves, using creativity and ingenuity to solve problems rather than money.
Many of the people who toiled behind the scenes at MTV in the early days have gone on to even greater success: as producers, feature film directors, network executives - even as stars of music, film and television.
But even for those who did not go on to fame, pretty much ANYone who has worked at MTV for even a week has a tale to tell: a celebrity encounter, a trip to an exotic location gone wrong, an on-air mishap that became legendary in the retelling. Some of those stories were shared with friends and family and insiders at MTV. Few were told outside the MTV offices.
Until recently.0 comments Tagged: MTV 20th, MTV 30th, MTV, MTVposts,.
John Lack was the first Chief Operating Officer of MTV Networks, and one of our great storytellers. In this interview for BBC’s Witness (“history as told by the people who were there”) John shares his memory of the MTV launch, 30 years later.0 comments Tagged: BBC, interview, MTV, MTVposts, MTV 30th, radio,.
Anyone who knows me is aware of my music habit, and close readers of this blog will pick up on my affection for cartoon music in particular.
So it was extremely gratifying when my friend, Rhino Records founder Richard Foos, agreed to indulge me in the 1990’s with a (now out-of-print) four CD boxed set of Hanna-Barbera Cartoons themes, underscores, sound effects, and other audio ephemera and artifacts of our historic studio. It was compiled and produced with passion and knowledge by cartoon writer/producer Earl Kress.
I’ve posted about my worship and respect for the under appreciated HB music director and composer Hoyt Curtin but, a few years ago, I finally got around to scanning the great booklet Earl put together for the set. It not only includes a listing of all the sound in the box, but has great essays by Bill Hanna, Joe Barbera, David Burd, Bill Burnett, and Barry Hansen (Dr. Demento). Plus Marty Pekar conducted an interview about the studio’s unique sound effects library with Joe, Bill, Greg Watson, and Pat Foley. (As we get around to it, you can look at separate transcripts of the essays here.)
Unfortunately, the box is out of print and difficult to find, so as a public service I’m posting the three musical volumes here. (The fourth volume has hundreds of the fantastic H&B sound effects. The Top 10 effects are included at the end of volume 3.)
of Cartoon Classics
Credits from the liner notes:
Compilation Produced by Earl Kress
Executive Producer: Robin Frederick
Volumes 1, 2, & 4 remastered by Bob Fisher at Digital Domain
Volume 2 remastered by Bill Inglot & Dan Hersch/DigiPrep
Art Direction: Coco Shinomiya
Design: Burning Bush Studio
Photos: Courtesy of Hanna-Barbera Productions, Inc.
Vintage artwork courtesy of Hanna-Berbera Production Art
The producers would like to acknowledge the incredible talents of William Hanna and Joseph Barbera.
Not for commercial use.
Copyrights and masters of these out of print recordings are by their respective owners. If this recording is re-released, or the copyright holders object, I’ll delete the posts.0 comments Tagged: Hanna-Barbera, 1995, scoring, music, cartoons, animation, Hoyt Curtin,.
Ah, the 80s.
Within minutes of getting out of the gate, Warner Amex was getting a lot of pressure to license out our logo for swag for the money we could make (it wasn’t like advertisers were lining up at the beginning), we were already the hottest thing in pop culture. Our MTV programming boss, Bob Pittman, figured that was the fastest way to spell “fad,” which was the last thing anyone wanted. We were in it for the long haul. So, instead, we commissioned Manhattan Design to come up with stuff we’d only give away to our closest friends and allies, and that cable operators could get for contests and giveaways in their local markets.
The hottest items? The blue t-shirt of course. But, the one most in demand, with the smallest supply was always the satin tour jacket, staple of every band in the 80s.0 comments Tagged: MTVposts, MTV, swag, Manhattan Design, WASEC, MTV logo, logo, branding,.
I was roaming around some MTV stuff that was done by Fred/Alan, the branding and advertising agency Alan Goodman and I started in New York in 1983. It occurred to me that while our first blush of innovations happened right at the beginning of the decade, three years in Alan and I had already quit. But, it wasn’t the end of my story with MTV, by any means. We continued a direct relationship with the company for another nine years (and I’ve been consultant to them again for 13 years as of 2010) and did some pretty good work. Click over here to see some of it.0 comments Tagged: MTV, MTVposts, Fred/Alan,.
Click here for my other posts about MTV.
