Editing Music video (section)

==History and development==
{{music video}}
In 1894, [[sheet music]] publishers [[Edward B. Marks]] and Joe Stern hired electrician George Thomas and various artists to promote sales of their song "[[The Little Lost Child]]".<ref name="music video 1900 style on PBS Kids Go!">{{cite web|url=http://pbskids.org/wayback/tech1900/music/index.html|title=Music Video 1900 Style|publisher=PBS|year=2004|url-status=dead|archive-url=https://web.archive.org/web/20100104220832/http://pbskids.org/wayback/tech1900/music/index.html|archive-date=January 4, 2010|df=mdy-all}}</ref> Using a [[magic lantern]], Thomas projected a series of still images on a screen simultaneous to live performances. This would become a popular form of entertainment known as the [[illustrated song]], the first step toward music video.<ref name="music video 1900 style on PBS Kids Go!" />

===Talkies, soundies, and shorts===
With the arrival of "[[Sound film|talkies]]" many [[Musical short|musical short films]] were produced. [[Vitaphone]] shorts (produced by [[Warner Bros.]]) featured many bands, vocalists, and dancers. Animation artist [[Max Fleischer]] introduced a series of sing-along short cartoons called ''[[Screen Songs]]'', which invited audiences to sing along to popular songs by "following the bouncing ball", which is similar to a modern karaoke machine. Early cartoons featured popular musicians performing their hit songs on camera in live-action segments during the [[cartoon]]s. [[John Logie Baird]] created [[Phonovision|Phonovision discs]] featuring [[Betty Bolton]] and other singers from the 1930s. The early animated films by [[Walt Disney]], such as the ''[[Silly Symphony|Silly Symphonies]]'' shorts and especially ''[[Fantasia (1940 film)|Fantasia]]'', which featured several interpretations of classical pieces, were built around music. The [[Warner Bros.]] cartoons, even today billed as ''[[Looney Tunes]]'' and ''[[Merrie Melodies]]'', were initially fashioned around specific songs from upcoming Warner Bros. [[musical film]]s. Live-action musical shorts, featuring such popular artists as [[Cab Calloway]], were also distributed to theaters.<ref>{{cite web |title=Cab Calloway(1907-1994) |url=https://www.imdb.com/name/nm0130572/ |publisher=IMDb}}</ref>

[[Blues]] singer [[Bessie Smith]] appeared in a two-reel short film called ''[[St. Louis Blues (1929 film)|St. Louis Blues]]'' featuring a dramatized performance of the hit song. Numerous other musicians appeared in short musical subjects during this period.<ref>{{cite web |last1=Perry |first1=Mackenzie |title=Complex Ramifications: Musical Short Films of the 1930s-1940s & African-American Jazz Musicians |url=https://theclassicjournal.uga.edu/index.php/2016/11/04/complex-ramifications-musical-short-films-of-the-1930s-1940s-african-american-jazz-musicians/ |website=The Classic Journal}}</ref>

''[[Soundies]]'', produced and released for the [[Panoram]] film jukebox, were musical films that often included short dance sequences, similar to later music videos.<ref>{{cite web |last1=Kellem |first1=Betsy |title=Mills Panoram and Soundies |url=https://daily.jstor.org/mills-panoram-and-soundies/ |website=JSTOR Daily|date=February 22, 2023 }}</ref>

Musician [[Louis Jordan]] made short films for his songs, some of which were spliced together into a feature film, ''Lookout Sister''. These films were, according to music historian [[Donald Clarke (writer)|Donald Clarke]], the "ancestors" of music video.<ref>Clarke, pg. 39</ref>

[[File:Gentlemen Prefer Blondes Movie Trailer Screenshot (36).jpg|thumb|left|Musicals of the 1950s led to short-form music videos.]]
[[Musical film]]s were another important precursor to a music video, and several well-known music videos have imitated the style of classic Hollywood musicals from the 1930s–50s. One of the best-known examples is [[Madonna|Madonna's]] 1985 video for "[[Material Girl]]" (directed by [[Mary Lambert (director)|Mary Lambert]])<ref>{{cite web |url=http://www.mvdbase.com/video.php?id=17366 |title=Music Video Database - "Material Girl" |publisher=Mvdbase.com |access-date=June 13, 2013 |archive-url=https://web.archive.org/web/20190115075848/http://www.mvdbase.com/video.php?id=17366 |archive-date=January 15, 2019 |url-status=dead }}</ref> which was closely modelled on [[Jack Cole (choreographer)|Jack Cole]]'s staging of "[[Diamonds Are a Girl's Best Friend]]" from the film ''[[Gentlemen Prefer Blondes (1953 film)|Gentlemen Prefer Blondes]]''. Several of [[Michael Jackson]]'s videos show the unmistakable influence of the dance sequences in classic Hollywood musicals, including the landmark "[[Michael Jackson's Thriller (music video)|Thriller]]" and the [[Martin Scorsese]]-directed "[[Bad (Michael Jackson song)|Bad]]", which was influenced by the stylized dance "fights" in the film version of ''[[West Side Story (1961 film)|West Side Story]]''.<ref>{{cite web|url=http://www.filmreference.com/encyclopedia/Criticism-Ideology/Dance-FROM-MUSICALS-TO-MUSIC-VIDEOS.html |title=''Film Encyclopedia'' - "Dance: From Musicals To Music Videos" |publisher=Filmreference.com |access-date=June 13, 2013}}</ref> According to the Internet Accuracy Project, [[disc jockey|DJ]]/singer J. P. "[[The Big Bopper]]" Richardson was the first to coin the phrase "music video", in 1959.<ref>{{cite web|url=http://www.accuracyproject.org/cbe-Richardson,J.P.TheBigBopper.html|title=J. P. "The Big Bopper" Richardson|publisher=Internet Accuracy Project|access-date=January 21, 2007}}</ref>

In his autobiography, Tony Bennett claims to have created "...the first music video" when he was filmed walking along the [[Serpentine (lake)|Serpentine]] in [[Hyde Park, London]], with the resulting clip being set to his recording of the song "[[Stranger in Paradise (song)|Stranger in Paradise]]".<ref>{{cite book|last1=Cole|first1=Clay|title=Sh-Boom!: The Explosion of Rock 'n' Roll (1953-1968)|date=October 1, 2009|publisher=Morgan James Publishing|isbn=9781600377686|page=238|url=https://books.google.com/books?id=kWoLGiW-wnAC|access-date=June 8, 2014}}</ref> The clip was sent to UK and US television stations and aired on shows including [[Dick Clark]]'s [[American Bandstand]].<ref>{{cite book|last1=Bennett|first1=Tony|title=The Good Life: The Autobiography Of Tony Bennett|date=December 7, 2010|publisher=Simon and Schuster|isbn=978-1416573661}}</ref> 
The oldest example of a promotional music video with similarities to more abstract, modern videos seems to be the [[Czechoslovakia]]n "Dáme si do bytu" ("We´ll put in the apartment") created and directed by [[Ladislav Rychman]]<!--when?-->.<ref>{{cite web|url=http://www.ceskatelevize.cz/specialy/bigbit/ceskoslovensko/clanky/187-historie-ceskoslovenskeho-hudebniho-klipu-do-r-1989/ |title=History of Czechoslovak music clips before 1989 |publisher=ceskatelevize.cz}}</ref><ref>{{cite web|url=http://www.ceskatelevize.cz/porady/10154940613-duety-kdyz-hvezdy-zpivaji/20926530012-to-nejlepsi-z-duetu/3465-pisne/?songID=10 |title=The best of duets |publisher=ceskatelevize.cz}}</ref>

