Příloha Č. 1: Vznik a Globální Rozvoj MTV. Vznik Čistě Hudební Televize Na Začátku 80

Total Page:16

File Type:pdf, Size:1020Kb

Příloha Č. 1: Vznik a Globální Rozvoj MTV. Vznik Čistě Hudební Televize Na Začátku 80 Příloha č. 1: Vznik a globální rozvoj MTV. Vznik čistě hudební televize na začátku 80. let byl zapříčiněn dvěma faktory. Na konci 70. let došlo k výrazné stagnaci hudebního průmyslu a bylo jej třeba oživit novým, výrazným prvkem. V té době také díky velkému rozvoji kabelového vysílání byla umožněna postupná specializace jednotlivých televizních kanálů. V srpnu 1981 tak firma Warner Amex představila americkému trhu první čistě hudební televizní stanici MTV (Music TV). Televize byla zacílena na mladé publikum ve věku od 18 do 34 let; ke konci osmdesátých let sledovalo tento program 20 milionů amerických domácností s řádným ročním přírůstkem dvou milionů. Vizualizované obrazy populární hudby přitahovaly k obrazovkám pravidelně téměř 85% diváků ve zmiňovaném věkovém rozmezí (Shuker 1998). Banks (1996) popisuje, jakým způsobem se MTV záhy stala takřka monopolem v projekci hudebních videoklipů díky své obchodní strategii, se kterou po dlouhou dobu úspěšně omezovala činnost potencionálních konkurentů. V roce 1983 vznikla obchodní strategie: cílem bylo vyjednat s nahrávacími společnostmi dohodu o exkluzivních právech na jejich hudební produkci a přimět operátory kabelových televizí, aby do své nabídky kromě MTV nezahrnovali žádné další hudební kanály. Taktika se stala úspěšnou, MTV se podařilo získat exkluzivitu na velkou část produkce hudebních videoklipů. Exkluzivita trvala zpravidla třicet dnů, v některých případech však i celý rok. Po tuto dobu nesměly jiné hudební kanály dané hudební video vysílat. Díky kontraktům s kabelovými operátory pak kanál obsadila veškeré volné kabely určené pro hudební televize. Tuto strategii můžeme charakterizovat jako vertikální integraci mediální trhu, tedy jev, kdy společnost simultánně ovládá více složek v procesu výroby a distribuce konkrétního produktu. MTV si zajistila dominantní pozici pop- kulturního vůdce a stala se ikonickou prezentací populární kultury1. Výlučné postavení kanálu trvalo do 90. let, kdy se názory všech zúčastněných stran (nahrávacích společností, MTV a kabelových operátorů) začaly rozcházet. MTV do vysílání začala zařazovat zábavné pořady neklipového charakteru, aby si vypěstovala pravidelného diváka, který se cyklicky vrací ke svým známým, oblíbeným pořadům. V důsledku tohoto se nahrávací společnosti, které tím přišly o možnost prosazení části svých produktů do vysílání, vzájemně dohodly na vlastní strategii: založily německou hudební televizi VIVA, která postupnou expanzí do Asie a USA omezila monopolní vliv MTV. Kulturní dopad MTV však nevymizel. Jakkoli se kanálu VIVA podařilo proniknout na trh populární kultury, jeho podoba a programová skladba se výrazně neliší od formátu nastaveného MTV (Jones 2005: 86). Vliv televize začal být globálním po vzniku MTV Network2. Bývalý předseda MTV Network Tom Freston zdůraznil důležitost globální expanze MTV, když prohlásil: „Našim cílem je proniknout do každé domácnosti na světě.“ (Banks 1996) MTV se postupem času rozrostla do desítky žánrových a stovky regionálních mutací, vysílá ve 162 zemích a 33 jazycích3. Kanál si tak vytvořil dominantní pozici globálního gatekeepera populární kultury, který se podílí na agenda-settingu4. Cílem i prostředkem tohoto je umožnění vzniku první generace mezinárodní mladé kultury, kdy jsou si mladí lidé po celém světě názorově i 1 Tato hegemonní pozice MTV však nebyla přijímaná automaticky. Konkurenční subjekty se snažily dominanci MTV porazit různými způsoby: Stanice BET například demonstrativně odmítla zařazovat videoklipy z produkce firmy Profile v reakci na exkluzivní práva MTV k videím populární hip-hopové kapely Run DMC. Došlo i k několika soudním řízením, která však skončila mimosoudním finančním vyrovnáním (Banks 1996: 180 - 182). 