'I Want My MTV' 1-4 1982-1983 from fredseibert on Vimeo.
I WANT MY MTV! took the phenomenon that had taken over the imaginations of young America and supercharged it into a famous brand with just about everyone in the country. I just googled “I Want My MTV” and it popped up almost 4,760,000 results. Pretty amazing for an advertising campaign that ceased to exist 22 years ago.* Pretty potent.
The whole thing was the work of my mentor and friend Dale Pon. He’d been my first boss in the commercial media, at WHN Radio in New York when it was a country music station. He’d recommended me for my job at Warner Amex Satellite Entertainment Company, as the production director of The Movie Channel, and eventually as the first Creative Director of MTV: Music Television. We’d fallen in and out over the years, but in late 1981, when it came time for us to hire an advertising agency again —at first, our big boss had vetoed Dale as not heavy enough for a company like ours— with a lot of help from my immediate supervisor Bob Pittman, I was able to convince everyone that Dale understood media promotion better than anyone else in America. Besides, didn’t he have “insurance” with his partner, legendary adman George Lois?
Dale Pon (via MTV: The Making of a Revolution)
No one had ever encountered an adman like Dale, because he had the unique ability to be completely and analytically strategic, and be wildly —and smartly— creative at the same time. An almost unheard of combination, especially in media advertising. Sure, he had a volatile nature, in advertising that was often a given (look at his partner). But it was his strategic, creative abilities that really set him apart.
Tagged: Dale Pon, MTV, MTVposts, WASEC, Warner Amex Satellite Entertainment Company, advertising, branding, IWMM,.
We’d already done our first trade campaign, the “cable brats,” to the discomfort of most of the suits in the corporate marketing group (Bob and his team, me included, were in programming). But Dale didn’t buy into the efficacy of trade ads anyhow, so now were onto the big show, television advertising. The only problem was that we all recognized that an effective campaign would cost about $10,000,000. Our budget only had $2,000,000, and if we didn’t spend it quickly the corporate gods would probably take it away in the fall.
"I want my Maypo" commercials, created by John Hubley
Looking back, the core creative ended up being the most straightforward part. Dale’s closest friend and creative partner, Nancy Podbielniak had written the cable brats copy and had a tag line “Rock’n’roll wasn’t enough for them — now they want their MTV!” That rung a bell in George Lois, someone who never missed a chance to abscond with someone else’s good idea, and decided to rip off his own knock off of a Maypo campaign from the 1950s and 60s (animator John Hubley originated it as a set famous animated spots, and George had unsuccessfully knocked it off usin g sports stars) and presented a storyboard that completely duplicated his version. Rock stars like Mick Jagger were saying “I Want My MTV” and crying like babies, implying they were spoiled children being denied. No one was buying it until Dale let me know that there was no way he’d ask Pete Townshend or Mick to cry for us. “Pride! They need to show their pride in rock’n’roll! They’ll be shouting!” After a little corporate fuss we were able to sell it in.
AMERICA! DEMAND YOUR MTV!
Now, it was the next part that was completely and utterly brilliant. Because Dale came from the school that great creative was all well and good, but unless it could move the business needle, what good was it? In this case, the needle wasn’t ratings (cable TV didn’t have ratings in 1981), but active households, distribution for MTV. Cable operators were all relatively old guys who thought The Weather Channel was a better idea; they’d turned a deaf ear to their younger employees who were clamoring for us instead.
To dramatically simplify the strategy Dale organized, he decided to only advertise in markets where:
• There was enough penetration to justify a modest ad spend.
• But where there were critically large cable operators on the fence about taking MTV.
• And that we could afford a 300 gross rating point buy (three times heavier as any consumer products agency would suggest) for at least four weeks in a row (the traditional media spend would call for pulsing 10 days on and 10 days off).
The “G” in LPG/Pon was Dick Gershon. Along with data from our affiliate group, he crunched and crunched and crunched until he came up with a list of markets and dates we could afford. It was 20% of what we needed, but everyone figured if we could really start to knock off a bunch of cable systems, get them actually launch our network, the domino effect would solidify MTV’s hold on the market forever.
Strategy in place, the creative was back on the front burner. The basic campaign was a great way to get famous rock stars endorsing our channel, but where was the close? What would actually make the ‘ka-ching’ we needed? Luckily, back in the day there was only one way to for a homeowner get anything from your reluctant jerk of a cable operator (they figure they held all the cards, why should they do anything to make life better for their consumers?). And what was it that young adults loved to do? Dale knew immediately.
