I Want My MTV (5 page)

 

TOM PETTY, artist:
We made a video for “Refugee” because we didn't want to appear on
The Merv Griffin Show
. We thought if we sent a film clip, they'd play it—which they did. We showed up with our guitars, the director said, “Stand here,” and that was it. It was meant to be shown once.

Then in 1981, for
Hard Promises
, we did four videos in two days, directed by my high-school buddy Jim Lenahan, who did our lighting and staging on tour. “A Woman in Love” was really good. The Police completely stole that. They stole the cinematographer, Daniel Pearl, the location, everything, for “Every Breath You Take.” In those days we were actually cutting film by hand in the editing booth, and I was there right through the cut, through everything. So when MTV came along, I was an old hand at it. But I never dreamed those things would be seen repeatedly.

 

DAVID MALLET:
I directed “Emotional Rescue” and “She's So Cold” for the Rolling Stones. Afterwards, I got an interesting fax from Keith Richards, and it happens to be in front of me because it's framed and hangs on my office wall. Part of it reads, “TV and rock n' roll have always had a weird marriage.” He's right. One of the most difficult things to film is rock n' roll. People get bored and want to go home. By the time you've filmed the bloody thing, all the rock n' roll has gone out of it.

 

 

 

IF MTV HAD PLACED A HELP-WANTED AD, IT MIGHT HAVE
read: “Novice TV station seeks employees. Ideal candidates must love music, be willing to work long hours and drink a lot, and have no prior TV experience.”

It might seem odd that most of the network's original staff had little or no TV background. If you were charged with murder or needed brain surgery, you wouldn't hire a trial lawyer or a doctor who just months ago was selling aluminum siding. But MTV wasn't brain surgery. Many of its most important founders came from radio backgrounds, which freed them from abiding by the existing rules of the TV industry. (On the other hand, it also meant they were bound to the existing rules of the radio industry, which soon proved to be an impediment.)

A successful start-up requires dedication and imagination, but not necessarily expertise. Steve Wozniak, the tech wizard who cofounded Apple Computer with Steve Jobs, has recalled that in the early days of the company, when he didn't know how to design a floppy disk or a printer interface, he'd make something up, “without knowing how other people do it.” He added, “All the best things that I did at Apple came from (a) not having money and (b) not having done it before, ever.” Similarly, MTV had little money and less experience. If there was a corporate culture, it was based on confidence and pugnaciousness, traits that began at the top of the company's masthead.

In November 1979,
Billboard
magazine's first Video Music Conference, a four-day event at the Sheraton-Universal Hotel in LA, brought together most of the nascent industry's pioneers. Todd Rundgren and Michael Nesmith showed their videos, Jon Roseman presented “Bohemian Rhapsody” and Blondie's
Eat to the Beat
videodisk, with videos for every song from the band's album of the same name, and record labels showed off clips by David Bowie, Meat Loaf, Bruce Springsteen, and Rod Stewart, among others.

During a panel titled “Video Music—Tomorrow Is Here Today,” John Lack declared his intention to start a twenty-four-hour video music network. “I got up and gave the presentation, which was pretty classy and elegant,” Lack recalls. After he finished, Sidney Sheinberg spoke—Sheinberg was president of MCA and probably the most powerful executive at the conference. “Sheinberg gets up and goes, ‘We ain't giving you our fucking music,'” says Lack, still sounding indignant about the slight.

So Lack phoned his boss, Jack Schneider, and quoted Sheinberg's snub. “And Schneider says, ‘We'll kick his ass, don't worry about him.'” MTV didn't even have a name yet, and the fight had already begun.

 

JOHN LACK, MTV executive:
A video radio station—that was my dream. I said “video radio” a thousand times.