=== Beginnings of popular music television and promotional clips: 1960–1973 ===
In the late 1950s<ref name="Almind">{{cite web|title=Jukebox History 1952-1998|url=http://juke-box.dk/gert-design52-77.htm|first=Gert J.|last=Almind}}</ref> the [[Scopitone]], a visual jukebox, was introduced in France and short films were produced by many French artists, such as [[Serge Gainsbourg]], [[Françoise Hardy]], [[Jacques Dutronc]], and the Belgian [[Jacques Brel]] to accompany their songs. Its use spread to other countries, and similar machines such as the Cinebox in Italy and [[Color-sonic]] in the U.S. were patented.<ref name="Almind"/> In 1961, for the Canadian-produced show ''[[Singalong Jubilee]]'', Manny Pittson began pre-recording the music audio, went on-location and taped various visuals with the musicians lip-synching, then edited the audio and video together. Most music numbers were taped in-studio on stage, and the location shoot "videos" were to add variety.<ref>{{cite book|title=Remembering Singalong Jubilee|url=https://books.google.com/books?id=3zbibowECfwC&q=manny+pittson+music+video&pg=PA33|author=Ernest J. ***|publisher=Formac Publishing Company|isbn=978-0-88780-642-1|date=October 1, 2004}}</ref> In 1964, [[Kenneth Anger]]'s [[experimental film|experimental]] short film, ''[[Scorpio Rising (film)|Scorpio Rising]]'' used popular songs instead of dialogue.<ref>{{cite book|last=Landis|first=Bill|date=1995|title=Anger: The Unauthorized Biography of Kenneth Anger|publisher=HarperCollins Publishers |isbn=978-0-06-016700-4}}</ref>

On 1 January 1964, [[Johnnie Stewart]] and [[Stanley Dorfman]] created the British [[Record chart|chart]] music television series ''[[Top of the Pops]],'' which they produced in tandem and directed in weekly rotation until the 1970s''.<ref name="Humphries-2013">{{Cite book |last=Humphries |first=Patrick |title=Top of the Pops: 50th Anniversary |publisher=McNidder & Grace |year=2013 |isbn=9780857160522 |edition=First |location=New York |pages=xi, xii (Introduction) |language=English}}</ref>'' The show's format created a demand for frequent studio appearances by renowned British and US artists at short notice, as the charts came out on Tuesday mornings and the show was taped live on Thursdays. Coupled with the artists busy touring schedules and subsequent requests from broadcasters in Europe and America to showcase popular British acts, ultimately prompted the production of pre-recorded or filmed inserts referred to as "promotional videos." These videos served as substitutes for live performances by the artists and played a pivotal role in the development of the music video genre.<ref name="Humphries-2013a">{{Cite book |last=Humphries |first=Patrick |title=Top of the Pops: 50th Anniversary |publisher=McNidder & Grace |year=2013 |isbn=9780857160522 |edition=First |pages=3, 4 |language=English}}</ref><ref name="Riefe-2016a">{{Cite web |last=Riefe |first=Jordan |date=2016-02-11 |title=Music Video Pioneer Stanley Dorfman Recalls Bowie, Sinatra and Lennon |url=https://www.hollywoodreporter.com/news/general-news/music-video-pioneer-stanley-dorfman-863520/ |access-date=2023-06-02 |website=[[The Hollywood Reporter]] |language=en-US}}</ref><ref name="Reed-2002a">{{Cite news |date=2002-09-12 |title=Timeline: Top of the Pops |language=en-GB |work=[[The Guardian]] |url=https://www.theguardian.com/music/2002/sep/12/artsfeatures.popandrock |access-date=2023-06-05 |issn=0261-3077}}</ref> During the early stages of the show's introduction in 1964, when alternative footage was unavailable, Dorfman and Stewart resorted to capturing footage of the enthusiastic audience dancing. However, a significant change took place in October 1964 when a decision was made to occasionally introduce a [[dance troupe]] with choreographed routines for specific tracks. This addition brought a new dynamic to the show, enhancing its visual appeal and diversifying the entertainment value for viewers.<ref>{{Cite web |date=2014-09-16 |title=Pan's People |url=http://www.bbc.co.uk/totp2/trivia/pans_people/ |access-date=2023-06-13 |archive-url=https://web.archive.org/web/20140916135453/http://www.bbc.co.uk/totp2/trivia/pans_people/ |archive-date=September 16, 2014 }}</ref> One notable example was the video for [[Roy Orbison]]'s song '[[Oh, Pretty Woman|Oh Pretty Woman]]', which Dorfman filmed and directed in the rooftop garden of London's Kensington-based [[Derry & Toms|Derry and Toms]] department store on 19 October 1964 as a visual accompaniment to the song. It subsequently aired on Top of the Pops on 22 October, 29, as well as 12 November and 19."<ref>{{Cite book |last=Simpson |first=Jeff |title=Top of the Pops: 1964-2002: It's still Number One! |year=2002 |publisher=BBC Consumer Publishing |isbn=978-0563534761 |pages=22 |language=English}}</ref><ref>{{Cite book |last=Humphries |first=Patrick |title=Top of the Pops: 50th Anniversary |publisher=New York: McNidder and Grace Limited |year=2013 |isbn=9780857160522 |edition=First |pages=3, 27 |language=English}}</ref> By the 1970s, Top of the Pops had an average weekly viewership of 12,500,000 people, had solidified its status as the premier international platform for artists launching new records at the time,<ref name="Hull Daily Mail-1970">{{Cite news |date=February 28, 1970 |title=Launching pad for new discs. |page=6 |work=[[Daily Mail]] |url=https://www.newspapers.com/image/879198242 |access-date=June 3, 2023}}</ref> had firmly established the significance of promotional film clips as a crucial tool for promoting the careers of emerging artists and generating buzz for new releases by established acts, and was significant in developing and popularizing what would later become the music video genre across the globe.<ref name="Riefe-2016a"/><ref name="Reed-2002a"/>

In 1964, [[The Moody Blues]] producer [[Alex Wharton|Alex Murray]] wanted to promote his version of "[[Go Now]]". The short film clip he produced and directed to promote the single has a striking visual style that predates [[Queen (band)|Queen's]] similar "[[Bohemian Rhapsody]]" video by a full decade{{Citation needed|date=June 2023}}. It also predates what [[the Beatles]] did with promotional films of their single "[[Paperback Writer]]" and B-Side "[[Rain (The Beatles song)|Rain]]", both released in 1966.{{Citation needed|date=June 2023}}

Also in 1964, the Beatles starred in their first feature film, ''[[A Hard Day's Night (film)|A Hard Day's Night]]'', directed by US filmmaker [[Richard Lester]]. Shot in [[black-and-white]] and presented as a [[mockumentary|mock documentary]], it interspersed comedic and dialogue sequences with musical tones. The musical sequences furnished basic templates on which numerous subsequent music videos were modeled. It was the direct model for the successful US TV series ''[[The Monkees (TV series)|The Monkees]]'' (1966–1968), which was similarly composed of film segments that were created to accompany various Monkees songs.<ref name=TMT>{{cite book |last= Lefkowitz |first= Eric |title= Monkees Tale|orig-year = 1990| pages= 4, 10, 26, 66, 76| publisher= Last Gasp|location= Berkeley, CA | isbn= 0-86719-378-6|year= 1989 }}</ref> The Beatles' second feature, ''[[Help! (film)|Help!]]'' (1965), was a much more lavish affair, filmed in color in London and on international locations. The title track sequence, filmed in black-and-white, is arguably one of the prime archetypes of the modern performance-style music video, employing rhythmic cross-cutting, contrasting long shots and close-ups, and infrequent shots and camera angles, such as the shot 50 seconds into the song, in which [[George Harrison]]'s left hand and the neck of his guitar are seen in sharp focus in the foreground while the completely out-of-focus figure of [[John Lennon]] sings in the background.{{citation needed|date = July 2024}}