2 Síť lokálních odnoží MTV, která byla spuštěna v roce 1999. 3 Jmenuje např. MTV Brazílie, MTV Kanada, MTV Čína, MTV/MTV2 Evropa, MTV Francie, MTV/MTV2 Německo, MTV Holandsko, MTV Indie, MTV Itálie, MTV Japonsko, MTV Korea, MTV Latinská Amerika, MTV Skandinávie, MTV Polsko, MTV Rumunsko, MTV Rusko, MTV Jiho-východní Asie, MTV Španělsko, MTV Taiwan/Honkong, MTV Velká Británie, MTV Base a další 4 Agenda-setting, čili nastolování mediální agendy, označuje jev, kdy média určují témata veřejného diskurzu, i způsob, jakým se o nich bude mluvit. hodnotově bližší než kdykoli dříve5. „MTV tvrdí, že mladí lidé z různých zemí jsou součástí rozvíjející se mezinárodní mladé kultury, které přesahuje všechny národní kulturní identity. MTV vnímá pop music jako klíčový prvek této kultury, který je společným jmenovatelem mladých ve všech zemích. Vedení MTV prohlásilo, že ‚mladou populaci na celém světě zajímají stejné věci, včetně hudby a televize.“ (Dupler 1987 in Banks 1997: 55) 5 Bývalá předsedkyně MTV Network Sara Levinson uvedla: “Hudba je globálním jazykem. Chceme být globální rock’n’rollovou vesnicí, kde budeme prostřednictvím hudby hovořit k mladým po celém světě.“ (Knoedelseder 1988 in Banks 1997) .
Recommended publications
  • Bezouška, Jakl, Jaklová, Krejčí, Mencl, Petrov, Poledníček, Zvěřinová Omluveni: Jehlička, Nastoupilová, Novák, Šincl Ověřovatel: Bartoš 18
    Zápis z 18. zasedání 2020, konaného ve dnech 10. a 18. 11. 2020 10. 11. Přítomni: Bezouška, Jakl, Jaklová, Krejčí, Mencl, Petrov, Poledníček, Zvěřinová Omluveni: Jehlička, Nastoupilová, Novák, Šincl Ověřovatel: Bartoš 18. 11. Přítomni: Bezouška, Jakl, Jaklová, Jehlička, Krejčí, Nastoupilová, Mencl, Petrov, Poledníček, Šincl, Zvěřinová Omluveni: Novák Ověřovatel: Bartoš 1 RRTV/2020/790/bla: Schválení programu 18. zasedání 2020 - Rada schvaluje program ve znění projednaných změn 7-0-0 2 RRTV/2020/724/zem: POLAR televize Ostrava, s.r.o. / TV / POLAR 2 / zvláštní přenosové systémy / řízení o udělení licence / ústní jednání dne 10. listopadu 2020, 13:30 h - Rada uděluje společnosti POLAR televize Ostrava, s.r.o., IČ 258 59 838, se sídlem Boleslavova 710/19, Mariánské Hory, 709 00 Ostrava, dle § 25 zákona č. 231/2001 Sb., licenci k provozování televizního vysílání šířeného prostřednictvím zvláštních přenosových systémů na 12 let; označení (název) programu: POLAR 2; základní programová specifikace: Regionální informační program; výčet států, na jejichž území bude vysílání zcela nebo převážně směřováno: Česká republika; hlavní jazyk vysílání: čeština; časový rozsah vysílání: 24 hodin denně; identifikace přenosového systému: dálkový přístup - internet; informace o přístupu k vysílání: www.polar.cz, POLAR HbbTV, v rozsahu žádosti doručené Radě dne 21. září 2020 pod č.j. RRTV/13438/2020-vra. 11-0-0 3 RRTV/2020/685/zem: Střední škola a Základní škola, Vimperk, Nerudova 267 / příspěvková organizace / TV / Vimperské zpravodajství / kabely / řízení o udělení licence / ústní jednání dne 10. listopadu 2020, 13:40 h - Rada uděluje právnické osobě Střední škola a Základní škola, Vimperk, Nerudova 267, IČ 004 77 419, se sídlem Nerudova 267, Vimperk, PSČ 38501, dle § 25 zákona č.