 

JAMES D. ROBINSON III, CEO, American Express:
American Express was interested in selling financial services into the home, and that led to my buying half of the Warner Cable Corporation in 1979 for $175 million. I did the deal with [Warner Communications chairman] Steve Ross, who was a fascinating guy. A simple deal bored him; a complex, tax-advantaged, convoluted structure really got his focus. Warner Cable had founded QUBE, a state-of-the-art interactive TV programming system, and the technology was desirable for us. So Amex and Warner jointly formed Warner Amex Cable Communications. That eventually split into two divisions: Warner Amex Cable Company, which built local cable systems; and Warner Amex Satellite Entertainment Company, or WASEC, which created and supplied programming, and was run by Jack Schneider.

 

JACK SCHNEIDER, MTV executive:
I came to Warner Amex when it was created in 1979. I was president and chief executive officer of WASEC. I inherited The Movie Channel and Nickelodeon. I said, “What can we do next?”

 

BOB PITTMAN, MTV executive:
John Lack hired me in 1979, when I was a young, hot programmer at NBC Radio. John and Jack Schneider, the CEO of WASEC, decided that the world of cable TV was going to be all about specialized networks. Radio was a good model for that, so they wanted a radio programmer to work on The Movie Channel, which was the first twenty-four-hour movie service.

 

JOHN LACK:
Bob Pittman had long hair, one eye, and was out of his mind. But he was brilliant. Jack Schneider said, “I'm not hiring some kid from radio to program movies. What are you, crazy?” Jack and I fought and fought and fought about it. One day, he said, “Look, if we hire him, do I have to listen to your shit anymore?”

 

BOB PITTMAN:
I grew up in Brookhaven, Mississippi, the son of a Methodist preacher. Not only did I have one eye, but I was a small, skinny kid, plus I moved towns—we'd live in a town two years, four years, in towns where people had lived there for centuries, so it made me a bit of an outsider. I think it made me a pretty good observer of people, because you do that to keep from getting beat up.

I started in radio at fifteen, because I needed a job to pay for flying lessons, which was my hobby. I went to a couple of other stations in Mississippi, then Milwaukee, then Detroit, where I called myself “The Mississippi Hippie.” I talked someone into letting me program my first station in Pittsburgh at nineteen and had a big success. I went to Chicago, and they said, “We're gonna change the station to country.” I didn't know anything about country. And they go, “That's okay, you know all about research.” I was one of the first programmers to use consumer research to figure out what music to play. In college, I'd been majoring in sociology with an emphasis on social methods research, and I used a lot of that.

 

CHARLIE WARNER, radio executive:
Bob had long hair down his back and a full beard. He looked like he stepped out of a commune. His coiffure got shorter and more conservative as he moved up the corporate ladder.

 

BOB PITTMAN:
I programmed The Movie Channel like a radio station. I figured, Okay, these are the five most popular movies, I'm gonna show them twice a day. These are not so popular, I'm only gonna show them every four days.

 

JOHN LACK:
HBO went off the air at 2 A.M. Research showed that people wanted uncut, unedited movies twenty-four hours a day. So the Movie Channel went from 300,000 customers to 2 million in less than a year. The second channel we did was Nickelodeon—it wasn't called that in those days, but we began developing children's programming. The third channel I had on the drawing board was music. I'd traveled around Europe, and in every country you would see music shows with video clips. I thought we could show them twenty-four hours a day, if we had permission.

 

JACK SCHNEIDER:
We needed cheap programming, which meant we needed somebody to
give
us the programming. And the record companies had videos. The world did not know that the record companies had videos.
I
knew. Why did I know? I knew because Columbia Records once reported to me when I was executive vice president at CBS. They were very cheap videos, maybe one camera shooting at Rod Stewart while he's singing “Da Ya Think I'm Sexy?” No productions values. But it was something.