In 1965, the Beatles started making promotional clips (then known as "filmed inserts") for distribution and broadcast on Top of the Pops and in different countries—primarily the [[United States|U.S.]]—so they could promote their record releases without having to make in-person appearances. Their first batch of promo films shot in late 1965 (including their then-current single, "[[Day Tripper]]"/"[[We Can Work It Out]]"), were fairly straightforward mimed-in-studio performance pieces (albeit sometimes in silly sets) and meant to blend in fairly seamlessly with television shows like ''Top of the Pops'' and ''[[Hullabaloo (TV series)|Hullabaloo]]''. By the time the Beatles stopped touring in late 1966, their promotional films, like their recordings, had become highly sophisticated. In May 1966 they filmed two sets of colour promotional clips for their current single "[[Rain (The Beatles song)|Rain]]"/"[[Paperback Writer]]" all directed by [[Michael Lindsay-Hogg]],<ref>{{cite web |url=http://www.mvdbase.com/tech.php?last=Lindsay-Hogg&first=Michael |title=Music Video Database |publisher=Mvdbase.com |access-date=June 13, 2013 |archive-url=https://web.archive.org/web/20121119105714/http://www.mvdbase.com/tech.php?last=Lindsay-Hogg&first=Michael |archive-date=November 19, 2012 |url-status=dead }}</ref> who went on to direct ''[[The Rolling Stones Rock and Roll Circus]]'' and the Beatles' final film, ''[[Let It Be (1970 film)|Let It Be]]''. It aired on Top of the Pops on 2 June.<ref>{{Cite book |last=Rodriguez |first=Robert |title=Revolver: How the Beatles Reimagined Rock 'n' Roll |publisher=Milwaukee, WI: Backbeat Books |year=2012 |isbn=978-1-61713-009-0 |pages=163, 164}}</ref> The colour promotional clips for "[[Strawberry Fields Forever#Promotional film|Strawberry Fields Forever]]" and "[[Penny Lane]]", made in early 1967 and directed by Peter Goldman,<ref>{{cite web |url=http://www.mvdbase.com/tech.php?last=Goldman&first=Peter |title=Music Video Database - Peter Goldman |publisher=Mvdbase.com |access-date=June 13, 2013 |archive-url=https://web.archive.org/web/20121119122106/http://www.mvdbase.com/tech.php?last=Goldman&first=Peter |archive-date=November 19, 2012 |url-status=dead }}</ref> took the promotional film format to a new level. They used techniques borrowed from underground and avant-garde film, including reversed film and slow motion, dramatic lighting, unusual camera angles, and colour filtering added in post-production. At the end of 1967 the group released their third film, the one hour, made-for-television project ''[[Magical Mystery Tour (film)|Magical Mystery Tour]]''; it was written and directed by the group and first broadcast on the [[BBC]] on [[Boxing Day]] 1967. Although poorly received at the time for lacking a narrative structure, it showed the group to be adventurous music filmmakers in their own right.{{citation needed|date = July 2024}}
[[File:TrailerUSHelp.jpg|right|thumb|The Beatles in ''Help!'']]

[[Concert film]]s were being released in the mid-1960s, at least as early as 1964, with the ''[[T.A.M.I. Show]]''.

The monochrome 1965 clip for [[Bob Dylan]]'s "[[Subterranean Homesick Blues]]" filmed by [[D. A. Pennebaker]] was featured in Pennebaker's Dylan film documentary ''[[Dont Look Back]]''. Eschewing any attempt to simulate performance or present a narrative, the clip shows Dylan standing in a city back alley, silently shuffling a series of large cue cards (bearing key words from the song's lyrics).

Besides the Beatles, many other British artists made "filmed inserts" so they could be screened on TV when the bands were not available to appear live. [[The Who]] featured in several promotional clips, beginning with their 1965 clip for "[[I Can't Explain]]". Their plot clip for "[[Happy Jack (song)|Happy Jack]]" (1966) shows the band acting like a gang of thieves. The promo film to "[[Call Me Lightning (song)|Call Me Lightning]]" (1968) tells a story of how drummer [[Keith Moon]] came to join the group: The other three band members are having tea inside what looks like an abandoned hangar when suddenly a "bleeding box" arrives, out of which jumps a fast-running, time lapse, Moon that the other members subsequently try to get a hold of in a sped-up slapstick chasing sequence to wind him down. [[Pink Floyd]] produced promotional films for their songs, including "[[San Francisco: Film]]", directed by [[Anthony Stern]], "[[The Scarecrow (Pink Floyd song)|Scarecrow]]", "[[Arnold Layne]]" and "[[Interstellar Overdrive]]", the latter directed by [[Peter Whitehead (filmmaker)|Peter Whitehead]], who also made several pioneering clips for [[The Rolling Stones]] between 1966 and 1968. [[The Kinks]] made one of the first "[[Plot (narrative)|plot]]" promotional clips for a song. For their single "[[Dead End Street (song)|Dead End Street]]" (1966) a miniature comic movie was made. The BBC reportedly refused to air the clip because it was considered to be in "poor taste".<ref>{{cite web |url=http://kinks.it.rit.edu/videoclips/ |title=Dave Emlen's Kinks Website - Kinks Music Videos |publisher=Kinks.it.rit.edu |access-date=June 13, 2013 |archive-url=https://web.archive.org/web/20090217070454/http://kinks.it.rit.edu/videoclips/ |archive-date=February 17, 2009 |url-status=dead |df=mdy-all }}</ref>

The Rolling Stones appeared in many promotional clips for their songs in the 1960s. In 1966, [[Peter Whitehead (filmmaker)|Peter Whitehead]] directed two promo clips for their single "[[Have You Seen Your Mother, Baby, Standing In The Shadow?]]"<ref name="mvdbase.com">{{cite web |url=http://www.mvdbase.com/artist.php?last=Rolling+Stones&first=the |title=Music Video Database - The Rolling Stones |publisher=Mvdbase.com |access-date=June 5, 2014 |archive-url=https://web.archive.org/web/20121006194722/http://www.mvdbase.com/artist.php?last=Rolling+Stones&first=the |archive-date=October 6, 2012 |url-status=dead }}</ref> In 1967, Whitehead directed a plot clip colour promo clip for the Stones single "[[We Love You]]", which first aired in August 1967.<ref>{{cite web |url=http://www.mvdbase.com/video.php?id=23876 |title=Music Video Database - "We Love You" |publisher=Mvdbase.com |access-date=June 13, 2013 |archive-url=https://web.archive.org/web/20130826220740/http://www.mvdbase.com/video.php?id=23876 |archive-date=August 26, 2013 |url-status=dead }}</ref> This clip featured sped-up footage of the group recording in the studio, intercut with a mock trial that clearly alludes to the drug prosecutions of [[Mick Jagger]] and [[Keith Richards]] underway at that time. Jagger's girlfriend [[Marianne Faithfull]] appears in the trial scenes and presents the "judge" (Richards) with what may be the infamous fur rug that had featured so prominently in the press reports of the drug bust at Richards' house in early 1967. When it is pulled back, it reveals an apparently naked Jagger with chains around his ankles. The clip concludes with scenes of the Stones in the studio intercut with footage that had previously been used in the "concert version" promo clip for "Have You Seen Your Mother, Baby". The group also filmed a color promo clip for the song "[[2000 Light Years from Home]]" (from their album ''[[Their Satanic Majesties Request]]'') directed by [[Michael Lindsay-Hogg]].<ref name="mvdbase.com"/> In 1968, Michael Lindsay-Hogg directed three clips for their single "[[Jumpin' Jack Flash]]" / "Child Of The Moon"—a color clip for "Child Of The Moon" and two different clips for "Jumpin' Jack Flash". In 1968, they collaborated with [[Jean-Luc Godard]] on the film ''[[Sympathy for the Devil (1968 film)|Sympathy for the Devil]]'', which mixed Godard's politics with documentary footage of the song's evolution during recording sessions.{{citation needed|date = July 2024}}