    [Show full text]
  • Top Quark Pair Production Close to Threshold: Top Mass, Width and Momentum Distribution
    CERN-TH/99-59 DESY 99-047 hep-ph/9904468 April 1999 Top Quark Pair Production Close to Threshold: Top Mass, Width and Momentum Distribution A. H. Hoanga and T. Teubnerb a Theory Division, CERN, CH-1211 Geneva 23, Switzerland b Deutsches Elektronen-Synchrotron DESY, D-22603 Hamburg, Germany Abstract + The complete NNLO QCD corrections to the total cross section σ(e e− Z∗,γ∗ tt¯), → → in the kinematic region close to the top-antitop threshold, are calculated by solving the corresponding Schr¨odinger equations exactly in momentum space in a consistent momentum cutoff regularization scheme. The corrections coming from the same NNLO QCD effects to the top quark three-momentum distribution dσ/d ~k are determined. We discuss the origin | t| of the large NNLO corrections to the peak position and the normalization of the total cross section observed in previous works and propose a new top mass definition, the 1S mass M1S, which stabilizes the peak in the total cross section. If the influence of beamstrahlung and initial state radiation on the mass determination is small, a theoretical uncertainty on the 1S top mass measurement of 200 MeV from the total cross section at the linear collider seems possible. We discuss how well the 1S mass can be related to the MS mass. We propose a consistent way to implement the top quark width at NNLO by including electroweak effects into the NRQCD matching coefficients, which can then become complex. PACS numbers: 14.65.Ha, 13.85.Lg, 12.38.Bx. CERN-TH/99-59 April 1999 1 Introduction + + It will be one of the primary goals of a future e e− linear collider (LC) or µ µ− pair collider (FMC) to measure and determine the properties of the top quark, whose existence has been confirmed at the Tevatron (M = 173.8 5 GeV [1]).
    [Show full text]
  • Tom Freston, Viacom Inc. Co-President, Co-Chief Operating
    Tom Freston, Viacom Inc. Co-President, Co-Chief Operating Officer Presentation Transcript Merrill Lynch Media and Entertainment Conference Event Date/Time: September 13, 2005, 4:45pm E.D.S.T. Filed by: Viacom Inc. Pursuant to Rule 425 under the Securities Act of 1933, as amended Commission File No.: 001-09533 Subject Company: Viacom Inc. - -------------------------------------------------------------------------------- Jessica Reif Cohen - Analyst - Merrill Lynch All right, we will get started with the afternoon. With the split up of Viacom expected no later than the first quarter of 2006, Tom Freston's role will change again. Having led the most successful cable network for the past 25-plus years, although he doesn't look it, Tom Freston's challenge is to extend this brand success with consumers across multiple platforms, both wired and wireless, while satisfying investors' demand for growth across multiple metrics. We certainly believe that management is up to this task. Please welcome Tom Freston, Co-President and Co-COO of Viacom. But before Tom takes the stage, we have a video to show you. (shows video, playing "Desire" by U2) - -------------------------------------------------------------------------------- Tom Freston - Viacom - Co-President, Co-COO Well, that ought to wake you a little bit after lunch. Good afternoon, everybody. I'm Tom Freston. Thank you, Jessica. It's nice to be here in Pasadena. This time last year, Leslie Moonves and I were settling into our new positions in a Company that was a really wide conglomeration of media assets with varying growth rates and prospects. You can see them all up there now. And by now, most of you are familiar with the rationale behind the split of Viacom, which we expect to happen at the end of this year or the beginning of next year.
