MTV and the Musical Revolution

MTV, once upon a time, was immensely important to youth culture. MTV was a vehicle for promoting both new and old artists alike. Also, it was very much the YouTube of its time because MTV’s bread and butter were appealing and stylish music videos and, generally, programming suited to a newer generation. Because of this, appearing on MTV was indicative of cultural awareness. Essentially, MTV was savvy and in touch with a youthful audience and viewers who were a little more mature. Though they still fell prey to the “exclusionary practices” (Starr & Waterman, 2010, p. 390) of the time, it is hardly unbelievable to suggest that 1980s popular music owes its development to MTV’s existence. At the same time, MTV allowed musicians to increase their popularity with music videos.

At first, when MTV was a smaller tool, it was both beneficial to an audience and a band, or at least the band’s frontman. As it grew, however, MTV unintentionally began to encourage homogenization. In other words, the safer the bet, the more likely it was that a particular song would take off. Subsequently, MTV’s influence was both positive and negative because it provided the framework for a compelling idea, for music itself at least, that offered a one-stop-shop for contemporary music and discovery. That being said, modern MTV has spiraled out of control and become bereft of its intention—hence culturally bizarre shows such as 16 and Pregnant which tend to glorify teenage pregnancy. At one time, however, “MTV changed the way the industry operated, rapidly becoming the preferred method for launching a new act.” (Starr & Waterman, 2010, p. 388). With that in mind, it seems early MTV was positive because producers encouraged artistic creativity amongst musicians as they offered music videos. In addition, the video platform increased the musicians’ audiences.

Rock music (such as reimagined through modern-day artists like Kid Rock) defines itself by youthfulness; however, it would be disingenuous to suggest that rock is a short-lived fashion because the music evolves just as the listener does. The subject matter changes with the age of the artist and the interest of the listener changes accordingly. Nothing is explicitly for a specific culture alone. It is really a convenience that rock music so often aligns itself with youth interests because it frequently serves as an expressive outlet that channels the artists’ own frustrations. Rock is an art form, such as any other, that certainly appeals to the youth but it is not limited to them alone. Starr and Waterman suggested, “the intimate relationship between social identity and musical style” (2010, p. 391) often define listeners. With that in mind, listeners often relate to the lyrics as much as the music. As long as rock artists identify with a variety of listeners, they will continue to evolve and maintain relationships with young and old alike.

Pop music has absolutely diverted from alternative rock music in favor of dance-friendly, clubbing-esque music, but it would be more precise to suggest that the pool of pop music is widening and rock music will take up a smaller portion as popular music becomes more diverse. In other words, electronic music will not take rock music’s throne, per se, but rather that honor will be shared amongst a variety of genres. If anything, it is more likely that this diversity will encourage more in the way of risks by blending various popular genres in order to maximize its potential audience.

Essentially, it is inevitable that Generation Y will take the reins and in a way it already has. Music has grown incredibly diverse within microcosmic sub-cultures, seen in the “further fragmentation of the marketplace and the creation of dozens of new musical genres” (Starr & Waterman, 2010, p. 391). There is a taste to every liking. The only real point of contention that one could disagree with is the direction that Generation Y ends up taking rock music in—and whether or not it is a preferable direction. It is possible that Generation Y might have compelling and interesting ideas with what to do with the music market both economically and culturally. The music industry, as it stands, is essentially a fossil that desperately needs modernization, so it could not hurt to see what types of ideas Generation Y has.

Reference

Starr, L., & Waterman, C. A. (2010). American popular music: From minstrelsy to MP3(3rd ed.). New York: Oxford University Press.