In 1966, [[Nancy Sinatra]] filmed a clip for her song "[[These Boots Are Made for Walkin']]{{-"}}. [[Roy Orbison]] appeared in promotional clips, such as his 1968 hit, "Walk On".<ref>Archived at [https://ghostarchive.org/varchive/youtube/20211211/JGlD6Ho24lU Ghostarchive]{{cbignore}} and the [https://web.archive.org/web/20111130054145/http://www.youtube.com/watch?v=JGlD6Ho24lU&gl=US&hl=en Wayback Machine]{{cbignore}}: {{cite web|url=https://www.youtube.com/watch?v=JGlD6Ho24lU/ |title=Roy Orbison - 'Walk On.' |via=YouTube |date=October 3, 2009 |access-date=June 15, 2017}}{{cbignore}}</ref>

During late 1972–73, [[Alice Cooper]] featured in a series of promotional films: "[[Elected (song)|Elected]]", "[[Hello Hooray]]", "No More Mr. Nice Guy" and "[[Teenage Lament '74]]". Also during late 1972–73, [[David Bowie]] featured in a series of promotional films directed by pop photographer [[Mick Rock]], who worked extensively with Bowie in this period. Rock directed and edited four clips to promote four consecutive David Bowie singles—"[[John, I'm Only Dancing]]" (May 1972), "[[The Jean Genie]]" (November 1972), the December 1972 US re-release of "[[Space Oddity]]" and the 1973 release of the single "[[Life on Mars?]]" (lifted from Bowie's earlier album ''[[Hunky Dory]]''). The clip for "John, I'm Only Dancing" was made with a budget of just [[US$]]200 and filmed at the afternoon rehearsal for Bowie's [[Rainbow Theatre]] concert on August 19, 1972. It shows Bowie and band mimicking to the record intercut with footage of the [[Lindsay Kemp]] mime troupe, dancing on stage and behind a back-lit screen. The clip was turned down by the BBC, who reportedly found the homosexual overtones of the film distasteful; accordingly, ''Top of the Pops'' replaced it with footage of bikers and a dancer.<ref>{{cite web |url=http://www.5years.com/jiodvid.htm |title=''The Ziggy Stardust Companion'' – "John I'm Only Dancing" |publisher=5years.com |access-date=June 13, 2013 |archive-url=https://web.archive.org/web/20130827002210/http://www.5years.com/jiodvid.htm |archive-date=August 27, 2013 |url-status=dead |df=mdy-all }}</ref> The "Jean Genie" clip, produced for just US$350, was shot in one day and edited in less than two days. It intercuts footage of Bowie and band in concert with contrasting footage of the group in a photographic studio, wearing black stage outfits, and standing against a white background. It also includes location footage with Bowie and [[Cyrinda Foxe]] (a MainMan employee and a friend of David and [[Angie Bowie]]) shot in [[San Francisco]] outside the famous [[Mars Hotel]], with Fox posing provocatively in the street while Bowie lounges against the wall, smoking.<ref>{{cite web |url=http://www.5years.com/tjjvid.htm |title=''The Ziggy Stardust Companion'' – "The Jean Genie" |publisher=5years.com |access-date=June 13, 2013 |archive-url=https://web.archive.org/web/20130826231059/http://www.5years.com/tjjvid.htm |archive-date=August 26, 2013 |url-status=dead |df=mdy-all }}</ref>

Country music also picked up on the trend of promotional film clips to publicize songs. Sam Lovullo, the producer of the television series ''[[Hee Haw]]'', explained his show presented "what were, in reality, the first musical videos",<ref name="Lovullo">Lovullo, Sam, and Mark Eliot, ''Life in the Kornfield: My 25 Years at'' Hee Haw, Boulevard Books, New York, 1996, p. 34. {{ISBN|1-57297-028-6}}</ref> while JMI Records made the same claim with [[Don Williams]]' 1973 song "[[The Shelter of Your Eyes]]".<ref name="Millard">Millard, Bob, ''Country Music: 70 Years of America's Favorite Music'', HarperCollins, New York, 1993, p. 179. {{ISBN|0-06-273244-7}}</ref> Country music historian Bob Millard wrote that JMI had pioneered the country music video concept by "producing a 3-minute film" to go along with Williams' song.<ref name="Millard"/> Lovullo said his videos were conceptualized by having the show's staff go to nearby rural areas and film animals and farmers, before editing the footage to fit the storyline of a particular song. "The video material was a very workable production item for the show," he wrote. "It provided picture stories for songs. However, some of our guests felt the videos took attention away from their live performances, which they hoped would promote record sales. If they had a hit song, they didn't want to play it under comic barnyard footage." The concept's mixed reaction eventually spelled an end to the "video" concept on ''Hee Haw''.<ref name="Lovullo"/> Promotional films of country music songs, however, continued to be produced.{{citation needed|date = July 2024}}

In 1974, the band [[Sparks (band)|Sparks]] made a promotional video for their song "[[This Town Ain't Big Enough for Both of Us]]".<ref>{{cite web | url=https://www.youtube.com/watch?v=eUJ_ifjKopM | title=Sparks - This Town Ain't Big Enough for Both of Us (Official Video) | via=[[YouTube]] | date=June 24, 2012 }}</ref>

=== 1974–1980 ===
The Australian TV shows ''[[Countdown (Australian TV series)|Countdown]]'' and ''[[Sounds (Australian TV series)|Sounds]]'', both of which premiered in 1974, followed in the steps of the UK's ''Top of the Pops'' and were significant in developing and popularizing what would later become the music video genre in Australia and other countries, and in establishing the importance of promotional film clips as a means of promoting both emerging acts and new releases by established acts. In early 1974, former radio DJ [[Graham Webb (Australian broadcaster)|Graham Webb]] launched a weekly teen-oriented TV music show which screened on [[Sydney]]'s [[ATN-7]] on Saturday mornings; this was renamed ''Sounds Unlimited'' in 1975 and later shortened simply to ''Sounds''. In need of material for the show, Webb approached Seven newsroom staffer [[Russell Mulcahy]] and asked him to shoot film footage to accompany popular songs for which there were no purpose-made clips (e.g. [[Harry Nilsson]]'s "[[Everybody's Talkin]]"). Using this method, Webb and Mulcahy assembled a collection of about 25 clips for the show. The success of his early efforts encouraged Mulcahy to quit his TV job and become a full-time director, and he made clips for several popular Australian acts including [[Stylus (band)|Stylus]], [[Marcia Hines]], [[Hush (band)|Hush]] and [[AC/DC]].<ref name="smh.com.au">{{cite news|url=http://www.smh.com.au/news/Music/Clip-go-the-years/2005/02/25/1109180099910.html |title=Dino Scatena: "Clip go the years" |work=The Sydney Morning Herald |date=February 26, 2005 |access-date=June 13, 2013}}</ref> As it gained popularity, ''Countdown'' talent coordinator [[Ian "Molly" Meldrum]] and producer Michael Shrimpton quickly realized that "film clips" were becoming an important new commodity in music marketing.  Despite the show's minuscule budget, ''Countdown''{{'}}s original director [[Paul Drane]] was able to create several memorable music videos especially for the show, including the classic film-clips for the AC/DC hits "[[It's a Long Way to the Top (If You Wanna Rock 'n' Roll)]]" and "[[Jailbreak (AC/DC song)|Jailbreak]]".<ref name="smh.com.au" /> After relocating to the [[United Kingdom|UK]] in the mid-1970s, Mulcahy made successful promo films for several noted British pop acts—his early UK credits included [[XTC (band)|XTC]]'s "[[Making Plans for Nigel]]" (1979) and his landmark video clip for [[The Buggles]]' "[[Video Killed the Radio Star]]" (1979), which became the first music video played on [[MTV]] in 1981.