    [Show full text]
  • Quincy School District Transportation Routes
    QUINCY SCHOOL DISTRICT TRANSPORTATION ROUTES & HUB STOPS FOR 2014-2015 (Add 1 Hour to AM Times for Late Start Monday's) 10/31/2014 BUS TIME HUB STOPS BUS TIME HUB STOPS UPDATED 8/29/14 1/2 Day ** Open Enrollment & Special Circumstance Students Requiring Transportation From Outside Student's Neighborhood School Attendance Area Should Contact Transportation to Arrange For Transportation - Accommodations Will Be Made To The Greatest Extent Possible ** Pick-up HUB #1 - Quincy Drop off HUB #1 - Quincy 32 7:40 AM C ST PARK NE - MON (4th & 5th) 32 3:10 PM C ST PARK NE - MON (4th & 5th) 11:40 AM 11 7:40 AM C ST PARK NE - MON (6th) 11 3:10 PM C ST PARK NE - MON (6th) 11:40 AM 18 7:20 AM C ST PARK NE - (PIO / K-3rd) transfers to Central Hub 18 3:32 PM C ST PARK NE - (PIO / K-3rd) 11:50 AM HUB #2 - Quincy HUB #2 - Quincy 12 7:40 AM JR HIGH SCHOOL - MON (4th, 5th, 6th) 12 3:10 PM JR HIGH SCHOOL - MON (4th, 5th -6th) 11:40 AM 31 7:18 AM JR HIGH SCHOOL - (PIO / K-3) transfers to Central Hub 31 3:10 PM JR HIGH SCHOOL - MTV / K-3rd) 11:40 AM 31 7:40 AM JR HIGH SCHOOL - MTV / K-3rd) 31 3:26 PM JR HIGH SCHOOL - (PIO / K-3rd) 11:50 AM HUB #3 - Quincy HUB #3 - Quincy 27 7:40 AM 3RD AVE & D ST SW - MON (4th, 5th,-6th) 27 3:10 PM 3RD AVE & D ST SW - MON (4th, 5th, 6th) 11:45 AM 16 7:37 AM 3RD AVE & D ST SW - MTV 16 3:10 PM 3RD AVE & D ST SW - MTV 11:40 AM 6 7:18 AM 3RD AVE & D ST SW - (PIO / K-3rd) 6 3:19 PM 3RD AVE & D ST SW - (PIO / K-3rd) 11:45 AM HUB #4 - Quincy HUB #4 - Quincy 18 7:45 AM 1ST AVE & J ST SW - PIO (K-3rd) 18 3:10 PM 1ST AVE & J ST SW - PIO
    [Show full text]
  • The Commodification of the Other and Mtvâ•Žs Construction of the Â
    Democratic Communiqué Volume 22 Issue 1 Article 2 3-1-2008 Bollyville, U.S.A: The Commodification of the Other and TM V’s Construction of the “Ideal Type” Desi Murali Balaji Follow this and additional works at: https://scholarworks.umass.edu/democratic-communique Recommended Citation Balaji, Murali (2008) "Bollyville, U.S.A: The Commodification of the Other and TM V’s Construction of the “Ideal Type” Desi," Democratic Communiqué: Vol. 22 : Iss. 1 , Article 2. Available at: https://scholarworks.umass.edu/democratic-communique/vol22/iss1/2 This Research Article is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Democratic Communiqué by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Balaji: Bollyville, U.S.A: The Commodification of the Other and MTV’s Con Bollyville, U.S.A: The Commodification of the Other and MTV’s Construction of the “Ideal Type” Desi Murali Balaji When the Music Television Network launched MTV Desi in 2005, it promised to bridge the divide between South Asian Americans and their counterparts in the Indian subcontinent.1 This study looks at how MTV Desi tried to create an “ideal type” South Asian American through its programming, presenting an image of South Asian Americans as loving “Bhangra but also Shakira… MTV but also Bollywood.” The author seeks to articulate the political economy of identity by describing MTV’s attempts to define and commodify “Desi-ness.” The author also attempts to explain why MTV Desi ultimately failed and how marginalized audiences can resist commodification by rejecting corporate- defined identity.