 

MICHAEL NESMITH:
I haven't talked about my role in the development of MTV, but this would be a good time to do that. I was driving in my car, it was an early evening, and I thought,
What you could do is, you could put together a television show or a television channel that played videos all the time
. And the name
PopClips
came into my mind. I talked to Jerry Perenchio, who was my first agent and has since made a big name for himself as a media tycoon. Jerry was in business with Norman Lear and they had
All in the Family.
We made a pilot, with half a dozen of these clips—“You Light Up My Life” and Paul McCartney's “Mull of Kintyre”—introduced by comedians like Howie Mandel and Charles Fleischer. And we were unable to sell it. The pushback from television was profound. I went to a meeting with one guy who said, “Look, let me tell you, music doesn't work on television. It never has, and it never will.”

 

GARY LIEBERTHAL, TV executive:
I was working with Norman Lear and Jerry Perenchio, running their syndication business. We had
All in the Family
,
Sanford and Son
,
Maude
,
The Jeffersons
,
Facts of Life
,
Diff'rent Strokes.
We were a significant presence in the TV business.

We financed a pilot, and I went to try to sell it. I sat down with the head of programming at Metromedia—they owned stations in New York, LA, Chicago, Dallas, Houston, Washington—and after he watched the pilot, he said, “But nobody's dancing.” He was thinking of
American Bandstand
. He said, “Gary, I've been a programmer for a long time. You'll never have a music show on TV without kids dancing.” I was known as a pretty good salesman in the syndication business. But I tell people, “I'm the guy who couldn't sell MTV.”

 

JOHN LACK:
Michael Nesmith came to see me. Michael had been in the Monkees and he had funding to do a show he called
PopClips
.

 

MICHAEL NESMITH:
I said, “John, this is a music video. Have you ever seen anything like this?” He said, “No, I never have.” I said, “Artists are starting to make these things, you could play them all day long.” And he said, “Like a music channel? Like music television?” I think John was the first guy I ever heard use the words “music television.” He called a few days later and said, “I want to test the pilot on our children's channel.” And once they did, from what I understand, the needle went off the meter. They called and said, “Can you make more of these?”

 

SUE STEINBERG, MTV executive:
PopClips
was a half-hour show with music videos, hosted by comedians. The content wasn't great—it had to be repackaged—so Bob and I flew to LA to meet with Michael Nesmith. And he was not in a good mood. He didn't like the changes we suggested.

 

MICHAEL NESMITH:
John said, “You've got to make these shows better for us. If you want to come to New York and maybe head this thing up, that might be interesting.” My plan had always been to build it and sell it. They paid me a nice number. That was my exit.

 

TODD RUNDGREN, artist:
I developed an interest in video before MTV. In the early 1970s, I saw a program called
Video Tape Review
, which was on Channel 13 in New York, WNET. They showcased the work of Nam June Paik and some other video experimentalists. I bought a lot of video equipment and set up a studio in the Bearsville, New York, area, mostly to experiment with leading-edge techniques. Since there were a lot of videos around and I had built a studio, my manager got the idea of having a twenty-four-hour music-video channel with a video DJ. To that end, for about $10,000, we bought a transponder on a video satellite, SatCom2. They sent it up and it didn't find its orbit, and it essentially turned into junk.

We took the idea to Bob Pittman, who feigned no interest. Eight months or a year later, they announced MTV. It's just an idea that was too damn obvious at that point. Things were reaching a critical mass in terms of video, so I think somebody eventually was going to do it.

 

JOHN LACK:
Every time
PopClips
aired, the phones rang off the hook. I walked into Pittman's office one day in early 1980 and said, “It's time to do music. Let's start the research. I want to go to the board of directors in ninety days.”

 

JORDAN ROST, MTV executive:
John loved the idea of putting rock n' roll on television. That interested him much more than The Movie Channel or Nickelodeon. He was the first guy there who owned a Sony Walkman.

We had to do some research, to prove there was a market for the channel, and to get the Warner Amex board to approve it. I was the head of research. The first study had basic questions about the hosts and the sets. And then we asked, What kind of music should we play?

 

BOB PITTMAN:
John Lack was the biggest supporter I could have and a great pal. I hung around with John a lot. In fact, all of us hung around a lot. You went to dinner with your MTV friends, you went on vacation with your MTV friends.