[[File:Queen @ United Center, Chicago 6-19-2014 (14486803126).jpg|thumb|left|Footage of [[Freddie Mercury]] in the [[Bohemian Rhapsody#Promotional video|"Bohemian Rhapsody" music video]] during a Queen + Adam Lambert concert at the [[United Center]], Chicago]]
In 1975, [[Queen (band)|Queen]] employed [[Bruce Gowers]] to make a promotional [[video]] to show their new single "[[Bohemian Rhapsody]]" on the BBC music series ''[[Top of the Pops]]''. According to rock historian Paul Fowles, the song is "widely credited as the first global hit single for which an accompanying video was central to the marketing strategy".<ref name="Fowles">{{cite book |last=Fowles |first=Paul |title=A Concise History of Rock Music |year=2009| page=243|publisher=Mel Bay Publications, Inc.|isbn=978-0-7866-6643-0}}</ref> ''[[Rolling Stone]]'' has said of "Bohemian Rhapsody": "Its influence cannot be overstated, practically inventing the music video seven [sic] years before MTV went on the air."<ref>{{cite magazine | url=https://www.rollingstone.com/music/news/party-on-queens-brian-may-remembers-bohemian-rhapsody-on-40th-anniversary-20151030 | title=Party On: Queen's Brian May Remembers 'Bohemian Rhapsody' on 40th Anniversary | magazine=Rolling Stone | first=Mark | last=Sutherland | date=30 October 2015 | access-date=4 January 2016 | archive-date=January 4, 2016 | archive-url=https://web.archive.org/web/20160104221635/http://www.rollingstone.com/music/news/party-on-queens-brian-may-remembers-bohemian-rhapsody-on-40th-anniversary-20151030 | url-status=dead }}</ref>

At the end of the 1970s, the broadcasting of music videos on television became more and more regular, in several countries. The music videos were, for example, broadcast in weekly music programs or inserted into various programs. In the United States, for example, on terrestrial networks at the end of the 1970s, music videos were sometimes broadcast on music shows: ''The Midnight Special'', ''Don Kirshner's Rock Concert'', and occasionally on certain talk shows.<ref>{{Cite web|url=https://forums.stevehoffman.tv/threads/what-were-music-videos-made-for-in-the-70s.850794/|title=What were music videos made for in the 70's?|website=Steve Hoffman Music Forums}}</ref>

A worldwide pioneer in programs that only transmitted rock and pop music video clips was the Peruvian program Disco Club, hosted by the Peruvian musician Gerardo Manuel, which began its transmission on the Peruvian state channel (Channel 7 of [[Lima]], Peru in free-to-air TV) in June 1978, three years before the appearance of MTV. Initially, it was only broadcast on Saturdays at 7 p.m. , but due to acceptance, in November of that same year it began to be broadcast every day.

''[[Video Concert Hall]]'', created by Jerry Crowe and [[C.W. Henderson|Charles Henderson]] and launched on November 1, 1979, was the first nationwide video music programming on American cable television, predating MTV by almost two years.<ref name="ATL firm">McCullaugh, Jim. "Atlanta Firm Claims First Ever Nationwide Cable Music Show". ''Billboard''. March 3, 1980 p. 1, p. 38</ref><ref name="King">King, Bill, "Atlantans Pioneering Cable Video Music Show", The Atlanta Constitution, June 3, 1980, p. 1-B, p. 10-B</ref><ref name="Werts">Werts, Dianne, "Din of Modern Hit Parade Invades Cable Homes", The Dallas Morning News, May 23, 1980,</ref><ref name="Denisoff">Denisoff, Serge R. Tarnished Gold: The record industry revisited. Oxford, UK: Transaction books, 1986. p. 369</ref> The [[USA Network|USA Cable Network]] program ''[[Night Flight (TV series)|Night Flight]]'' was one of the first American programs to showcase these videos as an art form.

In 1980, the music video to [[David Bowie]]'s "[[Ashes to Ashes (David Bowie song)|Ashes to Ashes]]" became the [[List of most expensive music videos|most expensive ever made]], having a production cost of $582,000 (equivalent to ${{Inflation|US|.582|r=2|1980}} million in {{Inflation-year|US}}), the first music video to have a production cost of over $500,000.<ref name="Strange Fascination">David Buckley (1999). ''Strange Fascination – David Bowie: The Definitive Story'': pp.366–369</ref> The video was made in [[Solarization (photography)|solarized]] color with stark black-and-white scenes and was filmed in different locations, including a padded room and a rocky shore.<ref>{{cite news|url=https://www.nytimes.com/2016/01/12/arts/music/david-bowie-master-of-the-music-video.html|title=David Bowie, Master of the Music Video |work=[[The New York Times]] |date=January 11, 2016 |access-date=March 13, 2016}}</ref> The video became one of the most iconic ever made at the time, and its complex nature is seen as significant in the evolution of the music video.

The same year, New Zealander group [[Split Enz]] had major success with the single "[[I Got You (Split Enz song)|I Got You]]" and the album ''[[True Colours (Split Enz album)|True Colours]]'', and later that year they produced a complete set of promo clips for each song on the album (directed by their percussionist, [[Noel Crombie]]) and to market these on videocassette. This was followed a year later by the video album, ''[[The Completion Backward Principle]]'' by [[The Tubes]], directed by the group's keyboard player, Michael Cotten, which included two videos directed by Russell Mulcahy ("Talk to Ya Later" and "Don't Want to Wait Anymore").<ref>{{cite web|url=http://mvdbase.com/tech.php?last=Mulcahy&first=Russell&sortord=1 |title=Russell Mulcahy |publisher=mvdbase.com |date=June 23, 1953 |access-date=June 13, 2013}}</ref> Among the first music videos were clips produced by [[The Monkees|ex-Monkee]] [[Michael Nesmith]], who started making short musical films for ''[[Saturday Night Live]]''.<ref name=TMT /> In 1981, he released ''[[Elephant Parts]]'', the first winner of a [[Grammy]] for music video, directed by William Dear. ''[[Billboard magazine|Billboard]]'' credits<ref name="ATL firm" /> the independently produced [[Video Concert Hall]] as being the first with nationwide video music programming on American television.<ref name="King" /><ref name="Werts" /><ref name="Denisoff" />

===1981–1991: Music videos go mainstream===
In 1981, the U.S. video channel [[MTV]] launched, airing "[[Video Killed the Radio Star]]" by [[The Buggles]] and beginning an era of 24-hour-a-day music on television. With this new outlet for material, the music video would, by the mid-1980s, grow to play a central role in popular music marketing. Many important acts of this period, most notably [[Michael Jackson]], [[Adam and the Ants]], [[Duran Duran]] and [[Madonna]], owed a great deal of their success to the skillful construction and seductive appeal of their videos.

Two key innovations in the development of the modern music video were the development of relatively inexpensive and easy-to-use [[video]] recording and editing equipment, and the development of visual effects created with techniques such as image [[compositing]].{{citation needed|date=April 2010}} The advent of high-quality color videotape recorders and portable video cameras coincided with the DIY ethos of the [[New wave music|new wave]] era,{{citation needed|date=March 2008}} enabling many pop acts to produce promotional videos quickly and cheaply, in comparison to the relatively high costs of using film. However, as the genre developed, [[music video director]]s increasingly turned to 35mm film as the preferred medium, while others mixed film and video.
During the 1980s, music videos had become ''de rigueur'' for most recording artists. The phenomenon was famously parodied by [[BBC]] television comedy program ''[[Not The Nine O'Clock News]]'' who produced a spoof music video "Nice Video, Shame About The Song" (the title was a spoof of a recent pop hit "[[Bad Habits (The Monks album)|Nice Legs, Shame About Her Face]]").