    [Show full text]
  • Entire Issue 1
    Bollyville, U.S.A: The Commodification of the Other and MTV’s Construction of the “Ideal Type” Desi Murali Balaji When the Music Television Network launched MTV Desi in 2005, it promised to bridge the divide between South Asian Americans and their counterparts in the Indian subcontinent.1 This study looks at how MTV Desi tried to create an “ideal type” South Asian American through its programming, presenting an image of South Asian Americans as loving “Bhangra but also Shakira… MTV but also Bollywood.” The author seeks to articulate the political economy of identity by describing MTV’s attempts to define and commodify “Desi-ness.” The author also attempts to explain why MTV Desi ultimately failed and how marginalized audiences can resist commodification by rejecting corporate- defined identity. n its 25-plus years of existence, the Music Television Network has been one of the primary forces in shaping global youth culture and cultivating youth identity.2 The Viacom-owned network’s influence has been so expansive that MTV programs are now a staple of youth consumption in every corner of the Iworld. 3 MTV, in many ways, is popular culture, indulging its viewers with the lav- ishness of consumerism and breeding a loyal following among an age group that varies from impressionable pre-teens to middle-age voyeurs. MTV in the United States has traditionally targeted white, suburban teenagers, and as its content para- digm has shifted away from music videos and into new “reality”-based program- ming, the network has expanded its reach into movies and even books. In many ways, the network has evolved into an “all-encompassing ‘lifestyle’ channel for its young targeted audience.”4 MTV’s success in shaping culture has been so prevalent that the network itself is synonymous with cool.
    [Show full text]
  • Living in the Margins: a National Survey of Lesbian, Gay, Bisexual and Transgender Asian and Pacific Islander Americans
    this page intentionally left blank living in the margins A NATIONAL SURVEY OF LESBIAN, GAY, BISEXUAL AND TRANSGENDER ASIAN AND PACIFIC ISLANDER AMERICANS by Alain Dang and Cabrini Vianney Cover photo: Corky Lee NATIONAL GAY AND LESBIAN TASK FORCE POLICY INSTITUTE LIVING IN THE MARGINS The National Gay and Lesbian Task Force Policy Institute is a think tank dedicated to research, policy analysis and strategy development to advance greater understanding and equality for lesbian, gay, bisexual and transgender people. Washington, DC Cambridge, MA 1325 Massachusetts Ave NW, Suite 600 1151 Massachusetts Avenue Washington, DC 20005-4171 Cambridge, MA 02138 Tel 202 393 5177 Tel 617 492 6393 Fax 202 393 2241 Fax 617 492 0175 New York, NY Miami, FL 80 Maiden Lane, Suite 1504 3510 Biscayne Blvd, Suite 206 New York, NY 10038 Miami, FL 33137 Tel 212 604 9830 Tel 305 571 1924 Fax 212 604 9831 Fax 305 571 7298 Los Angeles, CA Minneapolis, MN 8704 Santa Monica Blvd, Suite 200 810 West 31st Street West Hollywood, CA 90069 Minneapolis, MN 55408 Tel 310 855 7380 Tel/Fax 612 821 4397 Fax 310 358 9415 [email protected] www.theTaskForce.org © 2007 The National Gay and Lesbian Task Force Policy Institute When referencing this document, we recommend the following citation: Dang, A., & Vianney, C. (2007). Living in the margins: A national survey of lesbian, gay, bisexual and transgender Asian and Pacific Islander Americans. New York: National Gay and Lesbian Task Force Policy Institute. ii contents EXECUTIVE SUMMARY 1 Demographics 1 Discrimination
    [Show full text]
  • Multiculturalism and Music Videos Effects on the Socioemotional Development of Children and Adolescents
    20-Asamen-45576.qxd 5/27/2008 8:51 PM Page 297 CHAPTER 20 Multiculturalism and Music Videos Effects on the Socioemotional Development of Children and Adolescents KHIA A. THOMAS KYLA M. DAY L. MONIQUE WARD n entertainment favorite among teaching young people about culture, race, adolescents and young adults, music and ethnicity. To what extent are members A videos became interwoven into the of diverse ethnic and cultural groups repre- thread of American youth culture with the sented? Perhaps more importantly, for those launching of MTV in 1981 (Aufderheide, who are represented, what types of portray- 1986; Sun & Lull, 1986). The sheer popular- als and messages are provided? Although ity of the channel, which prominently fea- created to promote