No one alive in front of a television set in the summer of 1982 could ever forget Pete Townshend, with the wackiest haircut of his career, shouting at the video camera:
"America! DEMAND your MTV! Call your cable operator and say, “I WANT MY MTV!!”
We shot the spots wherever the rock stars would have us for 20 minutes (they still weren’t really sure this MTV: Music Television thing was going to be good for them). Our director and producer, Tommy Schlamme and Buzz Potamkin, got together with some puppeteers to choreograph the ‘dancing’ stereo television. I asked my partner to go into the studio to edit the music sections when they weren’t rocking enough, and —poof!— famous advertising.
Nothing to it, yes?
* For comparison, “I Want My Maypo" posts 112,000 results on Google. Or "Where’s the beef?", another famous 1980’s campaign for Wendy’s returns 176,000 (or if you only use that phrase, which has been appropriated for all sorts of uses, you get 2,640,000).
Before “I Want My MTV!" Part 1.
I was torn.
My mentor, Dale Pon, had suggested me for my job at MTV Networks (née Warner Amex Satellite Entertainment Company). He was the creator of distinctive, innovative, and successful campaigns for radio stations across the United States, was a creative and media wizard, if a little, um, intense, and had worked at WNBC radio with my boss Bob Pittman, MTV programming chief. Dale had recently started an ad agency, LPG/Pon with advertising legend George Lois.
John Lack, our executive vice president, was very close to Ogilvy & Mather, the advertising agency for American Express, our half owner. My first exposure to the idea that advertising could be actually be smart came from reading founder David Ogilvy’s “Confessions of an Advertising Man.” (If fact, it was one of four books I gave to my young staff members.)
I wanted Dale to do the MTV advertising, convinced that only he understood how to promote media, a completely —completely— different beast from tradition consumer products. John wanted Ogilvy. They were the classy choice, and I had to admit it would make us feel, well, bigger. Better? Not so sure.
John won; he was the big boss, and Bob wasn’t going to fight him on this one yet. I became the MTV point person, but that was only a little good, because we had a corporate infrastructure above us that thought they should control the communications of the networks. From the first day it was a complete struggle.
We get to the first meeting, and the account team wants to convince us (me) that they deserve the account. They wheel in their resident hipster copywriter, wearing his green and yellow satin tour jacket. He says something about Bruce Springsteen. I point out that Bruce made the decision to rock not to write ads. This relationship was not going to end well.
Our first big fight was over the logo. Big agencies, especially O&M, wanted to control everything about the marketing of a product, which often included actually creating and naming a product. That was not going to happen with us. We’d battled for months about the name (reaching the no-one’s-happy compromise of MTV: Music Television) and I’d already been working on the logo with my childhood friend Frank Olinsky and his studio Manhattan Design for almost a year.
So an Ogilvy meeting happens where I tell them about the logo and why it’s awesome (this is after weeks of disagreement with our company suits who succeeded in killing the thing once before we swept it out of the fire). They all stare at us silently while the senior account guy pulls out a xeroxed “Ogilvy’s Rules for a Great Logo.” Checking off the points one by one I proudly point out that we’ve broken eight of the 11 rules. Perfect for rock’n’roll network!
After that the ads they did for us generally sucked. It was bad enough they kept trying to make logo look “good,” but they said nothing and lacked everything. No snap, crackle, or particularly, pop.
When it came time to do a TV ad, they came up with some thing with fancy computer generated purple grids that was supposed to be cool. I didn’t really know what a “national” commercial as supposed to be (I’d only produced local radio station spots for Dale) and everyone else seemed to think it was OK, so I went along.
When it came time to make the spot I was in the production company’s office (what was a production company anyhow? That’s how green we were) in the Hollywood Hills and I hear the producer say to the agency, “What do you want me to do with this logo?”
"What do you mean?" I ask.
"We don’t do comic book stuff here. What do you expect us to do with this piece of shit logo?!"
You can imagine the screaming match that ensued, enough to make a wrestler blush. We came to an impasse, they made their junky (expensive) commercial, and somehow I became fast friends with the producer Sherry McKenna (now, the co-founder of Oddworld).
The commercial ran, no one noticed, we fired the famous Ogilvy and & Mather, and the company reluctantly agreed with Bob and me that we engage Dale and LPG/Pon.