In this period, directors and the acts they worked with began to discover and expand the form and style of the genre, using more sophisticated effects in their videos, mixing film and video, and adding a storyline or plot to the music video. Occasionally videos were made in a ''{{vanchor|non-representational|Non-representational}}'' form, in which the musical artist was not shown. Because music videos are mainly intended to promote the artist, such videos are comparatively rare; three early 1980s examples are [[Bruce Springsteen]]'s "[[Atlantic City (song)|Atlantic City]]", directed by Arnold Levine, [[David Mallet (director)|David Mallet]]'s video for [[David Bowie]] and [[Queen (band)|Queen]]'s "[[Under Pressure]]", and [[Ian Emes]]' video for [[Duran Duran]]'s "[[The Chauffeur]]". One notable later example of the non-representational style is Bill Konersman's innovative 1987 video for [[Prince (musician)|Prince]]'s "[[Sign o' the Times (song)|Sign o' the Times]]"<ref>{{cite web |url=http://mvdbase.com/artist.php?last=Prince&first= |title=– Prince |publisher=Mvdbase.com |date=June 7, 1958 |access-date=June 5, 2014 |archive-url=https://web.archive.org/web/20120924095221/http://www.mvdbase.com/artist.php?last=Prince&first= |archive-date=September 24, 2012 |url-status=dead }}</ref> – influenced by Dylan's "Subterranean Homesick Blues" clip, it featured only the text of the song's lyrics.

In the early 1980s, music videos also began to discover political and social themes. Examples include the music videos for [[David Bowie|David Bowie's]] "[[China Girl (song)|China Girl]]" and "[[Let's Dance (David Bowie song)|Let's Dance]]" (1983) which both discussed race issues.<ref>{{cite news|url=https://www.washingtonpost.com/news/morning-mix/wp/2016/01/20/how-david-bowies-china-girl-used-racism-to-fight-racism/ |title=How David Bowie's 'China Girl' used racism to fight racism|newspaper=[[The Washington Post]] |date=January 11, 2016 |access-date=March 14, 2016}}</ref> In a 1983 interview, Bowie spoke about the importance of using music videos in addressing social issues, "Let's try to use the video format as a platform for some kind of social observation, and not just waste it on trotting out and trying to enhance the public image of the singer involved".<ref>{{cite magazine|url=https://www.rollingstone.com/music/features/straight-time-19830512?page=4 |archive-url=https://web.archive.org/web/20160116030557/http://www.rollingstone.com/music/features/straight-time-19830512?page=4 |url-status=dead |archive-date=January 16, 2016 |title=David Bowie: Straight Time|magazine=[[Rolling Stone]] |date=May 12, 1983 |access-date=March 14, 2016}}</ref>
<!-- Commented out: [[File:Mjthriller.jpg|right|thumb|Michael Jackson in ''[[Michael Jackson's Thriller (music video)|Thriller]].'']] -->

In 1983, one of the most successful, influential and iconic music videos of all time was released: the nearly 14-minute-long video for [[Michael Jackson]]'s song "[[Michael Jackson's Thriller (music video)|Thriller]]", directed by [[John Landis]]. The video set new standards for production, having cost US $800,000 to film.<ref>{{cite web|url=http://www.avrev.com/music/revs/thrillersacd.shtml |title=Michael Jackson - Thriller – |publisher=Avrev.com |access-date=June 13, 2013 |url-status=dead |archive-url=https://web.archive.org/web/20071030084349/http://www.avrev.com/music/revs/thrillersacd.shtml |archive-date=October 30, 2007 }}</ref><ref>{{cite news| url=http://news.bbc.co.uk/2/hi/uk_news/magazine/7117000.stm | work=BBC News | title=Thrills and spills and record breaks | date=November 30, 2007 | access-date=May 19, 2010 | first=Denise | last=Winterman}}</ref> The video for "Thriller", along with earlier videos by Jackson for his songs "[[Billie Jean]]" and "[[Beat It]]", were instrumental in getting music videos by [[African-American]] artists played on MTV. Prior to Jackson's success, videos by African-American artists were rarely played on MTV: according to MTV, this was because it initially conceived itself as a rock-music-oriented channel, although musician [[Rick James]] was outspoken in his criticism of the cable channel, claiming in 1983 that MTV's refusal to air the music video for his song "[[Super Freak]]" and clips by other African-American performers was "blatant racism".<ref>[http://arquivo.pt/wayback/20090628123830/http://findarticles.com/p/articles/mi_m1355/is_14_110/ai_n16807343 Why it took MTV so long to play black music videos], ''Jet'', October 9, 2006</ref> British rock singer David Bowie had also recently lashed out against MTV during an interview that he did with them prior to the release of "Thriller", stating that he was "floored" by how much MTV neglected black artists, bringing attention to how videos by the "few black artists that one does see" only appeared on MTV between 2:00&nbsp;a.m. until 6:00&nbsp;a.m. when nobody was watching.<ref>{{Citation|last=MTV News|title=David Bowie Criticizes MTV for Not Playing Videos by Black Artists {{!}} MTV News|date=2016-01-11|url=https://www.youtube.com/watch?v=XZGiVzIr8Qg|access-date=2018-04-03}}</ref>

MTV also influences music video shows aired on other American TV channels, such as: ''Friday Night Videos'', launched in 1983 on the terrestrial network NBC and ''MV3'' launched in 1982.

On March 5, 1983, [[Country Music Television]] (CMT), was launched,<ref>Billboard April 9, 1983 and Hendersonville Free Press April 6, 1983 available at {{cite web |url=http://www.cmtcountry.com/ |title=Big Daddy CMT & Me |work=CMT Founder's Site |publisher=CMT |access-date=September 12, 2010 |archive-date=December 22, 2021 |archive-url=https://web.archive.org/web/20211222235001/http://cmtcountry.com/_index.php |url-status=dead }}</ref> created and founded by Glenn D. Daniels and uplinked from the Video World Productions facility in [[Hendersonville, Tennessee]]. The [[MuchMusic]] video channel was launched in [[Canada]] in 1984. In 1984, MTV also launched the [[MTV Video Music Awards]] (later to be known as the VMAs), an annual awards event that would come to underscore MTV's importance in the music industry. The inaugural event rewarded [[the Beatles]] and [[David Bowie]] with the [[Michael Jackson Video Vanguard Award|Video Vanguard Award]] for their work in pioneering the music video.

In 1985, MTV's Viacom (currently Paramount) launched the channel [[VH1]] (then known as "VH-1: Video Hits One"), featuring softer music, and meant to cater to the slightly older baby-boomer demographic who were out-growing MTV. Internationally, [[MTV Europe]] was launched in 1987, and [[MTV Asia]] in 1991. Another important development in music videos was the launch of ''[[The Chart Show]]'' on the UK's [[Channel 4]] in 1986. This was a program that composed entirely of music videos (the only outlet many videos had on British TV at the time<ref>{{Cite book |last=Caston |first=Emily |url=https://books.google.com/books?id=d6MxEAAAQBAJ&dq=UK+Chart+Show++Channel+4+1986+composed++of+music+videos+on+British+TV&pg=PA110 |title=British Music Videos 1966 - 2016: Genre, Authenticity and Art |date=2020-07-31 |publisher=Edinburgh University Press |isbn=978-1-4744-3533-8 |language=en}}</ref>), with no presenters. Instead, the videos were linked by then state of the art [[computer graphics]]. The show moved to [[ITV (TV network)|ITV]] in 1989.