songs, music videos are tured music videos as well as entertainment likely to do much more than that. Through news and other musically oriented program- their dynamic visual imagery, storytelling ming, spawned several cable networks, includ- features, and appealing artists, they also ing VH1, Black Entertainment Television provide messages about the roles and char- (BET), Country Music Television (CMT), acteristics of individual peoples, ethnic and MTV2. Over 25 years later, the mass groups, and cultures. Because American appeal of music videos remains strong, as net- popular music stretches across demographic works continue to proliferate and music groups and across nations, parents and videos become more easily accessible to the researchers are concerned with their racial/eth- viewing public. nic
    [Show full text]
  • Introducing MTV Iggy, a New MTV Brand That Brings Global Pop Music and Culture to America
    Introducing MTV Iggy, a New MTV Brand That Brings Global Pop Music and Culture to America MTV IGGY TO CONNECT U.S. AUDIENCES TO GLOBAL ARTISTS AND TRENDS INCLUDING K-POP, BOLLYWOOD, DANCEHALL, SCANDINAVIAN POP, AND MORE ON MULTIPLE PLATFORMS MTV IGGY CELEBRATES LAUNCH WITH FAN-VOTED SEARCH FOR BEST NEW BAND IN THE WORLD NEW YORK, Oct. 13, 2011 /PRNewswire via COMTEX/ -- MTV World, a unit of Viacom Inc. (VIA.A, VIA.B), today announced the launch of MTV Iggy, a multi-platform global music brand connecting America with artists and pop culture phenomena trending around the world. Channeling a music revolution driven by globally minded youth through social media, MTV Iggy is a dedicated platform for international superstars and genres ranging from Brazilian baile funk to Norwegian heavy metal and everything in between. "Today's music fans live in an astoundingly connected world where pop music is without borders; Latin American audiences love K-Pop and rappers from the Congo are finding fans in Belgium," said Nusrat Durrani, Senior Vice President and General Manager of MTV World. "MTV Iggy offers a U.S. stage for artists who are catching fire around the globe. We hold a mirror to a new kind of music revolution driven by young people everywhere who know that good music can come from anywhere." At launch, MTV Iggy content will be available across multiple platforms, including online, on-air and social media outlets. On October 17th, MTV Iggy will premiere its first episode of The MTV Iggy Show, a weekly showcase of the best new music from around the world.
    [Show full text]
  • Arxiv:Hep-Ph/9904468V2 14 Sep 1999 Pi 1999 April CERN-TH/99-59 Asnmes 46.A 38.G 12.38.Bx
    CERN-TH/99-59 DESY 99-047 hep-ph/9904468 April 1999 Top Quark Pair Production Close to Threshold: Top Mass, Width and Momentum Distribution A. H. Hoanga and T. Teubnerb a Theory Division, CERN, CH-1211 Geneva 23, Switzerland b Deutsches Elektronen-Synchrotron DESY, D-22603 Hamburg, Germany Abstract The complete NNLO QCD corrections to the total cross section σ(e+e− Z∗,γ∗ tt¯), → → in the kinematic region close to the top-antitop threshold, are calculated by solving the corresponding Schr¨odinger equations exactly in momentum space in a consistent momentum cutoff regularization scheme. The corrections coming from the same NNLO QCD effects to the top quark three-momentum distribution dσ/d ~kt are determined. We discuss the origin | | arXiv:hep-ph/9904468v2 14 Sep 1999 of the large NNLO corrections to the peak position and the normalization of the total cross section observed in previous works and propose a new top mass definition, the 1S mass M1S, which stabilizes the peak in the total cross section. If the influence of beamstrahlung and initial state radiation on the mass determination is small, a theoretical uncertainty on the 1S top mass measurement of 200 MeV from the total cross section at the linear collider seems possible. We discuss how well the 1S mass can be related to the MS mass. We propose a consistent way to implement the top quark width at NNLO by including electroweak effects into the NRQCD matching coefficients, which can then become complex. PACS numbers: 14.65.Ha, 13.85.Lg, 12.38.Bx. CERN-TH/99-59 April 1999 1 Introduction + + It will be one of the primary goals of a future e e− linear collider (LC) or µ µ− pair collider (FMC) to measure and determine the properties of the top quark, whose existence has been confirmed at the Tevatron (M = 173.8 5 GeV [1]).
