The Academy of Music Video

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Laverne Cox Beat For The Gods

P.R. Brown


Bobby V. feat. Snoop Dogg lil' Bit

Erbane Galore


Lissie Best Days

Robert Stockwell


Liana Bank$ ft. Ayo Jay People Like Me



Roydo (로이도) CRZY



Black Rebel Motorcycle Club Little Thing Gone Wild

Giorgio Testi


Sa-Roc Forever

Tommy Nova


Dead Or Alive You Spin Me Round (Like a Record)

Vaughan & Anthea

Column 28: Consumerism

Consumerism: You can't avoid the topic. Music videos are, for a large part, 3- or 4-minute radio-edit clips meant for promotion and consumption. It's a reason many bands are avoided: their clips are obnoxious money-making machines, with what most see as little artistic merit. But what separates a perfectly worthy Creed clip from a high-minded Ryuichi Sakamoto (nsfw) is, one hopes, more than just hipster aesthesis and 'art.'

There are places in the world for both high art and what one perceives as 'low.' Granted, bands like Nickelback are often hit later on - nowadays - with a social shaming, their art may still find a cult following. In essence, all music videos function both as art and consumerist gestures - only the viewer can decide whether Michael Penn's Look What the Cat Drug In is above or below Linkin Park's In the End.

In another sense - and this only exists in rockist or indie circles - it all depends on what level of asshole you are, or whether you grew up with Limp Bizkit on TV or Hüsker Dü, both of whom I've seen on MTV Classic.

People are strange, it's been said. In the work I've done, I've tried to have as wide a scope as possible.