The video for the 1985 [[Dire Straits]] song "[[Money for Nothing (song)|Money for Nothing]]" made pioneering use of computer animation, and helped make the song an international hit. The song itself was a wry comment on the music-video phenomenon, sung from the point of view of an appliance deliveryman both drawn to and repelled by the outlandish images and personalities that appeared on MTV. In 1986, [[Peter Gabriel]]'s song "[[Sledgehammer (Peter Gabriel song)|Sledgehammer]]" used special effects and animation techniques developed by British studio [[Aardman Animations]]. The video for "Sledgehammer" would go on to be a phenomenal success<ref>{{cite web|url=http://www.mtv.com/music/artist/gabriel_peter/artist.jhtml#bio |archive-url=https://web.archive.org/web/20060415180607/http://www.mtv.com/music/artist/gabriel_peter/artist.jhtml#bio |url-status=dead |archive-date=April 15, 2006 |title=Peter Gabriel {{pipe}} Music Artist {{pipe}} Videos, News, Photos & Ringtones |publisher=MTV |date=June 27, 2008 |access-date=June 5, 2014}}</ref> and win nine MTV Video Music Awards. In the same year, [[Kraftwerk]] released the song "[[Musique Non Stop]]". The video featured 3D animations of the group. It was a collaboration with [[Rebecca Allen (artist)|Rebecca Allen]] of the [[New York Institute of Technology]] and ran continuously on [[MTV]] for a while.<ref>{{cite web|url=https://www.youtube.com/watch?v=O0lIlROWro8 |title=Classics|via=[[YouTube]] |year=2022}}</ref>

In 1988, the show ''[[Yo! MTV Raps]]'' introduced; the show helped to bring [[hip hop music]] to a mass audience for the first time.

===1992–2004: Rise of the directors===
In November 1992, [[MTV]] began screening videos made by [[Chris Cunningham]], [[Michel Gondry]], [[Spike Jonze]], [[Floria Sigismondi]],<ref>{{Cite web|url=http://www.torontostandard.com/article/watch-david-bowies-new-video-directed-by-ocad-grad-floria-sigismondi|title=WATCH: David Bowie's New Video (Directed by OCAD Grad Floria Sigismondi)|date=February 26, 2013|publisher=Toronto Standard|access-date=July 20, 2013|archive-date=July 24, 2013|archive-url=https://web.archive.org/web/20130724073004/http://www.torontostandard.com/article/watch-david-bowies-new-video-directed-by-ocad-grad-floria-sigismondi|url-status=dead}}</ref> [[Stéphane Sednaoui]], [[Mark Romanek]] and [[Hype Williams]] who all got their start around this time; all brought a unique vision and style to the videos they directed. Some of these directors, including, Gondry, Jonze, Sigismondi,<ref>{{Cite web|url=http://www.ifc.com/fix/2010/03/floria-sigismondi|title=Floria Sigismondi's Runaway Movie|date=March 22, 2010|publisher=[[IFC (American TV channel)|IFC]]|access-date=July 20, 2013}}</ref> and [[F. Gary Gray]], went on to direct feature films. This continued a trend that had begun earlier with directors such as [[Lasse Hallström]] and [[David Fincher]].

Two of the videos directed by Romanek in 1995 are notable for being two of the three [[List of most expensive music videos|most expensive music videos of all time]]: [[Michael Jackson|Michael]] and [[Janet Jackson]]'s "[[Scream (Michael Jackson and Janet Jackson song)|Scream]]", which allegedly cost $7&nbsp;million to produce, and [[Madonna]]'s "[[Bedtime Story (Madonna song)|Bedtime Story]]", which cost a reported $5&nbsp;million. From this, "Scream" is the most expensive video to date. In the mid to late 1990s, [[Walter Stern (director)|Walter Stern]] directed "[[Firestarter (The Prodigy song)|Firestarter]]" by [[The Prodigy]], "[[Bitter Sweet Symphony]]" by [[The Verve]], and "[[Teardrop (Massive Attack song)|Teardrop]]" by [[Massive Attack]].<ref>Ford, Piers. (May 1, 2004) [http://www.boardsmag.com/articles/magazine/20040501/stern.html Piers Ford, "Prince of Darkness", 1 May 2004] {{webarchive|url=https://web.archive.org/web/20120217015606/http://www.boardsmag.com/articles/magazine/20040501/stern.html |date=February 17, 2012 }}. Boardsmag.com. Retrieved November 20, 2012.</ref><ref>[http://www.slantmagazine.com/music/feature/100-greatest-music-videos/205/page_10 "100 Greatest Music Videos"], ''Slant Magazine''. Retrieved November 20, 2012</ref>

During this period, MTV launched channels around the world to show music videos produced in each local market: [[MTV Latin America]] in 1993, [[MTV India]] in 1996, and [[MTV Mandarin]] in 1997, among others. [[MTV2]], originally called "M2" and meant to show more alternative and older music videos, debuted in 1996.

In 1999, [[Mariah Carey]]'s "[[Heartbreaker (Mariah Carey song)|Heartbreaker]]" (featuring guest rapper [[Jay-Z]]) became one of the [[List of most expensive music videos|most expensive ever made]], costing over $2.5&nbsp;million.<ref>{{Cite web|url=http://music.uk.msn.com/photos/photos.aspx?cp-documentid=150253228&page=3|title=The Most Expensive Music Videos Ever Made: Mariah Carey – Heartbreaker |publisher=[[MSN Music]]|date=October 17, 2009|access-date=March 18, 2011|archive-url=https://web.archive.org/web/20110809234423/http://music.uk.msn.com/photos/photos.aspx?cp-documentid=150253228&page=3|archive-date=August 9, 2011|url-status=dead}}</ref>

From 1991 to 2001, ''Billboard'' had its own Music Video Awards.

=== 2005–present: Music video downloads and streaming ===
[[File:Spoon「ワンダーランド」【MUSIC VIDEO】.webm|thumb|right|200px|A 
video promoting Spoon's album ''Spacey Boy and Sadness Girl'']]
The website [[iFilm]], which hosted short videos including music videos, launched in 1997. [[Napster]], a [[peer-to-peer file sharing]] service which ran between 1999 and 2001, enabled users to share video files, including those for music videos. By the mid-2000s, MTV and many of its sister channels had largely abandoned showing music videos in favor of [[reality television|reality]] TV shows, which were more popular with its audiences, and which MTV had itself helped to pioneer with the show ''[[The Real World (TV series)|The Real World]]'', which premiered in 1992.

2005 saw the launch of [[YouTube]], which made the viewing of online video much faster and easier; [[Google Videos]], [[Yahoo! Video]], [[Facebook]] and [[Myspace]]'s video functionality use similar technology. Such websites had a profound effect on the viewing of music videos; some artists began to see success as a result of videos seen mostly or entirely online. The band [[OK Go]] capitalized on the growing trend, having achieved fame through the videos for two of their songs, "[[A Million Ways]]" in 2005 and "[[Here It Goes Again]]" in 2006, both of which first became well-known online (OK Go repeated the trick with another high-concept video in 2010, for their song "[[This Too Shall Pass (OK Go song)|This Too Shall Pass]]").

At its launch, [[Apple Computer|Apple]]'s [[iTunes Store]] provided a section of free music videos in high quality compression to be watched via the iTunes application. More recently the iTunes Store has begun selling music videos for use on Apple's [[iPod]] with video playback capability.

The 2008 video for [[Weezer]]'s "[[Pork and Beans (song)|Pork and Beans]]" also captured this trend, by including at least 20 [[YouTube celebrities]]; the single became the most successful of Weezer's career, in chart performance. In 2007, the [[RIAA]] issued cease-and-desist letters to YouTube users to prevent single users from sharing videos, which are the property of the music labels. After its merger with [[Google]], YouTube assured the RIAA that they would find a way to pay [[royalties]] through a bulk agreement with the major record labels.{{citation needed|date=March 2008}} This was complicated by the fact that not all labels share the same policy toward music videos: some welcome the development and upload music videos to various online outlets themselves, viewing music videos as free [[advertising]] for their artists, while other labels view music videos not as an advertisement, but as the product itself.