    [Show full text]
  • Mtv Iggy Announces Line-Up for “Best New Band 2011” Music Concert
    MTV IGGY ANNOUNCES LINE-UP FOR “BEST NEW BAND 2011” MUSIC CONCERT Grammy-Nominated Dance Punk Band La Vida Bohème, Reggae Star Gyptian and Breakout Malaysian Singer-Songwriter Yuna Join K-Pop Sensation and 2011 Best New Band 2NE1 for a Live Concert Event at MTV’s Times Square Studio on December 12 MTV Iggy Reinvents Music Fan Frenzy in Times Square with New Global Acts New York, NY, December 6, 2011 - MTV Iggy, a multi-platform global music brand connecting America with global artists and pop culture phenomena, announces the full concert line-up for MTV Iggy’s Best New Band global pop music event at MTV’s Times Square Studio on December 12. Hosted by a star cast of MTV personalities—Matt Pinfield, Sway, and SuChin Pak, as well as Bollywood and TV actress Shenaz Treasury—this multi-location concert will unfold in New York City’s Best Buy Theater, the MTV Studio and on MTV’s giant HD screen in Times Square, 44 ½. The concert will also be streamed live on MTVIggy.com and enhanced by a global chat with real-time translations in 53 languages powered by Ortsbo.com, a leader in experiential language technology. With Salli Frattini, award-winning MTV veteran and Sunset Lane Entertainment founder, as Executive Producer, the event represents an evolution of successful music events and programming that have drawn thousands of impassioned fans to Times Square to catch a glimpse of their music idols in the windows of the MTV Studio. Best New Band illustrates MTV Iggy’s mission to open the doors for global music and youth culture to an American audience.
    [Show full text]
  • Please Explain: What Is Litefeet? | MTV IGGY
    3/24/2015 Please Explain: What is Litefeet? | MTV IGGY FOLLOW US MTV K MTV DESI MTV.COM FEATURES ARTISTS VIDEOS PHOTOS BLOG SEARCH Please Explain: What is Litefeet? POPULAR ARTICLES Bands We Like: Korea’s Galaxy Express are Noise on Fire Bowling with Bajzel READ ARTICLE Coachella 2015 Lineup: AC/DC, Stromae, Nortec and Quinn "Q Tip" Brown/Photo Credit: Jordan Allen More! READ ARTICLE THE NEWEST SOUND OF NEW YORK STEPS INTO THE LITE By MTV Iggy May 1, 2014 Words by Mike Steyels If you live in New York and take the train like most people, then you’ve probably heard litefeet music before. When those dancers spill into your car, demanding everyone’s attention, and start with a show of footwork and pole tricks, they are usually litefeeters. And the beat that blasts from their portable amps is also called litefeet, as it’s named after the dance it was created for. It’s a high energy, fast paced rap beat using an old school hip­hop drum kit, full of chopped and pitched up vocal samples. It’s the newest sound of New York, and most of the producers are still in high school. The music and the dance are inseparable. The beats are made specifically with litefeeters in mind, and it’s played almost exclusively by those in the scene. So the story of the sound can’t be told without explaining the moves, which are also called “gettin’ lite” or “gettin’ dark.” The name comes from dancers being light on their feet, often seeming weightless.
    [Show full text]