To further signify the change in direction towards Music Video airplay, MTV officially dropped the Music Television tagline on February 8, 2010 from their logo in response to their increased commitment to non-scripted reality programming and other youth-oriented entertainment rising in prominence on their live broadcast.<ref>{{cite web|first=Caroline |last=Stanley |url=http://flavorwire.com/68793/theres-no-music-television-in-mtvs-new-logo |title=There's No Music Television in MTV's New Logo |publisher=Flavorwire.com |date=February 8, 2010 |access-date=June 13, 2013}}</ref>

[[Vevo]], a music video service launched by several major music publishers, debuted in December 2009.<ref name=launch>{{cite news|title=Queen Rania calls on music world to support 1GOAL education campaign |url=http://www.tradingmarkets.com/.site/news/Stock%20News/2716825/ |archive-url=https://archive.today/20121204191222/http://www.tradingmarkets.com/.site/news/Stock%20News/2716825/ |url-status=dead |archive-date=December 4, 2012 |date=December 10, 2009 |access-date=January 6, 2010 }}</ref> The videos on Vevo are syndicated to YouTube, with [[Google]] and Vevo sharing the advertising revenue.<ref name = cnetold>{{cite web |title=Universal, YouTube near deal on music video site |last=Sandoval |first=Greg |website=[[CNET|CNET News]] |date=March 4, 2009 |url=http://news.cnet.com/8301-1023_3-10188600-93.html?tag=mncol;title |access-date=April 9, 2009|archive-url=https://archive.today/20121208205030/http://news.cnet.com/8301-1023_3-10188600-93.html?tag=mncol;title|archive-date=8 December 2012}}</ref>

As of 2017, the most-watched English-language video on YouTube was "[[Shape of You]]" by [[Ed Sheeran]]. As of 2018, the most-watched remix video on YouTube was "[[Te Bote]]" by Casper Mágico featuring Nio García, [[Darell (rapper)|Darell]], [[Nicky Jam]], [[Bad Bunny]], and [[Ozuna (singer)|Ozuna]].

====Official lo-fi Internet music clips====
Following the shift toward internet broadcasting and the rising popularity of user-generated video sites such as [[YouTube]] around 2006, various [[independent filmmakers]] began films recording live sessions to present on the Web. All of these swiftly recorded clips are made with minimal budgets and share similar aesthetics with the [[lo-fi music]] movement of the early nineties. Offering freedom from the increasingly burdensome financial requirements of high-production movie-like clips, it began as the only method for little-known [[indie music]] artists to present themselves to a wider audience, but increasingly this approach has been taken up by such major mainstream artists as [[R.E.M.]] and [[Tom Jones (singer)|Tom Jones]].<ref>{{cite news|author= Mark Thompson|url=http://edition.cnn.com/2008/SHOWBIZ/Music/02/19/takeaway.shows/index.html |title=Lo-fi filmmaker takes stars to street level|publisher=[[CNN]]|date=February 19, 2008 |access-date=June 13, 2013}}</ref>

====Vertical videos====
In the late 2010s, some artists began releasing alternative [[vertical videos]] tailored to mobile devices in addition to music videos; these vertical videos are generally platform-exclusive.<ref>{{cite web |url=https://www.mobilemarketer.com/ex/mobilemarketer/cms/news/social-networks/20489.html |title=Snapchat and Spotify challenge YouTube as premiere music video source |author=Jaekel, Brielle |work=Mobile Marketer |access-date=September 28, 2018}}</ref> These vertical videos are often shown on [[Snapchat]]'s "Discover" section or within [[Spotify]] playlists.<ref>{{cite magazine |url=https://www.billboard.com/articles/business/8467188/future-music-video-youtube-spotify-snapchat&nbsp;|title=What's the Future Of the Music Video? YouTube, Spotify & More Share Visions For What's Ahead |author=Havens, Lyndsey |magazine=[[Billboard (magazine)|Billboard]] |date=July 26, 2018 |access-date=September 28, 2018}}</ref> Early adopters of vertical video releases include the number-one hit "[[Girls Like You]]" by [[Maroon 5]] featuring [[Cardi B]]. "[[Idontwannabeyouanymore]]" by [[Billie Eilish]] is the most-watched vertical video on YouTube, although the presence of borders in the video actually make it in landscape.

====Lyric videos====
A '''lyric video''' is a type of music video in which the [[lyrics]] to the song are the primary visual element of the video. As such, they can be created with relative ease and often serve as a supplemental video to a more traditional music video.

The music video for [[R.E.M.]]'s 1986 song "[[Fall on Me (R.E.M. song)|Fall on Me]]" interspersed the song's lyrics with abstract film footage. In 1987, [[Prince (musician)|Prince]] released a video for his song "[[Sign o' the Times (song)|Sign o' the Times]]". The video featured the song's words pulsing to the music, presented alongside abstract geometric shapes, an effect created by Bill Konersman.<ref>{{cite book |url=https://books.google.com/books?id=mKXMvInfbyEC&pg=PA20 |page=20 |title=Rewind, Play, Fast Forward: The Past, Present and Future of the Music Video |first1=Henry |last1=Keazor |first2=Thorsten |last2=Wübbena |publisher=transcript Verlag |year=2010 |isbn=978-3837611854 }}{{Dead link|date=January 2023 |bot=InternetArchiveBot |fix-attempted=yes }}</ref><ref>{{cite book |url=https://books.google.com/books?id=8aH1OGro9bkC&pg=PT146 |page=146 |title=R.E.M. <nowiki>|</nowiki> Fiction: An Alternative Biography |first=David |last=Buckley |publisher=Random House |year=2012 |isbn=978-1448132461}}</ref> The following year, the video for the [[Talking Heads]] single "[[(Nothing But) Flowers]]" composed of the song's lyrics superimposed onto or next to members of the band, was released. In 1990, [[George Michael]] released "Praying for Time" as a lyric video. He had refused to make a traditional music video, so his label released a simple clip that displayed the song's lyrics on a black screen.<ref>{{cite web|last=Blankenship|first=Mark|title=More Than Words: The Art Of The Lyric Video |date=February 29, 2012 |url=https://www.npr.org/blogs/monkeysee/2012/02/29/147637692/more-han-words-the-art-of-the-lyric-video |publisher=NPR |access-date=December 29, 2012}}</ref>

Lyric videos rose to greater prominence in the 2010s, when it became relatively easy for artists to disperse videos through websites such as [[YouTube]].<ref name="ew1">Strecker, Erin (October 14, 2011). [https://ew.com/article/2011/10/14/lyric-videos-is-this-a-trend-now-britney-spears-criminal-joins-the-youtube-fray/  Lyric Videos: Is this a trend now? Britney Spears' 'Criminal' joins the YouTube fray], ''[[Entertainment Weekly]]''</ref> Many do not feature any visual related to the musician in question, but merely a background with the lyrics appearing over it as they are sung in the song.<ref name="ew1"/> In 2011, death metal band Krokmitën released the first lyric video for an entire album, "Alpha-Beta".<ref>Archived at [https://ghostarchive.org/varchive/youtube/20211211/ZfzJOI-XP9I Ghostarchive]{{cbignore}} and the [https://web.archive.org/web/20120311074416/http://www.youtube.com/watch?v=ZfzJOI-XP9I&gl=US&hl=en Wayback Machine]{{cbignore}}: {{cite web|url=https://www.youtube.com/watch?v=ZfzJOI-XP9I/ |title=Krokmitën - 'Alpha-Beta' |via=YouTube |date=June 2, 2011}}{{cbignore}}</ref> The concept album video featured imagery pulsing to the music and stylized typography created by bandleader Simlev. As of 2017, the 2016 song "[[Closer (Chainsmokers song)#Lyric video|Closer]]" by [[The Chainsmokers]], featuring vocalist [[Halsey (singer)|Halsey]], is the most-watched lyric video on YouTube.<ref>{{cite magazine |url=https://www.billboard.com/music/music-news/chainsmokers-coldplay-youtube-record-day-views-lyric-video-7709334/ |title=The Chainsmokers & Coldplay Break YouTube Record for Most Single-Day Lyric Video Views |last=Stutz |first=Colin |magazine=Billboard |date=March 1, 2017 |access-date=July 23, 2024}}</ref>